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We got a glimpse of the brand new album by Spyra "Staub". This fantastic music you can also hear in Dreamscape radio. And also Franky brought some stunning new music to the public, hope he puts that out soon to! Many who where there asked if the time table for E-iive was already known.
Well it is and here it is. E-Live on the 18th of October. The Enck - Oirschot near Eindhoven. Only 15 years but what flight of the concorde robots binary solo meaning of music he makes. Don't miss this day we only have Seats and gone is gone!!
And we still have tickets left!! Ticket information is on http: And next week is Electronic Circus in Germany!!
So order it before Friday and pick up those CD's!! And some nice videos where put on the net this week. First of all a nice impression of our trip to the UK by Rene Splinter!! And as we speak of Rene check out his brand new album called Frames.
Thanks for your time!! Thanks to all who contribute news. You can find Dreamscape here. Further in this newsletter are flight of the concorde robots binary solo meaning of details.
Electronic Circus - 4. Flight of the concorde robots binary solo meaning of e-mail address is being protected from spambots. I adore this tone of flute enchantress which extricates itself from the claws of nothingness! It sings a seraphic ode and its solitary charms call other flutes, shier, to join in and give a small concert of soft oniric breezes.
There is a delicate gradation in these ambient melodies, so that the intro slightly touches at times some ephemeral dramatic moods which remind me the birth of Ricochet 's muddled rhythms. This gives more relief to this ambiospherical painting which bickers constantly with ethereal elements. The astral singings dress of sibylline harmonies when the sparklings to the metallic reflections dilute the songs of the flutes in order to bring "Escape I" towards a more intense passage where the ambio-cosmic moods bring flight of the concorde robots binary solo meaning of life a structure of beat which staggers in an awkward way at the 5th minute spot.
And this relatively ambient pace draws a kind of slow morphic cha-cha which dances beneath a thick cloud of synth layers paint ed of prismic breezes and of lascivious violin veils. The moods become then ambio-cosmic and decorate a slow sequenced walking where are whistling and blowing a thick cloud of astral colors synth lines. The beat of "Escape I" sways hips like a spirit in a soporific trance in a garden of honey where stars are within reach.
The synth pads are as much in love as ethereal and their caresses are comforting a hearing which waits flight of the concorde robots binary solo meaning of the rhythm to become more accentuated.
And the nothingness sucks up the sounds elements. Only the dark winds which make ring the carillons reign over this very meditative passage. This is the war of the airwaves. The war of synth lines of which the cracklings get lost in the dusts of stars where only weak ringings resist the winds.
These ringings eventually form a skeleton of spheroidal rhythm. They turn into a ballet of sequences with the doubles of their shadows which dance in parallel in some sonic glares a bit dramatic.
And if we listen carefully, we hear these gleaming sequences which made dance our dreams in Mirage. Except that the rhythm gets loose and makes other bass sequences which are trotting and banging vigorously. Chthonian singings invade this powerful and linear rhythm of which the gallop is flowing with a beautiful fluidity under solos of synth filled by the aromas of howling spectres.
The roarings of what seems to be Martenot's waves are switching for wonderful violin flights with a Mellotron of which the burning sibylline airs pursue the curves of a rhythm which runs at a brisk pace. A structure of beat with a very beautiful meshing of sequences which criss-cross their chords and their overlapping, forming an electronic rhythm with such a fluidity which reminds enormously Klaus Schulze in the Body Love albums.
We are riveted to our armchair, ears on the alert, to follow this deep tempo from where the only outcome seems to be inevitably a crash. A crash which will lead the last seconds of "Escape I" in a heap of metal a nd mirror which burst between the ears which have never expected this kind of finale. Nevertheless if we recall well the ambiences of Body Love With two long tracks and their deliciously ambient intros which unblock flight of the concorde robots binary solo meaning of rhythms fighting constantly with intensely cosmic atmospheres, this last The Roswell Incident's album is a strong one which will revive the flame of our souvenirs of Klaus Schulze and Tangerine Dream in their beautiful 70's.
The Roswell Incident has reworked the music in studio with a result which reaches the parameters of very good The Crash. Yes it's still about EM. Shall say some … Maybe but The Roswell Incident affixes a very personal seal with a cosmic approach which allows to merge marvellously the rhythms and the atmospheres of these 2 icons of the German EM.
So goes "Escape II". The intro shows an ambient beat which leans on somber beatings. The moods are very dark with a kind of strange dialogue of metallic sounds which float as hoops wi thout ends in the wandering sinister synth lines and their tortuous spectral harmonies. A note of piano falls at around the 5th minute. Hesitating, this piano reveals its naked notes and draws a somber passive and meditative melody, adding some more mysticism to "Escape II" which takes life with somber felted sequences.
The movement becomes nervous. The keys skip and pound in a rather undisciplined rhythmic choreography. Superb solos with ghostly and sharpened harmonies overhang this anarchic rhythm while other sequences, clearly more incisive, redirect the structure of rhythm towards a more methodical phase. And "Escape II" reveals its superb rhythmic schema with a mixture of sequences of which the criss-crossed lines let hear a figure of rhythm as lively than harmonious. The pace becomes more punchy with keys which pound of an arrhythmia to lose breath.
Even the synth solos have difficulty to follow it. Mists to the metallic dr izzle are hooting over this frenzy which eventually rides alone and throws itself in an oasis of serenity where ambiospherical elements will restrain its powerful swiftness. One of the great qualities in the music of The Roswell Incident is this ease that the Buytaert duet has to mix ambiences, as Gothic and as cosmic, to rhythms which fast become objects of seduction.
And this small wink of eye, quite discreet, to the masters of retro analog EM adds a very charming dimension to a music which doesn't really need it, to gain an enviable place among these big names. Simply great EM and strongly recommendable! Sylvain Lupari September 7th, In Roswell, Georgia, based composer Robert Scott Thompson describes himself as a musical flight of the concorde robots binary solo meaning of and this is definitely the best description suiting to his soundsculptings.
Robert Scott Thompson has crossed my radar for the first time during the second half of the 90's with his two stunning works, "The Silent Shore" and "Frontier"released on Canadian Mirage label. At that time he had released about 6 other albums, yet still remained quite unrecognized.
Now, 15 years later, Robert Scott Thompson owns huge discography counting over 50 solo albums and collaborations, with nearly all of them released through his own Aucourant Records Hypnos and Lens Records are few exceptionsranging from more ambient infused titles through electroacoustic, acousmatic, avantgarde and contemporary electronica to more minimal meditative. Tranquilly floating dronescaping ambience is masterfully emphasized by gorgeously infinite celestial choir-like gracefulness and few distant piano embellishments.
Some cool strange sounds emerge here and there. Warmly inviting and hauntingly expansive beginning, pure beauty, more please!!! Nicely titled "Glass Is The Enemy Of The Secret" shifts straightly into more textured terrains, although backing panoramas remain soothingly sweeping and the main motifs are gently harmonious and poetic with some additional, fragilely swirling synthesized glass-like fragments precisely displaying the track title.
All quit e sparse and evocative. Contemplative atmofields are precisely bridged with translucent tinkles and few ear-catching disruptions pop-up throughout. The piece slowly evolves then again fades into calmer passages, but always having its balmy and flight of the concorde robots binary solo meaning of mood.
It blends relaxing organic sounds and soft urban rumbles with deeply evocative, cinematic blankets, wistful piano and sluggish strings. Subtly pleasant sceneries arise, quietly relaxing and gently immersing, and for long time buried memories start to awake. Quietly expansive dronescape is attractively colored with highly expressive and captivating strings with some softly swirling trinkets attached.
A truly magnificent, deeply meditative composition masterly displaying serene atmosphere of gorgeously glimmering winter wonderland!!! The closing title track, "Upon The Edge Of Night", reveals all the magic of nightfall heaven with coalescing splendidly ethereal washes with bass hums, singing cicadas and ephemeral organics and chimes.
I think this recording is still mostly unrecognized, it's a big shame, because Robert Scott Thompson flight of the concorde robots binary solo meaning of delivers significant signature, versatility and refinement in his music. This virtuosity certainly deserves to be explored!!! Aphrodite's Child - 2-cd Wonderfull new release by John Serrie. Long tracks that develop from long ambient fields into Berlin School Sequences.
CD Shop Download Shop. E-News Monday, 29 September The Enck - Oirschot near Eindhoven Have a nice day and enjoy life!!