#rainbow dome musick

[vinyl-connection]

Steve Hillage “Rainbow Dome Musick” [Virgin 1979] - Read Vinyl Connection’s review

[dracolizardlars]

listening to Steve Hillage (the album Rainbow Dome Musick) since, uh, I am actually going to see him live in November and Gong are just the support act at that gig. I had been forewarned that it is “ambient” music. it is. it’s nice. nothing is happening yet but it’s nice. actually ok it’s got going a little bit more now and it’s slightly reminding me of Gong in places, that’s cool

[dustedmagazine]

Listed: Dallas Acid

Dallas Acid is a trio from Austin, Texas that first convened in 2015 to play music inspired by the synthesizer-oriented ensembles of the 1970s. Laaraji is a zither player who had been busking for years in New York’s Washington Square Park before Brian Eno heard him and asked him to come on down to the studio. Their LP, Day of Radiance,marks the intersection of the new age and ambient music genres. Laaraji and his musical partner Arji OceAnanda shared a gig with Dallas Acid in early 2018, after which they went into the studio. This encounter yielded a collaborative LP, Arrive Without Leaving. The members of Dallas Acid compiled this list.

We are sure that most people reading this will probably know about these records already, but these are ten of our favorite, all-time classics that have had the greatest influence on our music. There are literally hundreds of others we should include, but these should be easy to find for those who are unfamiliar and curious. In no particular order:

Steve Hillage—Rainbow Dome Musick

Canterbury’s epic prog guitar master collaborated with long-time partner Miquette Giraudy in 1979 on Arps, EMS & some modular Moogs, taking our favorite moments from their work with Gong and solo albums to create this early ambient masterpiece. Rediscovered as come-down music in the height of KLF-fueled rave culture in the late 80s, Rainbow Dome Musick offers a different approach to the ambient genre than the work of Eno and the Krautrock pioneers. The two sides of this LP are very effective in creating a reality with no beginning and no end.

Popul Vuh—Hosiana Mantra/Aguirre

It was so hard to pick just one Popul Vuh record, so we picked two! Both recorded in 1972 and yet worlds apart, the soundtrack for Werner Herzog’s Aguirreis dominated by its beautiful minimalist Moog compositions. OnHosiana Mantra, Florian Fricke goes acoustic with a full band and vocalist Djong Yun, producing reverent, meditative, therapeutic, and maybe slightly unsettling compositions that will definitely make you a better person after just one listening.

Klaus Schulze—Moondawn

This 1976 LP was our introduction to Klaus Schulze’s work with sequencers. Cyborgand Irrlictwere both big influences on us texturally and structurally, but hearing the way he seemed to use the sequencer to drive composition changed the way we approached songwriting. This is the first in a series of great albums for Klaus over the next couple of years, but it also feels like the first LP to feature his classic analogue space station with all components operating in optimal harmony. Plus, you get to hear Harald Grosskopf (who’s own solo 1980 LP Synthesistis fantastic) play some pretty crazy percussion on the record.

Fripp & Eno—(No Pussyfooting)

Shortly after leaving Roxy Music, Brian Eno had been experimenting with an extended tape-delay system (first developed by Pauline Oliveros and Terry Riley) and teamed up with virtuoso guitarist Robert Fripp to create one of the most unique and revered recordings of Ambient/Experimental/Electronic music. 1973’s (No Pussyfooting)is not quite yet ambient music as we would come to know it but offers some incredible exploration into what was then an undefined genre. Fripp’s technique and concoction of effects would be known as Frippertronics, and while many over the 45 years since have attempted to imitate, none has matched the exceptional playing on this LP.

Ashra—New Age of Earth

Manuel Göttsching’s reputation as an innovative guitarist with Ash Ra Tempel had been well established by the time he released this 1976 adventure into synth-guitar experimentation. ARPs, Farfisa and an EMS are given equal importance as the echo-driven guitar hypnosis technique that came to define his style. Still too dirty to be true “New Age” this LP captures Göttsching at his most innovative and tasteful, with the perfect balance of darkness and light.

Spiritualized—Lazer Guided Melodies

I was very luckily to see Spiritualized with this classic line-up in Los Angeles on the Rollercoaster US tour back in 1992. Those first few records with Kate on keys and Will on bass are still our favorites. So magical - the perfect combination of minimalist restraint and calculated explosions of ecstasy. This EP collection has an incredible transportive quality that just hasn’t been outdone since.

Nico—Desertshore

This 1970 album is definitely a dive into the darkness but might be the most beautiful of all the records we’ve listed. While John Cale’s influence & contributions are clear, it might be the furthest Nico strayed from the Velvet Underground days. You are immediately overpowered by the droning harmonium and rendered almost immobile by her stark words and monotone vocals. If you survive a single listening without an intense emotional reaction, you truly contain the stuff from which all future anti-depressants should be made.

Gavin Bryars—The Sinking of the Titanic

Ex-Scratch Orchestra member Gavin Bryars used bit of dark humor as the inspiration for this slow-moving composition for strings. As the Titanic sank, legend has it, the ship’s band continued to play on. First released in 1975 on Eno’s Obscure Records, the recording is increasingly affected over time to simulate the changes in sound reverberation as they sank further into the ocean.

Terry Riley—Shri Camel

Using a YC-45D modified for just intonation and an early digital delay, Terry Riley adds an Indian tonality to his signature minimalist style. Composed in 1975 but not released until 1980 Shri Camel feels more open and tranquil than many of his previous recordings. Transformative.

LARAAJI—Essence/Universe

Essence/Universe by Laraaji

Obviously we hold the entire LARAAJI catalogue in great esteem, but this 1987 release, re-issued a few years ago on Brian Eno’s All Saints label, is probably our favorite. The ambient master’s zither is more affected than on his other recordings, creating incredible, almost super-natural, reverberated washes of shimmering ecstasy. The two side-long tracks achieve a vibration which is uniquely meditative, even for a musician who’s entire life’s work has been defined by its thoughtfully measured cosmic flow.

[jobies-melomaniac-blog]

NEW MUSIC REVIEW:

Rainbow Dome Musick (album) - Steve Hillage

FIND IT HERE: https://bit.ly/3zYlpT2

[ihfsttinuf]

(Significantly More Than) Ten Songs Which Have Moved Me

@progamuffin tagged me with this and I like doing these so I thought I’d get right to it. I might even post some explanations! In no particular order:

1. Benjamin Britten, “Elegy” (fourth movement, Serenade for Tenor, Horn and Strings [Op. 31], 1943)—A gorgeous and chilling setting of William Blake’s enigmatic poem “The Sick Rose”. Knowing more about Britten’s life and his struggles with how he saw himself as a person add an extra veneer of eeriness and pathos to this one.

2. St. Vincent, “Black Rainbow” (Actor, 4AD, 2009)—This one is sort of tied with “Laughing With a Mouth of Blood”, as both wonderfully capture a very particular set of experiences and emotions which resonate with me personally, both lyrically and in the superficially upbeat, lush music. I’m giving “Black Rainbow” a slight edge, though, as a splendid depiction of the claustrophobia and frustration which chronic depression brings.

3. Wire, “Map Ref. 41ºN 93ºW” (154, EMI, 1979)—The perfect power-pop song, perfectly encapsulating the wonderment of realising how truly vast and beautiful the landscape is, dashed with cheeky yet ecstatic turns and wrapped in immaculate synth and guitar arrangements. Known to make me cry tears of joy, literally. Fantastic.

4. Have a Nice Life, “Earthmover” (Deathconsciousness, Enemies List Home Recordings, 2008)—The first four songs on this album, as a bloc, are incredibly compelling, but I’m giving it to the grand finale here for its sheer apocalyptic power and strange mixture of holy joy and abyssal melancholy. “We wish we were dead,” indeed.

5. Prurient, “Myth of Love” (Black Vase, Load Records, 2005)—One of the scariest experiences that I have ever had with music was listening to this for the first time alone in my room one night with all of the lights off. The manipulations of the vocals made it sound as if the very static hiss of the amplifiers were speaking, as if this were a recording without human intervention, a self-recorded exorcism of something that had never been alive.

6. Dälek, “Ever Somber” (Absence, Ipecac, 2005)—The culmination of an album and a thesis which builds by degrees. An instrumental which swoops down like a formation of black swans, into which weave erudite lyrics at once quietly delivered and charged with righteous anger. A way forward for political music which I had not considered prior to my exposure to this group.

7. Ruth Crawford Seeger, String Quartet (1931)—Hard to explain this one, except that there is something immensely satisfying about a work of high modernist composition with so much humour, verve, spookiness and outright melody. Foreshadows total serialism and drone music alike.

8. Jute Gyte, “I Am in Athens and Pericles is Young” (Perdurance, Jeshimoth, 2016)—Not difficult at all to explain this one, insofar as it speaks for itself. Any song from this album could go here, but the sheer extremity of the ideas and revelry in abstraction make this one a fine exemplar. Easily the most exciting “band” in black metal today.

9. Swans “The Glowing Man” (The Glowing Man, Young God, 2016)—Pure undeniable minimal-meets-maximal transcendence. Simply astonishing for every minute of its significant runtime, challenged only by the perfection of the album closer “Finally, Peace”.

10. Coil, “Where Are You?” (Musick to Play in the Dark Vol. 2, Chalice, 2000)—The pure terror inspired by “Strange Birds” and “Ether” from this spectral duo count for a great deal, as do the exquisite requiems which close each album, and the synth odysseys of “Red Birds...” and “Tiny Golden Books”. These albums are, not to put a finer point on it, stone cold classics. But for a taste of pure outer sphere mystery filtered through a haze of attic dust, “Where Are You?” cannot be beat. It is aching nostalgia for a place beyond birth and death.

11. Sonic Youth, “Hoarfrost” (A Thousand Leaves, DGC, 1998)—Skeins of guitar like wood-smoke and frozen branches zigzagged over a snowy landscape, winding in and out of one another, glistening at times and curling dark and quiet at others over the patter of toms and warm yet distant vocals, like something hiding in the very heart of the woods.

12. Angels of Light, “Praise Your Name” (New Mother, Young God, 1999)—Another Gira song? Really? Yes, really. A love song to the righteous hatred of a broken person, in luminous tones full of sacral awe.

13. Current 93, “The Bloodbells Chime” (How I Devoured Apocalypse Balloon, Durtro, 2005)—An utterly heartbreaking song in any version, but I wanted to highlight this slower, wearier arrangement from a rather obscure live recording, which absolutely aches with sorrow in the final verse: “Tommy Catkins still sends his regards...” One more reason to cry, this time with no joy whatsoever.

14. Dome, “Keep It” (Dome 2, Dome, 1980)—Another exercise in obscure and paralysing nocturnal terror, here triggered by the realisation that I had no idea what I was hearing or what any of it meant. Like “Ever Somber” and “Earthmover”, this is less a singular sensation than a cumulative one, although like “Where Are You?” or “I Am in Athens...” it more or less stands for the album experience as a whole.

15. Sutcliffe Jügend, “The Death of Pornography” (Blue Rabbit, Crucial Blas, 2012)—As above, so below; from Kafka to Bataille. While the dread of this LP is less subtle than Dome’s approach, it is a similarly restrained effort on an instrumental level, and while it was the title track which made me put this one down for months, it was the closer which made it both a classic and something which I feel uneasy recommending.

16. Bügsküll, “Flowers Smile” (Distracted Snowflake Volume One, Pop Secret, 1997)—A pop song which is also not anything resembling popular music, simple and sweet and unaffected yet deeply strange and intimate. Such a thoroughly underrated musician.

17. The Velvet Underground, “Candy Says” (The Velvet Underground, MGM, 1969)—What is there to even say?

There are certainly more than this but I should probably stop now.

@nyathescurial, if you haven’t done this yet, you’re it. Also @section42l, @allelesonwheels, @sfsorrow, @kitswulf, @carrionade if any of y’all are interested.

[libidomechanica]

Untitled (‘They used to bite’)

They used to bite the white Breath the electric meter I will go with art sorrow and

treble Voices strike that he’ll likely find no more believe that is found, her face turns from peeling. Loud prayer

for thy ruling Spleen. We e will I not to be subservient to grasp at all thing and says

I’m gone unto the final sign the has building a mother’s flow’ry thorny tree. Seem’d but once I her did

shiver; and swell, rich in sight and quiet mindful of the would have loves in a poison’d gloomy Cave

of Ombre sings: “O joy,” for long sigh; for the vacant Brain, draw fresh hope, an undistinguish in the

mind For frequent rainbow. Cockatiels—clutch, and aye? What I did not heau’ns food, once knew. Where living

Deeps resort, to make you go through sweet, labour of thou thyself art in reigne dismal Dome. And

gay, when I bow’d to hell for those blessed key can bring your hand, and others plait therewithal sweeter

be, when to light. So glorious Pride; on that in Desarts bloom, to travel with

Musick steals shadow, once inclines the small lips, and Noons, her face of loue; that tear ourselves

down too, Maud too, Beauty morn, and make love,      beside their death, resumes life unblessed key can bring

that I never state has star-pitched Maids, in mine, then worms riot. Try to the sand, and purple Fire.

[swamplord47]

#nowplaying Steve Hillage - Rainbow Dome Musick https://youtu.be/09B2gn5OhKg

[progrocksite]

“Rainbow Dome Musick” was released by Steve Hillage on this day in 1979 https://ift.tt/1RSNmyy #TodayInProg

[tinymixtapes]

Cerberus: Jonathan Fitoussi - Imaginary Lines

It’s a bit embarrassing when you’ve reviewed thousands of records in your life and, thusly, have probably contradicted yourself at least dozens, if not hundreds, of times. For example: I’ve been railing about the predominance of drone-, synth-, modular-synth-, and programmatic arpeggio-based audio for years. Yet, when a fulfilling example of the form comes along I’ll be the first to admit its relevance regardless because I don’t believe music should be judged based on its place in an extended trend and/or lineage. It’s a tough line to walk and I just hope I haven’t betrayed too many of you over the years with my wavering. But that’s not important right now; the reason we’re here is because Further Records outta Seattle has blessed Gumshoe’s lair with another gem so bright, shiny, and synth-y you’d think you’d died and gone to Korg heaven (HA, this guy almost certainly does NOT use Korgs; I won’t guarantee it but I suspect it.). Imaginary Lines seems to plod along at times, relying heavily on repetitive patterns for much of its duration, and that’s part of the genius of Jonathan Fitoussi because it rewards close, feverish attention and deducts pleasure points if you listen in the next room. Tracks like the aptly named “Triangulum” inch into your ear like a silkworm, laying eggs along the way, finally petering out into oblivion even while it camps out in your cerebellum. The most effective use of this strategy might be “Orion” (also the name of my favorite, possibly, Metallica song, if you’re keeping track [no pun intended]), which lights up the room with its mellifluous color wheel of pinks, oranges, and faded yellows, and never gives in to the instincts many of us might have when tasked with recording such a spare cut (i.e. a build-up of some sort, obnoxious beats, lame samples, vocals that ruin everything, etc.). In fact all that truly happens once the dominant sequence is established is the merging of another, even sparer, strand of synth that melts into the mainframe and, to my surprise, gives way to an extremely faint rhythmic component that fades just as quickly. Why is Imaginary Lines so magica though, trulyl? I wish I knew the contours of Fitoussi’s brain; if I did I wouldn’t be a rich man by any means, but I’d definitely be a better experimental musician. But I digest: that’s Side A; the flip is quite similar and yet still a must-listen for the reasons I’ll lay out for you. First, compositions like “Oiseau de Paradis” take a slightly different tact, investing in a foggier milieu that blends its sounds together with a touch more blur. Second, it’s an even calmer ride, if you can imagine that. Velvet synth pillows cradle your skull while the interweaving sequence flow through your bloodstream like an invasive bacteria, latching onto what it can and ensuring you won’t soon forget the experience on a chemical level. I’m most reminded of Steve Hillage’s calmer, more longform work around the time of Rainbow Dome Musick, not to mention a few of the recent Landing records and even some of SURVIVE’s more shimmering examples of synthness. But in the end it’s all about the very real (and imaginary) lines sketched by Fitoussi like a sound architect, his synth t-squares and programmed laser measurers (I’ll admit I google’d “architectural equipment” to fill this out) drafting the most effective route for the music to take. I’m all agog every time Further sends me a package, and if you still don’t understand why after reading this you’re probably one of those people who will simply never understand what it is I do (and that’s most people, btw, so don’t feel bad; hell my relatives still think I’m a newspaper reporter and I’ve literally never come close to being one outside an internship straight out of college). My people though; you know who you are, and you make it all worthwhile. Well, you and the brave artists who send pricey vinyl to my door knowing there’s a 50/50 chance I won’t get to it (and for those I miss I’m always truly sorry; it can be a heartbreaking enterprise, especially at the end/beginning of every year, when the seasons change and a huge batch of LPs/cassettes become, for all intents and purposes, obsolete). WOW! This is the longest Cerberus review I’ve ever written, so chew on it once or twice and BOW DOWN because I crank the shit out without a single error most of the time, and I don’t get paid to do it save by way of luxuriating in all the free consumer goods I receive that y’all have to pay for. I’m 38, and I don’t see any reason to stop, so keep the goodness coming and maybe I’ll just stick around until I die. Over and out. http://j.mp/2mlHE0v

[zef-zef]

Steve Hillage - Four Ever Rainbow (20:30) Side-B from: Steve Hillage ‎- Rainbow Dome Musick (Virgin, 1979)

latest reissue & remaser in 2017 on "Virgin"

Recorded for the Rainbow Dome at the Festival for Mind-Body-Spirit Olympia London April 21-29. 1979. Recorded at Om, January 1979

Four Ever Rainbow holds soothing chimes, groaning electronic trickles, mysterious electronic drifts, tranquil delays of electric guitars, time-altering synth caresses rising and falling, and waves of serene glissando strains reach for the heavens lifting aching veils of angelic cries. ( Aussie-Byrd-Brother )

#electronic meditation

Side-A "Garden Of Paradise" here

[grandomegaminus]

1/12/17 playlist

hour 1

Majeure - “Atlantis Purge” (Brainstorm, Temporary Residence Ltd., 2012)

Carlos Peron - “Nothing Is True” (Nothing Is True; Everything Is Permitted, Milan, 1984)

Henry Skoff-Torgue - “Le Tartare” (Souvenirs Des Cités Crépusculaires, Spalax, 1979)

...<talk break>...

Steve Hillage - “Garden Of Paradise” (Rainbow Dome Musick, Virgin, 1979)

Steve Roach - “Mysteries Continue” (Traveler, Domino, 1983)

hour 2

Zanov - “An Zéro” (Moebius 256 301, Polydor, 1977)

Air - “Don’t Be Light” (10,000 HZ Legend, Source/Virgin, 2001)

Richard Pinhas - “Greenland” (Iceland, Polydor, 1979)

...<talk break>...

Visitors - “Visitors” (Visitors [Reissue], Lion Productions, 2014 [orig. 1974])

Il Baricentro - “Meridioni E Paralleli” (Sconcerto, EMI, 1976)

National Health - “Flanagans People” (D.S. Al Coda, Europa, 1982)

Streetwalker - “Future Fusion” (Future Fusion, Cititrax, 2013)

[70sscifiart]

Rainbow Dome Musick

[coolangeltrip]

Próbáljátok ki, mint meditációs objektumot: Steve Hillage - Rainbow Dome Musick (1979)

[dhla]

Ambient old & new for a deep Saturday night.

[thegreatgateofkiev]