CD 1 (European Trance) führt zurück in die Zeit der Aufbruchsstimmung elektronischer Rock- und Weltmusik in Deutschland und speziell in München. Florian Fricke (hier mit seiner Aguirre-Filmmusik) besaß 1970 als erster den legendären Moog-Synthesizer, der so schwer war, dass er nur bewegt wurde, um den Besitzer zu wechseln (Rahn). Er ging an Eberhard Schoener (hier mit Mountain Music vertreten). Repräsentativ für die Zeit auch die Kompositionen von Michael Hoenig und Peter Michael Hamel. CD 2 (Intercontinental Space) bringt die Pioniere der elektronischen Ambient-Musik: Michael Stearns, Kevin Braheny, Steve Roach und David Parsons (mit zwei bisher unveröffentlichten Tracks. Informative Booklet-Texte von Eckart Rahn und John Diliberto.
With decades of history releasing music on the cutting edge, Celestial Harmonies founder, Eckart Rahn, had to sort through hours of historically significant material for Musique Mécanique, a double CD retrospective of influential electronic compositions. His latest music selection and sequence does not begin to cover the wealth of consequential material his labels have presented over the years. However, this collection does offer a worthy overview of the genre while also giving listeners a chance to experience some classic longform pieces that travel deeply into the fabric of sound, time and space manipulation that is the hallmark of great electronic music.
Titled European Trance, disk one of Musique Mécanique explores the early years of electronic music making when the first moog synthesizer arrived in Europe, ca. 1970. Florian Fricke was the man who owned it, and his initial experiments with the instrument gave birth to a highly individualistic musical expression. As the founder, keyboardist and spirit of Popol Vuh, this son of an opera singer changed the face of modern music with his powerful and evocative scores to Werner Herzog films. The title track to Herzog's Aguirre is a fitting opening to the first disk of Musique Mécanique.
Fricke's Moog eventually became the property of another Munich musician, Eberhard Schoener, leading to the release of one of the first ever, allelectronic albums Meditation (12059-2). His influential style is represented on this collection by the 23minute electronic journey Mountain Music, which was recorded in 1973 on one of the first Fairlight synthesizers in Europe. Michael Hoenig, one of the first members of Tangerine Dream to strike out on his own, is best known for his classic 1976 trance record Departure from the Northern Wasteland (11079-2). Musique Mécanique features a 21minute selection from this substantial electronic work. Disk one ends with a 17minute composition by the German writer lecturer, composer and improvisor extraordinaire Peter Michael Hamel, whose book Through Music to the Self (and early recordings with his group Between) consciously predicted and advocated a multicultural style of composition predating the current world music phenomenon by 20 years. Hamel's Apotheosis involves the most unusual combination of pipe organ with a highly sophisticated German synthesizer from the early '80s, the PPG Wave computer.
Though electronic artists in the United States initially followed the example set down by European trailblazers, they soon headed into new directions. Musicians who set the controls for the outer limits wound up seeking something more primordial. Through the innovations of Steve Roach, Kevin Braheny and Michael Stearns, the spirit of American pioneerism transformed into cyberspace as electronics brought them closer to the root sound and opened up a world of music that embraced the ancient past as well as the possible future. Disk two, Intercontinental Space, opens with Stearns' Labyrinth, taken from Desert Solitaire (17070-2), the highlyregarded RoachStearnsBraheny album evoking the spirit of the American Southwest. Braheny's Desert Walkabout, also from that album, involves a similar excursion into the stark, foreboding side of the desert that seems to fascinate and attract these musicians. The same can be said of the title cut from Western Spaces (17051-2), an earlier sojourn into this world undertaken by Roach, Braheny and Richard Burmer.
Roach's experiences in the Southwest prepared him for his formidable odysseys into the Australian outback, resulting in an even more organic style of electronicbased music making. In the gutteral timbre of the didgeridoo, he found an analog to his own synthesizer drones and a more direct physical connection with the process of sound creation. This influential stylistic development is represented by two selections: A Circular Ceremony from his 1988 tourdeforce Dreamtime Return (18055-2), and the shamanistic sound ritual performed on Artifacts from 1993's Origins (17081-2).
The music of David Parsons is clearly linked spiritually and sonically to the United States continent, yet this New Zealandbased artist has brought in a whole other world of sound into the equation by virtue of his travels throughout India, Tibet and other destinations in Asia. His style is marked by an Eastern sense of time, the idea that music is always becoming, rather than arriving. His richlyhued internal landscapes are brought into focus by mixing Tibetan horns and chanting with his electronic sound designs. Two previously unissued tracks conclude disk two of Musique Mécanique, although both Dakpa and Drilbu Ling could have stepped off the edge of his criticallyacclaimed release Dorje Ling (17076-2).