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F u F F E N S p r o u d l y p r e s e n t s a r e l e a s e w h i c h
i n t e n t i o n i s t o p l e a s e a n d t o e n l i g h t e n t h
o s e l e s s a w a r e o f t h e t r u e m e a n i n g a n d q u a l
i t y o f m u s i c d u e t o d a m a g e s r e l a t e d t o m t v b
u t w i t h o u t f u r t h e r a d o f u f f e n s o f f e r y o u t
o i n c r e a s e y o u r k n o w l e d e g e a b o u t m u s i c a n
d i n t h a t w a y c r e a t e a b e t t e r w o r l d f o r o u r c
h i l d r e n t h e f o l l o w i n g m a s t e r p i e c e o f a r t
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a r t i s t pete namlook, klaus schulze & bill laswell
a l b u m dark side of the moog iv
l a b e l World Ambient (aw 011)
g e n r e electronic
r i p d a t e 13-10-2002
s t r e e t d a t e 12-02-1996
o r i g i n a l r e l 1996
s u p p l i e r *******
s o u r c e cd
b i t r a t e 192 kbps
e n c o d e r lame 3.92
r e l e a s e n o t e s
The Dark Side of the Moog 4 is another volume by Pete Namlook, Klaus
Schulze, and Bill Laswell. And they have a little more fun with the
first dark-siders, Pink Floyd. The tracks on this CD are "Three
Pipers at the Gates of Dawn, Parts I-IX." This set, like the entire
series, is full of deep sequences, dark overtones, and experimental
sounds. Schulze, Namlook, and Laswell are e-music legends and it is
always exciting when they collaborate. This disc is no exception.
They are able to generate new sounds and variations on a theme. It
does not get tired or tedious. This set will appeal to fans of early
Tangerine Dream, Rudy Adrian, Ian Boddy, and Steve Jolliffe. Because
of the trio, it is essential for e-music fans. Casual fans can pass.
-- AMG
Winter, 1996. The new album in the DSOTM series, "Three Pipers at the
Gates of Dawn" comes out, but this time a new band member is
included. Our third piper is Bill Laswell, making this his 3rd
project-series with Namlook. Now with these three veterans at work
we've got high expectations!
I'm not too familiar with a lot of Klaus Schulze's work, and I know
there's plenty of it out there (including a disc of Klaus remixes by
Namlook), but I found it more difficult then usual to sort which band
member was responsible for which aspects of the music showcased here.
Surely Klaus controls much of the analog keyboard progressions, while
Laswell brings his own experience as a well-seasoned producer, always
armed with his trusty bass. Namlook I envision to be involved with
most aspects of the project of course, but in particular his sound is
identifiable in the spectacular glowing guitar texture-melodies and
some of the percussive patterning. Beyond these basic assumptions,
all of the musicians seem to be responsible to some degree for the
conceptual groundwork this album seems to be built upon. Many
features of previous Dark Sides are here, but updated or enhanced in
one way or another. As I was writing this one up I had an email
conversation with fellow a listmember regarding who was responsible
for which components of the recording. His hypothesis is that all
three musicians are pretty much evenly mixed with no one particular
person overshadowing the others, making DSOTM4 a little unusual in
that respect. This makes sense to me, and certainly would at least
partly explain the smooth mingling of techniques. Overall, this album
is quite varied, often fluctuating from quieter, beatless passages
into harder beat-oriented ones in the blink of an eye. Should take
you by surprise several times before it's finished!
Part 1 - The instruments are warming up, much in the same manner an
orchestra does. Keyboards and drum machines are doing this too, an
echoing bass thump, some synthy zipper textures. This continues for
the initial moments, the disparate elements wandering any which way.
Atmospherics eventually overtake the warm-ups, floating unanchored,
ready to start the story. And just before hitting the 7 min mark, the
giant second part begins.
Part 2 - After the launch, a lone arpeggiating bassline sets the
backbone for the next 15 minutes or so, occasionally changing key.
These minutes are filled with voices and occasional bass guitar
sourced funk shapes that float by and balance the persistent
alternation of the kick and shakers and rides. Some whistling there
in the background puts your questions about pipers to rest. This type
of music makes for great highway driving. Put your seat in recline
position, this track takes time to work it's magic. Things come in
stages, like the fretless bass announcing the resurfacing of the
rhythm somewhere in the middle there. It's not until 17:25 that the
spell is cast. The bassline changes, progressing into a more
expressive trancelike mode. Nice! After you've got the melody, the
beats come back in to complete the picture. The intensity escalates,
and the soaring guitar atmospheres will finish you off. This part is
over twice as long as any of the others, perhaps making the album
feel a little bit lopsided depending on your point of view, but it
certainly packs a considerable punch.
Part 3 - Following the colossal part 2, things get toned down. Gentle
shifting drones. Namlook's trademark otherworldly vocalizations:
"Jolt of recognition... 1960's and 70's... Federal Probe has
discovered widespread police corruption and misconduct..." One might
draw parallels to Floyd's "Wish You Were Here," and in particular the
intro to that title track. Random radio broadcasts are heard. It
should be noted that when Pink Floyd performed this track live, they
would often flip through local stations randomly with an onstage
radio and use those sounds as the 'live' introduction. Now some
feedback and what sounds like electric cicadas singing. This part
lasts about 5 minutes.
Part 4 - A marked change from the vocal sounds to brooding
oscillatory drones here, but also remains beatless. Conjures a kind
of quiet haunted mausoleum atmosphere for 2 minutes or so. A dark
side indeed.
Part 5 - A change of atmosphere, not so brooding as before. Namlook
opens the throttle on his synth, sending a bright flair of sound high
into the dark night sky. A rhythm of machinery is introduced, and
with an accompanying arpeggio things get moving again. Only a minute
passes and a hefty bassdrum is dropped in. Soon after, a familiar
Laswellian bassline is laid down. Short, but sweet. We'll come back
to this a little later.
Part 6 - This part contains one of the most soulful guitar solos I've
heard from Namlook yet. The Floydian flavor is now here in full force
with a heart-wrenching blend of despondent melancholy, yet the melody
also manages to be encouraging and even comforting. The solo cuts
across a distant warehouse wash of reverberant background sounds that
fill it out. I've heard objections to Namlook's guitar playing, but
here I think it's easily one of the high points of the album. It's
nice to hear this kind of mood well-integrated into the predominantly
electronic surroundings.
Part 7 - Another drone pounds its way from the speakers, recurring
over the next 3 minutes. In intro/outro segment of sorts I suppose,
and buffers Parts 6 and 8.
Part 8 - Ambushed! The structures from Part 5 are now presented in
full. The sounds bombard you immediately following the drones. The
heavy rhythm checks in around 140 bpm, and is decorated with chirps,
hihats, and Namlook's wiggly electronic pulses. The piece develops
over the shifting reverberant background from Part 6. At 4:25, the
beats cut out and regroup while the rhythmic machinery lumbers
onward. The pulses are reintroduced first, and then a flock of
high-frequency waves takes flight while the beats are thrown back in.
Part 9 - A reprise finishes the album out. First a modulating pulse
sequence and then one more drone-thump from Part 7.
http://www.2350.org/
...and remember: s t a y f u f f e n s f o r l i f e
t r a c k l i s t
three pipers at the gates of dawn - part i 06:56
three pipers at the gates of dawn - part ii 21:47
three pipers at the gates of dawn - part iii 04:57
three pipers at the gates of dawn - part iv 02:21
three pipers at the gates of dawn - part v 02:28
three pipers at the gates of dawn - part vi 07:55
three pipers at the gates of dawn - part vii 02:53
three pipers at the gates of dawn - part viii 08:51
three pipers at the gates of dawn - part ix 01:49
59:57
MB 82,4
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u y t h e s t u f f b e c a u s e t h i s i s m a d e b y r e a l a r
t i s t s a p a r t f r o m t h e m a i n s t r e a m p r o d u c t s
t h a t s i n t h e t o p 2 5 l i s t i n t h a t s t o r e y o u w i
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