escape

Escape Velocity: Velocity needed for a rocket to reach Earth orbit

Loop: Tape Loop, Repetition

Technology

Experimental music based on simple tape loops has existed since the early fifties. At the beginning of the sixties, Pauline Oliveros, Ramon Sender, and Terry Riley of the San Francisco Tape Music Center invented a continuous tape echo/feedback system based on two tape recorders. Minimalist Terry Riley recorded LPs using this system (he called it 'time-lag accumulator') and played all-night solo concerts. In the early seventies, the technology was rediscovered by Brian Eno - he used the time-lag accumulator to create the first works of the new genre 'ambient music' and, together with Robert Fripp, to produce several albums of 'Frippertronics' music. In the eighties, the tape recorders were gments, and discoveries came up but in the next session, they were not worked on or practiced. Instead, they were recorded to DAT, unfinished as they were, to become part of a large sketchbook. (Some of them actually did grow into 'real' compositions much later.) This CD contains a selection from that sketchbook: ambient soundscapes, experiments, small themes, on-the-fly compositions, solos. Each of these recordings represents the very first, unrefined take of an idea, and none of them was perfectly performed or perfectly recorded - at that time, I had no idea that they would eventually be published. Today, it is just their imperfect sketch character that, in my opinion, gives them that certain charming freshness and edge which would be difficult to reproduce.

REVIEWS

A former member of that late, great German band Camera Obscura re-emerges with a new album of electronic guitar music that adds new dimensions to the genre pioneered by Frippertronics. Like Michael Brook, Peters' music contains more emotion than that of Fripp, but unlike Brook he avoids overly formalized composition. His intent is not to produce great art, but interesting synthesized guitar music. The result is a series of loose pieces that explore different shades of light and dark sonically, ultimately congealing into an instrumental tapestry of multi-tone colors. At times the music is so powerful it will send shivers up your spine,
alternately it will waft over you like the darkness of sleep.

Archie Patterson, Eurock Magazine




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		1. blue ascension 1:33 2. april for no reason 4:21 3. on the move 4:37 4. alone on a hill 2:26 5. arrivals/ departures 4:44 6. fast elevenosity 1:35 7. stegosaurus orbit 2.55 8. fog lights 3:52 9. ambleside, april 28, 1993 3:09 10. infinite moment 6:04 11. shredded freddie 1:32 12. announcement 2:59 13. pompous elevenosity 5:28 14. dawn of life 5:14 15. candi dasa, may 6, 19992 5:52 total running time: 57:12

Escape Velocity: Velocity needed for a rocket to reach Earth orbit Loop: Tape Loop, Repetition Technology Experimental music based on simple tape loops has existed since the early fifties. At the beginning of the sixties, Pauline Oliveros, Ramon Sender, and Terry Riley of the San Francisco Tape Music Center invented a continuous tape echo/feedback system based on two tape recorders. Minimalist Terry Riley recorded LPs using this system (he called it 'time-lag accumulator') and played all-night solo concerts. In the early seventies, the technology was rediscovered by Brian Eno - he used the time-lag accumulator to create the first works of the new genre 'ambient music' and, together with Robert Fripp, to produce several albums of 'Frippertronics' music. In the eighties, the tape recorders were gments, and discoveries came up but in the next session, they were not worked on or practiced. Instead, they were recorded to DAT, unfinished as they were, to become part of a large sketchbook. (Some of them actually did grow into 'real' compositions much later.) This CD contains a selection from that sketchbook: ambient soundscapes, experiments, small themes, on-the-fly compositions, solos. Each of these recordings represents the very first, unrefined take of an idea, and none of them was perfectly performed or perfectly recorded - at that time, I had no idea that they would eventually be published. Today, it is just their imperfect sketch character that, in my opinion, gives them that certain charming freshness and edge which would be difficult to reproduce. REVIEWS A former member of that late, great German band Camera Obscura re-emerges with a new album of electronic guitar music that adds new dimensions to the genre pioneered by Frippertronics. Like Michael Brook, Peters' music contains more emotion than that of Fripp, but unlike Brook he avoids overly formalized composition. His intent is not to produce great art, but interesting synthesized guitar music. The result is a series of loose pieces that explore different shades of light and dark sonically, ultimately congealing into an instrumental tapestry of multi-tone colors. At times the music is so powerful it will send shivers up your spine, alternately it will waft over you like the darkness of sleep. Archie Patterson, Eurock Magazine
			this way to michael peters homepage: http://www.mpeters.de/mpeweb