Various Electronic Dreams Mp3, Flac, Wma

Total Page：16

File Type：pdf, Size：1020Kb

Various Electronic Dreams mp3, flac, wma DOWNLOAD LINKS (Clickable) Genre: Electronic Album: Electronic Dreams Country: Europe Released: 1997 Style: Ambient, Berlin-School MP3 version RAR size: 1721 mb FLAC version RAR size: 1639 mb WMA version RAR size: 1469 mb Rating: 4.4 Votes: 935 Other Formats: FLAC MIDI MPC AAC VOX MMF APE Tracklist Hide Credits Etoile Polaire (North Star) 1 –Philip Glass 2:35 Producer – Kurt MunkacsiWritten-By, Producer – Philip Glass Kiev Mission 2 –Tangerine Dream Producer – Christopher Franke, Edgar FroeseWritten-By – Franke*, 9:19 Froese*, Schmoelling* Airlight 3 –Klaus Schulze 14:34 Written-By, Producer – Klaus Schulze Ocean Of Tenderness 4 –Ashra 12:36 Written-By, Producer – Manuel Goettsching* Phase By Phase 5 –Peter Baumann 7:35 Written-By, Producer – Peter Baumann Specific Gravity Of Smile 6 –Edgar Froese 9:29 Written-By, Producer – Edgar Froese Black Garden View 7 –Christopher Franke Producer – Richard E. RothWritten-By, Producer – Christopher 4:50 Franke King Aeolus 8 –David Bedford 4:44 Producer – Peter JennerWritten-By – David Bedford Taurus 1 9 –Mike Oldfield 10:17 Producer – David HentschelWritten-By, Producer – Mike Oldfield Lauft ... Heisst Das Es Lauft Oder Es Konnt Bald .. Lauft 10 –Faust 3:10 Producer – Uwe Nettleback*Written-By – Faust Notes ℗ & © 1997 Virgin Records Ltd. Title on CD is printed as "Electric Dreams". Made and printed in the UK. Barcode and Other Identifiers Barcode: 7 24384 46722 7 Matrix / Runout: 844672 1:1:2 EMI SWINDON Label Code: LC3098 Mastering SID Code: IFPI L042 Mould SID Code: IFPI 1438 Rights Society: bel BIEM Related Music albums to Electronic Dreams by Various Christopher Franke - New Music For Films: Vol. 1 Tangerine Dream - Particles Christopher Franke - Enchanting Nature Tangerine Dream - Canyon Dreams Christopher Franke - Johnny Flynton Tangerine Dream - Rubycon Tangerine Dream - Flashpoint (Original Motion Picture Soundtrack) Tangerine Dream - Pergamon Tangerine Dream - Book Of Dreams Tangerine Dream - Phaedra.

Copy Link

Recommended publications

CD Review: Tangerine Dream ~ Paradiso
CD Review: Tangerine Dream ~ Paradiso http://www.vintagerock.com/classiceye/td_paradiso.aspx Home About Us Forum Listening Room Giveaways Links Contact Us Paradiso Tangerine Dream How could any red-blooded American male forget those delicious scenes of Tom Cruise atop a writhing Rebecca De Mornay in the movie Risky Business (remember the ‘choo choo’ train scene?). Behind all that carnal mayhem pulsed the intricate ethereal soundtrack provided by seminal “krautrock” band Tangerine Dream. Twenty years later, with countless albums under their belts, Tangerine Dream has released Paradiso, based on the third part of Dante Alighieri’s “La Divina Commedia” (Dante’s “Devine Comedy” for us layman). The creator and only original member through every incarnation of Tangerine Dream, Edgar Froese teamed up with fellow West Berlin underground ‘arty’ types in the late 1960’s. Forming TD after studying under Salvador Dali, of all people, Froese and company were one of the first purveyors of what has been termed “krautrock.” Froese welcomed various members into the ‘Dream’ fold over the years, most notably, Christopher Franke and Peter Baumann and most TD listeners — even those of us with only a passing knowledge of the band — recognize their pulsating synths. Tangerine Dream actually gained a solid reputation through their soundtracks for movies like Legend, The Keep and Risky Business, and continue to tour (as members come and go) with multimedia live performances. As testament to Froese, it is said he welcomes new members as writing contributors and not just players (as he did with Franke and Baumann). On the double CD Paradiso, however, Froese composed and produced all of the music.
[Show full text]
Krautrock and the West German Counterculture
“Macht das Ohr auf” Krautrock and the West German Counterculture Ryan Iseppi A thesis submitted in partial fulfillment of the requirements for the degree of BACHELOR OF ARTS WITH HONORS DEPARTMENT OF GERMANIC LANGUAGES & LITERATURES UNIVERSITY OF MICHIGAN April 17, 2012 Advised by Professor Vanessa Agnew 2 Contents I. Introduction 5 Electric Junk: Krautrock’s Identity Crisis II. Chapter 1 23 Future Days: Krautrock Roots and Synthesis III. Chapter 2 33 The Collaborative Ethos and the Spirit of ‘68 IV: Chapter 3 47 Macht kaputt, was euch kaputt macht: Krautrock in Opposition V: Chapter 4 61 Ethnological Forgeries and Agit-Rock VI: Chapter 5 73 The Man-Machines: Krautrock and Electronic Music VII: Conclusion 85 Ultima Thule: Krautrock and the Modern World VIII: Bibliography 95 IX: Discography 103 3 4 I. Introduction Electric Junk: Krautrock’s Identity Crisis If there is any musical subculture to which this modern age of online music consumption has been particularly kind, it is certainly the obscure, groundbreaking, and oft misunderstood German pop music phenomenon known as “krautrock”. That krautrock’s appeal to new generations of musicians and fans both in Germany and abroad continues to grow with each passing year is a testament to the implicitly iconoclastic nature of the style; krautrock still sounds odd, eccentric, and even confrontational approximately twenty-five years after the movement is generally considered to have ended.1 In fact, it is difficult nowadays to even page through a recent issue of major periodicals like Rolling Stone or Spin without chancing upon some kind of passing reference to the genre.
[Show full text]
Ambient Music the Complete Guide
Ambient music The Complete Guide PDF generated using the open source mwlib toolkit. See http://code.pediapress.com/ for more information. PDF generated at: Mon, 05 Dec 2011 00:43:32 UTC Contents Articles Ambient music 1 Stylistic origins 9 20th-century classical music 9 Electronic music 17 Minimal music 39 Psychedelic rock 48 Krautrock 59 Space rock 64 New Age music 67 Typical instruments 71 Electronic musical instrument 71 Electroacoustic music 84 Folk instrument 90 Derivative forms 93 Ambient house 93 Lounge music 96 Chill-out music 99 Downtempo 101 Subgenres 103 Dark ambient 103 Drone music 105 Lowercase 115 Detroit techno 116 Fusion genres 122 Illbient 122 Psybient 124 Space music 128 Related topics and lists 138 List of ambient artists 138 List of electronic music genres 147 Furniture music 153 References Article Sources and Contributors 156 Image Sources, Licenses and Contributors 160 Article Licenses License 162 Ambient music 1 Ambient music Ambient music Stylistic origins Electronic art music Minimalist music [1] Drone music Psychedelic rock Krautrock Space rock Frippertronics Cultural origins Early 1970s, United Kingdom Typical instruments Electronic musical instruments, electroacoustic music instruments, and any other instruments or sounds (including world instruments) with electronic processing Mainstream Low popularity Derivative forms Ambient house – Ambient techno – Chillout – Downtempo – Trance – Intelligent dance Subgenres [1] Dark ambient – Drone music – Lowercase – Black ambient – Detroit techno – Shoegaze Fusion genres Ambient dub – Illbient – Psybient – Ambient industrial – Ambient house – Space music – Post-rock Other topics Ambient music artists – List of electronic music genres – Furniture music Ambient music is a musical genre that focuses largely on the timbral characteristics of sounds, often organized or performed to evoke an "atmospheric",[2] "visual"[3] or "unobtrusive" quality.
[Show full text]
Pandemic Shifts Tourism Focus Hundred and Twenty-Five Positive Cases Were Re- Ported in Citrus County Citrus County Adapting to Life Since the Latest Update
Project1:Layout 1 6/10/2014 1:13 PM Page 1 Gators: Defense looks to improve against Kentucky /B1 SATURDAY TODAY CITRUSCOUNTY & next morning HIGH 82 Partly sunny and LOW warm. Isolated showers. 63 PAGE A4 www.chronicleonline.com NOVEMBER 28, 2020 Florida’s Best Community Newspaper Serving Florida’s Best Community 50¢ VOL. 126 ISSUE 51 COMING SUNDAY: FHP arrests man linked to crash he tried to overtake northbound According to FHP’s report on Inverness collision left three women dead traffic in a no-passing zone of the crash, the motorists Sawhill South Pleasant Grove Road, south overtook stopped to help Sawhill #mikescottplumbing Expecting family for the Holidays? USTER HOMPSON into the Citrus County jail under of the intersection with East Amy escape the Highlander, which If your house isn’t the only thing that’s full, call us. B T We’re on call 24/7 with no overtime charges for nights, weekends, OR holidays! Straight Time, Any Time, ALL The Time! Staff writer a total bond of $90,000. Lane. had caught fire. 000ZDS1 1-866-314-4443 www.MikeScottPlumbing.com Sawhill faces three second- In doing so, Sawhill and his Emergency responders trans- 2020 Florida Highway Patrol ar- degree felony counts of vehicular white Toyota Highlander collided ported Sawhill to Regional Medi- Christmas Traditions rested a Pasco County man for homicide, according to a report head-on with a southbound Kia cal Center Bayonet Point for and Holiday Viewing causing a Christmas Eve vehicle from the FHP. Each charge, if Optima, killing its three occu- treatment of serious injuries.
[Show full text]
Metal Machine Music: Technology, Noise, and Modernism in Industrial Music 1975-1996
SSStttooonnnyyy BBBrrrooooookkk UUUnnniiivvveeerrrsssiiitttyyy The official electronic file of this thesis or dissertation is maintained by the University Libraries on behalf of The Graduate School at Stony Brook University. ©©© AAAllllll RRRiiiggghhhtttsss RRReeessseeerrrvvveeeddd bbbyyy AAAuuuttthhhooorrr... Metal Machine Music: Technology, Noise, and Modernism in Industrial Music 1975-1996 A Dissertation Presented by Jason James Hanley to The Graduate School in Partial Fulfillment of the Requirements for the Degree of Doctor of Philsophy in Music (Music History) Stony Brook University August 2011 Copyright by Jason James Hanley 2011 Stony Brook University The Graduate School Jason James Hanley We, the dissertation committee for the above candidate for the Doctor of Philosophy degree, hereby recommend acceptance of this dissertation. Judith Lochhead – Dissertation Advisor Professor, Department of Music Peter Winkler - Chairperson of Defense Professor, Department of Music Joseph Auner Professor, Department of Music David Brackett Professor, Department of Music McGill University This dissertation is accepted by the Graduate School Lawrence Martin Dean of the Graduate School ii Abstract of the Dissertation Metal Machine Music: Technology, Noise, and Modernism in Industrial Music 1975-1996 by Jason James Hanley Doctor of Philosophy in Music (Music History) Stony Brook University 2011 The British band Throbbing Gristle first used the term Industrial in the mid-1970s to describe the intense noise of their music while simultaneously tapping into a related set of aesthetics and ideas connected to early twentieth century modernist movements including a strong sense of history and an intense self-consciousness. This model was expanded upon by musicians in England and Germany during the late-1970s who developed the popular music style called Industrial as a fusion of experimental popular music sounds, performance art theatricality, and avant-garde composition.
[Show full text]
The History of Rock Music: 1966-1969
The History of Rock Music: 1966-1969 Genres and musicians of the Sixties History of Rock Music | 1955-66 | 1967-69 | 1970-75 | 1976-89 | The early 1990s | The late 1990s | The 2000s | Alpha index Musicians of 1955-66 | 1967-69 | 1970-76 | 1977-89 | 1990s in the US | 1990s outside the US | 2000s Back to the main Music page Inquire about purchasing the book (Copyright © 2009 Piero Scaruffi) Kosmische Musik 1969-72 (These are excerpts from my book "A History of Rock and Dance Music") Fundamentally, British rock recycled USA rock for a different kind of audience: the Beatles recycled it for a pop-oriented audience, progressive-rock (in all its neo-classical and jazz variations) recycled it for an intellectual audience. German rock, instead, invented a different kind of rock music. In fact, many German bands were not playing "rock" music at all. There is no question that the great era of German avant-rock was inspired by psychedelic music, but the German interpretation of psychedelic music had little to do with reproducing the effects of drugs: German musicians saw a relationship between psychedelic experiments and the German electronic avantgarde (such as Karlheinz Stockhausen), a relationship that, in retrospect, was already obvious in the USA's psychedelia, but that no one had articulated before. In 1968 three young musicians, Conrad Schnitzler, Hans-Joachim Roedelius and Klaus Schulze, founded the "Zodiak Free Arts Lab" in Berlin. This became the first venue for popular electronic music in Europe. That can be considered the moment when German musicians figured out that strategic relationship between psychedelic music and avantgarde music.
[Show full text]
Innerviews Book
INNERVIEWS: MUSIC WITHOUT BORDERS EXTRAORDINARY CONVERSATIONS WITH EXTRAORDINARY MUSICIANS Anil Prasad ABSTRACT LOGIX BOOKS CARY, NORTH CAROLIna Abstract Logix Books A division of Abstract Logix.com, Inc. 103 Sarabande Drive Cary, North Carolina 27513 USA 919.342.5700 [email protected] www.abstractlogix.com Copyright © 2010 by Anil Prasad ISBN 978-0-578-01518-7 Library of Congress Control Number: Pending Printed in India First Printing, 2010 All rights reserved. No part of this book may be reproduced in any form by any means without the written permission of the author. Short excerpts may be used without permission for the purpose of a book review. For Grace, Devin and Mimi CONTENTS Acknowledgements vii Foreword by Victor Wooten viii Introduction x Jon Anderson: Harmonic engagement 1 Björk: Channeling thunderstorms 27 Bill Bruford: Storytelling in real time 37 Martin Carthy: Traditional values 51 Stanley Clarke: Back to basics 65 Chuck D: Against the grain 77 Ani DiFranco: Dynamic contrasts 87 v Béla Fleck: Nomadic instincts 99 Michael Hedges: Finding flow 113 Jonas Hellborg: Iconoclastic expressions 125 Leo Kottke: Choice reflections 139 Bill Laswell: Endless infinity 151 John McLaughlin & Zakir Hussain: Remembering Shakti 169 Noa: Universal insights 185 David Sylvian: Leaping into the unknown 201 Tangerine Dream: Sculpting sound 215 David Torn: Mercurial mastery 229 Ralph Towner: Unfolding stories 243 McCoy Tyner: Communicating sensitivity 259 Eberhard Weber: Foreground music 271 Chris Whitley: Melancholic resonance 285 Victor Wooten: Persistence and equality 297 Joe Zawinul: Man of the people 311 Photo Credits 326 Artist Websites 327 About the Author 329 vi ACKNOWLEDGEMENTS Many people have contributed to Innerviews, both the website and the book, across the years.
[Show full text]
The Harp in Jazz and American Pop Music Megan A. Bledsoe A
The Harp in Jazz and American Pop Music Megan A. Bledsoe A dissertation submitted in partial fulfillment of the requirements for the degree of Doctor of Musical Arts University of Washington 2012 Reading Committee: Donna Shin, Chair Valerie Muzzolini Gordon Áine Heneghan Program Authorized to Offer Degree: Harp Performance Bledsoe - DMA Harp Performance ©Copyright 2012 Megan A. Bledsoe 2 Bledsoe - DMA Harp Performance University of Washington Abstract The Harp in Jazz and American Pop Music Megan A. Bledsoe Chair of the Supervisory Committee: Assistant Professor of Flute Donna Shin, Chair Instrumental Performance, School of Music The harp has endured a tenuous relationship with the genres of jazz and American popular music throughout history. While a few harpists have enjoyed successful and significant careers in these fields, the harp is largely absent from mainstream jazz and American pop. The purpose of this dissertation is to ascertain a definitive cause for such exclusion and use this information to identify a feasible path toward further integration of the harp in jazz and American pop music. This paper examines the state of the harp in jazz and American pop from various angles, including historical perspective, analytical assessment, and a study which compares harpists’ improvisational abilities to those of their mainstream jazz instrumentalist counterparts. These evaluations yield an encompassing view of the harp’s specific advantages and detriments in the areas of jazz and American pop. The result of this research points to a need for specialization among harpists, particularly in defining new styles. It is evident that harpists’ careers generally necessitate a working knowledge of various styles of music.
[Show full text]
RAR AVANT LAFT 45.Pdf
LOS T AND F 0 UNO TIM ES c o .,-l CI) No.45,~ber2000 $6 2 o l 0- Al Ackerman Scott Keeney B John Adams Joan Payne Kincaid .,-l CI) Fernando Aguiar Richard Kostelanetz 2 c Stacey Allam Lewis LaCook .,-l William Allegrezza Eel Leonard c o Reed Altemus Jeffrey Little ',-l CI) Hartmut Andryczuk Giovanni Malito ;:l ~ Ivan Arguelles Malok () () Justin Audia McMurtagh o c Babynous Cult A. di Michele o .,-l David Baratier J. Michael Mollohan CI) ;:l Baron Randy Moore ~ () Nichael Basinski Gustav Morin <J) Guy R. Beining Christopher Mulrooney CI) c o John M. Bennett J. S. Murnet .,-l CI) Jake Berry Sheila E. Murphy ;:l ~ Star Bowers Keiichi Nakamura c o Keith Breese Richard William Pearce () Brouillet Simon Perchik c o .,-l Christian Burgaud Paco Perez CI) ;:l Casey Bush Leon Pifton ~ M Alan Catlin Ross Priddle .,-l Dave Baptiste Chirot Dan Raphael Jon Cone Cesar Reglero Campos Suzy Crowbar Harland Ristau Robin Crozier Daniel A. Russell Joel Dailey Spencer Selby John Elsberg "Swarthy" Turk Sellers Greg Evason Glans T. Sherman Ficus strangulensis Paul Silvia Tim Gaze Markus Steffen LeRoy GOrIj1an Rod Sununers Thompson John Grey Thomas L. Taylor Bob Grumman Thompson S. Gustav Hagglund Yvette Tucker Ken Harris Joseph Veronneau Aaron Hawk J. Leigh Welteroth Scott Helmes Madam X Eberhard Janke Desolate OPAL CONFESSION:8 Femme - Clair - Mer Front cover: Aaron Hawk I have credibility S"UBS"OIPTIO~. ~Q5 FOR 5 NOS". Back cover: Markus Steffen of histories murmur translucent scalp. raw between to the one turned in two fingers. rolls gentle fat.
[Show full text]
AGITATION FREE Kurzbio 8-11 E
AGITATION FREE -- a brief biography Agitation Free was one of the leading exponents of German experimental rock music in the early 1970s.. Starting in 1967, the Berlin band had begun to develop long and, for its time, very free Instrumental improvisations. By 1972 they attained cult status with a congenial mixture of improvisational Rock paired with electro-, ethno-, jazz- and trance elements. They were experimenting in concerts with liquid projectors, slides, and their own experimental films, in ways analogous to underground bands in California and the UK. Sonic sophistication led Agitation Free to collaborations in the avant-garde music scene with composers such as John Cage, Erhard Großkopf, Peter Michael Hamel und Ladislav Kupkovič. The Electronic Beat Studio, that Agitation Free initiated with composer Thomas Kessler, evolved into a creative center for the Berlin groups Ash Ra Tempel, Tangerine Dream and others. Early in 1970, Agitation Free appeared in the "First German Progressive Pop Festival" at the Berliner Sportpalast. In April 1972, the band toured Egypt, Lebanon, Cyprus and Greece at the invitation of the Goethe Institute. Manifold impressions from this trip found expression in the first album, "Malesch" (Vertigo), a fascinating soundweb of exotic original recordings from the Near East journey combined with cutting edge Krautrock – an irrefutable forerunner of today’s world music. Constant touring brought the band steadily increasing recognition all over Europe. They appeared in the cultural program of the Munich summer Olympics in 1972, went on their first French tour for two months in early 1973, appeared in May at the "German Rock Super Concert" in Frankfurt and produced their next album, “2nd” in July 1973.
[Show full text]
History of the Motion Picture Main History of the Medium from the 19Th Century to the Present
history of the motion picture Main history of the medium from the 19th century to the present. Early years, 1830–1910 » Origins The illusion of motion pictures is based on the optical phenomena known as persistence of vision and the phi phenomenon. The first of these causes the brain to retain images cast upon the retina of the eye for a fraction of a second beyond their disappearance from the field of sight, while the latter creates apparent movement between images when they succeed one another rapidly. Together these phenomena permit the succession of still frames on a motion-picture film strip to represent continuous movement when projected at the proper speed (traditionally 16 frames per second for silent films and 24 frames per second for sound films). Before the invention of photography, a variety of optical toys exploited this effect by mounting successive phase drawings of things in motion on the face of a twirling disk (the phenakistoscope, c. 1832) or inside a rotating drum (the zoetrope, c. 1834). Then, in 1839, Louis-Jacques-Mandé Daguerre, a French painter, perfected the positive photographic process known as daguerreotypy, and that same year the English scientist William Henry Fox Talbot successfully demonstrated a negative photographic process that theoretically allowed unlimited positive prints to be produced from each negative. As photography was innovated and refined over the next few decades, it became possible to replace the phase drawings in the early optical toys and devices with individually posed phase photographs, a practice that was widely and popularly carried out. There would be no true motion pictures, however, until live action could be photographed spontaneously and simultaneously.
[Show full text]
Kosmische Musik and Its Techno-Social Context
Kosmische Musik and Its Techno-Social Context Alexander C. Harden The University of Surrey [email protected] Abstract The electrification of music making in West Germany during the 1970s led to what is now often recognized as one of the most important developments in popular electronic music. In this article, the emergence of kosmische musik (“cosmic music”), a style of electronic music developed during the early 1970s, is contextualized within the social climate of West Germany and post-war attraction to emerging electronic music technologies. Beginning from accounts of the period, which associate kosmische musik with themes of space and otherworldliness, matters of production are positioned as a form of aesthetic demarcation that was encouraged by the technological and social context of West Germany. The approaches to acoustical space, sonic design, and performative agency are then explored in an analysis of Tangerine Dream’s “Phaedra”. KEYWORDS: kosmische musik, krautrock, production aesthetics, Germany Introduction During the early 1970s, West Germany was home to a remarkable development in music making, fostered by the pursuit of new creative practices amid uncertain social surroundings and alongside innovations in synthesis and audio processing technology, often cited as one of the most important developments in electronic popular music. Within the United Kingdom, this became known as “krautrock”. The term is problematic in several ways, as it was not only derived from a stereotyping slur (kraut is German for cabbage, used by the English-speaking world during the First and Second World Wars in reference to Germans) but was IASPM@Journal vol.6 no.2 (2016) Journal of the International Association for the Study of Popular Music ISSN 2079-3871 | DOI 10.5429/2079-3871(2016)v6i2.9en | www.iaspmjournal.net Kosmische Musik and Its Techno-Social Context 155 also used as an unhelpfully imprecise catch-all label for a diverse range of experimental rock and pop music from post-war West Germany.
[Show full text]