Microcosm music
By then, the thirty-six year old musician and composer had established a reputation as a pioneer of electronic music. In 1972, Ralph Lundsten was about to release the ninth album of his career, Fadervår (Paternoster) on HMV. This was already growing in popularity, especially in Germany where Vangelis would later make his home. It was released across Europe on Polydor in 1973, and features a minimalist, ambient sound. This is a track from Vangelis’ soundtrack L’Apocalypse Des Animaux. This includes Greek composer Vangelis, who opens (The Microcosm): The Visionary Music Of Continental Europe, 1970-1986 with Creation Du Monde.
Each produced ambitious and innovative music, and can be described as a visionary. They’re among the fourteen artists that feature on (The Microcosm): The Visionary Music Of Continental Europe, 1970-1986. It showcases the music Hans-Joachim Roedelius, Ralph Lundsten, Ash Ra, Tempel, Ariel Kalma, Bernard Xolotl, Enno Velthuys, Peter Michael Hamel and Deuter. (The Microcosm): The Visionary Music Of Continental Europe, 1970-1986 is the perfect introduction to this new, pan European musical movement. It’s a double album that was recently released by Light In The Attic Records. This new era is documented on (The Microcosm): The Visionary Music Of Continental Europe, 1970-1986. It represented the dawn of new musical dawn and era. That is not how they want this new, ambitious and innovative music to be described. Only one thing seems certain, that its finest practitioners have firmly rejected the term New Age.
However, not everyone was convinced.įast forward thirty years, and still critics are debating which genre best describes this musical movement. For many musicologists and music historians, this seemed a more accurate description. Many German critics felt their music was more closely aligned with the Berlin School, an offshoot of Krautrock. This included Dueter, Ash Ra Tempel and Hans Joachim Roedelius. Especially critics in Germany, where many of the leading lights of this movement were based. Some critics were describing the music as Krautrock. Meanwhile, other critics referred to the music as avant-garde. Determined to pigeon hole the music, some critics began to refer to the music as ambient, while others described it as New Age. It was neither rock nor progressive rock. The new movement failed to fit neatly into one of the existing musical genres. There was only one problem, critics had struggled to find a new for this new movement. The tentacles of this new musical movement had spread far and wide, and showcased the combined and considerable talents of artists who created ambitious and innovative music. So were artists in Italy, Greece, Finland and Sweden. By then, artists from Germany, Austria, Holland and France were part of this new musical movement. This new musical movement continued right through to the mid-eighties. (THE MICROCOSM): THE VISIONARY MUSIC OF CONTINENTAL EUROPE, 1970-1986.Īs the seventies dawned, a new musical movement started to take shape across Europe. (THE MICROCOSM): THE VISIONARY MUSIC OF CONTINENTAL EUROPE, 1970-1986.