Tuesday 26 June 2012
Tago Mago 1984
01. Side A (15:46)
02. Side B (14:09)
Spontaneously composed by Can at Scholss Nörvenich, West Germany, June 1968. This is the first ever session by Can. The core line up of Karoli, Czukay, Schmidt and Liebezeit are augmented by David Johnson (flute, tapes) and Manni Löhe (vocals, percussion, flute).
Originally released in France as a limited edition cassette.
Mono Recording. Tape edited and mastered by Holger Czukay. First edition of 2000 copies. Sourced from official cassette.
01. The Clock
02. Evening Harmony
03. Lovers' Wine
05. Mists and Rains
06. The Irremediable
07. The Cat
09. The Litanies of Satan
Electronic music pioneer Ruth White sets the poems of French poet Charles Baudelaire to music. Total electronic doom, creepy analouge synths with the multi effected vocals of Ruth White reading the poems sounding dead. A must.
Here's the artist on the record :
"To me, Baudelaire's poems are of such unique power that they always seem to rise above the level of the personal and sometimes existential nature of their content. In this composition, I have attempted to parallel the transcendental qualities of the poetry through electronic means.
For the words, I used my own voice as the generator of the original sound to be altered or "dehumanized." This seemed practical since my experiments with the medium were too time consuming to have been easily accomplished with a collaborator.
To modulate my voice, I used a variety of techniques. Changes of timbre were achieved with filters. Tape speed changes were used to control pitch. Into the shape of some words, I injected sound waves and white noise, thus changing the quality of their sound but not the flow of their delivery. By adding reyerberation, I varied atmospheres and decreased or increased space illusions. To accent special words or phrases, I used controlled tape delays. Choruses were created by combining slight delays with multiple track recordings.
The musical settings around the voice were made with music concrète materials, a moog synthesizer, other electronic generators and conventional instruments, which were usually altered electronically.
In the translations, there was no attempt to rhyme the verse as in the original french poems. I tried only to keep the language as direct and simple as possible, for I always found that the dominating power of Baudelaire's ideas were in themselves of electrifying force."