PGM 1309 'TRANQUILITY GATE' : feb.18-25

Let us imagine, dear listener, the plight of an electronic musician. Even in a very modest studio, he or she commands a near-infinite choice of sounds to work with, and a near-infinite number of ways to modify and transform them. That's near-infinity squared — a paralyzingly large number. This "paradox of choice" once moved ambient godfather BRIAN ENO to declare that when working with electronic instruments, limitations are good. Acoustic instruments evolved over the centuries to be playable, and support musical expression. They require physical skill to master, but once learned, they become familiar and dependable. Electronic instruments can be orders of magnitude more complex; their ergonomics run the gamut from limited to virtually unplayable, and they've now become constantly evolving software, challenging even the most technically competent. Electronic keyboard instruments are a strategic compromise: they aim to combine the playability of an acoustic keyboard with the infinite sonic potential of electronics. But all those knobs, patch cords, processors, and choices tend to slow down the creation and performance of electronic music. For acoustic music that's a limitation, but ambient-electronic artists have embraced it to focus on slowly evolving, contemplative soundscapes and therapeutic sound journeys. On this transmission of Hearts of Space, why slow is good in electronic music, on a program called TRANQUILITY GATE. Music is by HINTERLAND, APERUS, STEVE ROACH, MATTHEW FLORIANZ, and KELLY DAVID. [ view playlist ] [ view Flickr image gallery ] [ play 30 second MP3 promo ]

Let us imagine, dear listener, the plight of an electronic musician. Even in a very modest studio, he or she commands a near-infinite choice of sounds to work with, and a near-infinite number of ways to modify and transform them. That's near-infinity squared — a paralyzingly large number. This "paradox of choice" once moved ambient godfather BRIAN ENO to declare that when working with electronic instruments, limitations are good.

Acoustic instruments evolved over the centuries to be playable, and support musical expression. They require physical skill to master, but once learned, they become familiar and dependable. Electronic instruments can be orders of magnitude more complex; their ergonomics run the gamut from limited to virtually unplayable, and they've now become constantly evolving software, challenging even the most technically competent.

Electronic keyboard instruments are a strategic compromise: they aim to combine the playability of an acoustic keyboard with the infinite sonic potential of electronics. But all those knobs, patch cords, processors, and choices tend to slow down the creation and performance of electronic music. For acoustic music that's a limitation, but ambient-electronic artists have embraced it to focus on slowly evolving, contemplative soundscapes and therapeutic sound journeys.

On this transmission of Hearts of Space, why slow is good in electronic music, on a program called TRANQUILITY GATE.  Music is by HINTERLAND, APERUS, STEVE ROACH, MATTHEW FLORIANZ, and KELLY DAVID.

[ view playlist ] [ view Flickr image gallery ] [ play 30 second MP3 promo ]