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The Tracks:
1. Change 6'41
2. Kyoto
5'32
3. Shivas Invention 6'20
4. But - I Know 7'04
5. Malaria 6'35
6. Lilith - the Black Moon7'43
7. Cyberspace 7'20
8. Cloudwalk 5'59
9. The Moor 5'01
10. Dawn 8'57
Total playing time: 67'33
Equipment
on "Virtuality":
Martin:
Oberheim MATRIX-1000, Yamaha DX-7, TX-802, Roland
S-330, U-110, Casio CZ-101, Roland R-8 Drumcomputer,
FORMANT-modularsystem, Analog-sequencers and
several effects.
Volker:
Casio MG-510 Midi-guitar, Roland GR-303 Guitar-Synthesizer, Yamaha TX-802,
Roland D-110, Casio CZ-101, Kawai K1r, R-50 Drumcomputer
and several effects.
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Virtuality,
1992 CD Lektronic Soundscapes
LS-92003.
Production:
Lectronic Soundscapes / Spain
Distribution:
CUE- Records
Virtual reality - Virtuality - a contemporary topic
in connection with Cyberspace, the epitome of virtual worlds, based on the
novel 'Neuromancer' from William Gibson, with more
far-reaching consequences, than can be foreseen today. And that not only in
the sense of technical gadgets, but more in the sense of a more questionable
term 'reality' - adding a new quality to the philosophical discussion about
reality.
Reality has to do a lot with perception, the sum of
our all-day perceptions creates reality. The seemingly sharp boundary between
reality of our daily world and pseudo-realities like dreamstate,
schamanic extasy,
chemical psychoses - or cyberspaces - blurs with a close-up view. What has
that to do with our music ? At First, almost every
kind of music - which has to do with perception - evokes an illusion, a sort
of a pseudo-reality which superimposes our normal reality. Secondly, images
can be found in most of our tracks themselves. Electronic, cyber-like sounds
and structures superimpose with virtual ethno- and nature-sounds, forming
together an own world. For example, with 'Malaria' and 'Cyberspace'
we even doubled that by creating a so to say virtual virtuality:
'Malaria' with its tropical athmosphere is
nothing else but a state which a malaria-fever could evoke. It describes a
traumatic, sweetish but also destructive state of being.
'Cyberspace'
of course is a state of being dissolved in a
machine, within the circuits of a computer, melting together into an androide state. 'Lilith - the Black Moon' this
strange traumatic onset actually rised up in one of
my dreams. Lilith is in mythology the goddess of
seduction, revenge and desire. In astrology it is the name of a virtual (!)
point of the moon-orbit - called the black moon. Shurely,
the music had to be mystic and seductive at the same time. Anyway - sounds we
have an exaggerated intellectual claim with our music, but that's not true,
we just have fun doing music. Our musical ideas come from experimenting,
improvising. A concept or image arises and denses
during musical communication. For me, composing is less a processing of
emotional impressions, but more a creation of emotions or images.
Martin (1992)
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"Virtuality - this expresses in some
way a longing for illusionary worlds of beauty and power beyond human
restrictions. But the closer one gets to them, the more unreal and empty they
seem. At last nothing remains but the lonelyness
of our inner space."
Martin
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"Virtuality -
signifies the crossing of the borderlines between man, machine and nature.
By means of computertechnology it is possible now
to scan reality and form new virtual ones - at least in music."
Volker
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