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Some Stars not yet Black Holes is about space. It is about the celestial realms the way we explore and classify it, from the mythological beginnings, to modern astronomy, spaceflight and cosmology. Its transformation, from being the Heavens into being the Universe.
But even more it is about Space the way we create it and bring it to life in our narratives: The inside of space-ships and stations, strange new worlds and creatures, brave women and men conquering space… the canon of science fiction, both, in film and literature, is represented here.
In film, of course, it is for a large part the music that connects us to those alien spaces, that allows us, to emotionally link to – and not just via patterns of media-literate cognition –, experience these worlds. Just think for a moment of the framework the music in 2001 – A Space Odyssey provides us with: From the overly-familiar cliché of Strauss’s Blue Danube, signifying the mundane nature of orbital space stations (in this fictional future), to the utterly outworldish drones of Ligeti underlying, what can only be described as an indescribable cognitive experience.
Let’s fast forward to Blade Runner and its haunting synth-laden soundtrack: It serves as only another outstanding example of the connection between science fiction films and, one the one hand, synthesizers (not even mentioning sound effects – I mean, really, how boring would laser-battles be without “whoop-zash-zapp”…?) as well as, on the other hand, their being one of the few fields of mass-media that (occasionally) creates a public for inventive, leftfield or “avant-garde” musicians. Just think of Bebe and Louis Barron’s music to Forbidden Planet – that was Krell music.
Some Stars not yet Black Holes can, and wants to, serve as a soundtrack to the listener’s individual fancies of spaceflight. Moreover it pays homage to, what is, and was referred to as “Synthesizer-Music” or “Kosmische Musik” – an approach to translate a feeling of familiar alieness. It creates a sensation of vast spaces permeated by a universal harmony.
released 15 March 2012
Produced by Tomoroh Hidari at Miscatonic Acoustics, Vienna, from 2008-2011
Cover by DFKT/Pickman's Model Agency 2011
C 2011 Record Label Records + Tomoroh Hidari