There was a time, dear reader, when the term "new age" hadn't been sticker-slapped over every piano solo/harp/synthesizer/flute/cello/ or any-combinations-thereof album, because it still actually referred to a fairly specific type of music, found in health food stores and little catalogs featuring incense, LPs and cassettes. Then the Windham Hill label exploded, and anyone who could noodle aimlessly on piano or guitar suddenly was releasing albums by the truckload. Any music considered soothing or soporific was labeled "new age", and even though Windham Hill honcho Will Ackerman resisted the label, too late -- it was now a Godzilla-sized marketing ploy.
I like many of Windham Hill's original artists, but a lot of the music seemed mournful and lethargic, like all the joy and spark had been drained out. The weird thing is, a lot of "real" new age music is sparkly, relaxing and joyful. Heck, a lot of Iasos' music sounds like Tinkerbell's yoga class.
Iasos also loves the l-o-n-g fadeout, and Aeoliah favors long forms too, more like organ drones or Eno's ambient pieces, but where Eno's music can be cool and contemplative, Aeoliah's is more warm and soothing. It's great music to go to sleep to, and I mean that as a compliment!
"Structures from Silence" is an early Steve Roach album, and it's basically Side One of Eno's "Discreet Music", except where Eno's piece is as much process as it is composition, "Structures" feels more random and floating, though I suspect the process is similar.
Some "artists" hit while the iron was hot, then went off to do other hack work, while some of the originals kept plowing the same row. I assumed someone like Iasos occupied his own space out of touch with the rest of the world, so I was pleasantly surprised to see his recent career overview CD reviewed in a British rock magazine. Seems that all sorts of contemporary British bands cite Iasos as an influence and an inspiration. Who would have guessed?
No comments:
Post a Comment