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  1. ambientism

    A Compendium: Experimental Pop Art

    I have always had a particular leaning toward the abstract: I've admired folks like Reich, Cage, Riley and Pärt for their willingness to take major risks as a composer, with the full understanding that what they were creating might ruffle some feathers, or demand a level of patience that most audiences were not equipped to provide. But when I found myself in conversation with two disparate yet equally mesmerizing artists in the span of five years (Jaco Pastorius and Cage, respectively), they both said pretty much the same thing when I asked for advice: go your own way, do your own thing, do it for the love of music, and don't care whether they 'get it' or not....it's not the artist's job to make the observer or listener pay attention - just pay attention to what you are creating. But as someone who had taken a music class here and there, someone who had no formal training to speak of, someone whose first forays into writing music came by way of me sneaking off to the practice rooms in high school, and teaching myself intervals and triads, I still felt intimidated. In retrospect, its hard to believe I am the same person that I was then. But of course, I am not. Music, like life, is a process of evolution, of constant reinvention and growth, and wisdom tells me if I hadn't started there, of my own accord and desire, I wouldn't be the composer I am today. So to that inquisitive, creative and gutsy teenager, I say, you done good, kid. This album, much like my 30-year benchmark release, "Homage" is the culmination of a variegated and expansive career. And as I continue to follow my own star, the more appreciation, admiration and respect I have received from folks whom I think are far too talented to be in my company - I guess the insecure kid lives inside us all. But you have taught me so much about myself as well as music, that I could never quantifiably repay that debt. Except perhaps, to share my gift with you, and to all attentive ears. Thank you for listening. All Instrumentation by David Gerard
  2. ambientism


    What I really wanted to do was make "Awakenings" less of a homage to my fallen comrades and mentors Edgar Froese and Pete Namlook (whom I dedicate the album to) and more of an album in the classic tradition of electronic recordings, by dedicate the album to them in memoriam. And so that is what I set out to do: a gapless album to realize what those albums would have sounded like in their entirety, without the disadvantage of having to flip an LP or cassette over. I also make the album conform to what albums of that nature generally ran: so, no 60-80 minute extravaganzas – a 47-minute and some change aural odyssey through the universe of my mind. In much the same way previous releases “Bremsstrahlung” and “Music From The Pillars Of The Saints” were, this album ebbs and flows with a quality that is sometimes trancelike, and sometimes outerworldly. In fact, if you play this album in repeat mode, you will find that surprisingly everything comes full-circle as well as being cyclical in nature.