Tony Gerber
(Copyright © 2003 Piero Scaruffi | Legal restrictions - Termini d'uso )

Teleworks (Elektronics Of Music, 1986), 6.5/10
Cosmic Flight (Elektronics Of Music, 1986), 6/10
Clearly Opaque (Elektronics Of Music, 1988) *
Native Spirit (inedito, 1990) *
Aural Overview (Elektronics Of Music, 1992) *
Travelers (Elektronics Of Music, 1993) * with Jon Rose
Blue Western Sky (Lektronic Soundscapes, 1994) **
Guitarscapes (MP3.com, 1999) *
Altamira (MP3.com, 1999) *
Cosmic Flight (MP3.com, 1999) with William Linton and Mason Stevens *
SLOTH (SFM, 2000) *
Retrospective 1986-2000 (SFM, 2000) *
ICBACA (SFM, 2001) with Tunde Odunlade *
Airwaves (MP3.com, 2001) with John Rose *
Spacecraft: Spacecraft (Lektronic Soundscapes, 1997), 6.5/10
Spacecraft: Hummel (Lektronic Soundscapes, 1998), 7.5/10
Spacecraft: Earthtime Tapestry (Lektronic Soundscapes, 1999)
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Tony Gerber, enfant prodige dell'elettronica (basato a Nashville) che si costruì da sé il primo sintetizzatore all'età di quattordici anni, crebbe in Indiana ma gli studi lo portarono nel 1981 a Nashville, dove nel 1983 aprì una galleria d'arte.

Presto cominciò ad organizzare anche spettacoli multimediali ("Space For Music"), per i quali cominciò a scrivere le musiche. Fu così che nel 1985 aprì il primo studio digitale di Nashville, attorno al quale si focalizzò la scena d'avanguardia della zona (fra gli altri, Giles Reaves). Gerber divenne famoso per le sue esibizioni "pirotecniche", durante le quali suona le tastiere elettroniche bardato di fuochi artificiali. Oggi il suo studio produce video multimediali per scopi sia commerciali sia artistici.

Blue Western Sky propone in maniera più professionale la sua musica languida ed eterea. L'arte astratta di Gerber si esprime al meglio nel fluttuare subacqueo di As Time Passes e nello strimpellio astrale di The Lunar Crossing.

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Spacecraft is Gerber with composer John Rose and vocalist Diane Timmons. They released Spacecraft (Lektronic Soundscapes, 1997), which also features Chris Blazen and is highlighted by the 22-minute Zero One and the 10-minute Destination Infinity.

The live album Hummel (Lektronic Soundscapes, 1998) is a good survey of their art. The 16-minute The Summon is divided into two parts: the first part gets going with languid psychedelic tones of guitar that transform into an even slower and deeper spiritual "om" for buzzing electronics and distant female voice; halfway, the psychic experience fades into a robotic rhythm lulled by delicate metallic overtones. The 15-minute Hummel is a symphonic poem a` la Klaus Schulze, a quiet drama of melodic synthesizers punctuated by undulating sequencers and (after six minutes) by gamelan-like fibrillation and (after nine minutes) by hypnotic ticking which eventually (after eleven minutes) mutates into melodic whistling. Both these lengthy excursions display the narrative capacity of the musicians, who can seamlessly, smoothly, elegantly shift from one motif to the next one without causing any trauma but gradually increasing the emotional charge of the "space" that the sounds "craft". The pictorial skills of the trio are evident in the galactic chaos of Exploration in Space and in the cascading sparkles of Domes of Light. Astrollenium, a wordless and rather static psalm, introduces the (female) voice, an experiment that segues into the medieval-sounding De Profundis. But these two tracks hardly retain the magic of the instrumental suites.

Giles Reaves joined the trio on Earthtime Tapestry (Lektronic Soundscapes, 1999), a far less ambitious work. The atmosphere is mostly lively and danceable (Earthtime Tapestry, Stepping Lightly, Cycles), the soundpainting is often sterile repetition (Living World). The notable exception is the nine-minute Dreams of One, in which a female wail drifting inside a jungle of tinkling electronics creates a nostalgic and desperate mood.

The music was less carefully crafted on Kaleida Dreams (SFM, 1999), Musical Meditation for World Peace (SFM, 2001), Cybersphere (SFM, 2001), Summer Town (SFM, 2001).

Rose has released the solo album Cosmogenesis (SFM, 2001).

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(Copyright © 2003 Piero Scaruffi | Legal restrictions - Termini d'uso )
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