I was first exposed to that exotic, amorphous musical genre called “electronica” in junior high by a friend who listened to what we called “weird stuff”. I’m not even sure what it was; some of it was from Japan. It made a dent in my memory banks, however, because until then my musical interests had been confined to some classical (Brahms! Mozart! Good!), Top 40 rock (Queen! Also good!), and lots of mediocre CCM (Not good!). During my high school years I listened to a good deal of The Alan Parsons Project, in part because of the huge hit “Eye In the Sky”; I eventually collected all of the APP albums. Parsons, of course, has straddled the worlds of progressive rock and mainstream pop/rock with his production prowess, writing, and work with keyboards and Fairlight programming. In hindsight, his music opened the door in various ways to music that was more overtly electronic.
(A quick, semi-related aside: A good friend in high school, who spent a lot of money on a fabulous car stereo system, liked to alternate between playing—very loudly—the raunchy rap of 2 Live Crew and the muzak of Yanni: the first to demonstrate his system’s bass; the latter to show off it’s high end. I’m not sure which music scarred me more.)
In the late Eighties and early Nineties there was an explosion of so-called “New Age” music (which had been around since the Sixties and whose identity has been hotly debated for decades), much of which was ambient or involved whales bellowing, birds chirping, and flowers clapping their petals. I mostly ignored it, but did eventually latch onto the music of Patrick O’Hearn, whose solo albums on the Private Music label were lush, complex, mysterious, evocative, and never boring, even at their most sedate. O’Hearn, like all of the finest electronica artists, is the master of tone and mood; the music is rarely about virtuosity—unlike wide swaths of prog rock—but about constructing layers and movements. I liken it to a painter who builds layers of luminosity into his work through patient precision (more on the visual arts parallel in a moment).
Not surprisingly, there was a lot of cross-pollination going on between some “New Age” artists and various progressive rock groups and musicians. O’Hearn, who has legit jazz chops—he studied with jazz giant and bassist Gary Peacock—played with Frank Zappa as a youngster, and then with the new-wave band Missing Persons; the Private Music label featured a number of musicians with deep ties to progressive rock. (Another good example of this relationship can be found in Jon Anderson’s albums with Kitaro and Vangelis.) In the 1990s I bought several albums by Moby, Portishead, Björk, Aphex Twin, and Massive Attack, even while I ignored (for whatever reason) other key artists (Brian Eno, for instance).
Richard Barbieri is, of course, no stranger to prog fans, being a key member of Japan and Porcupine Tree and having worked in a number of other settings. His new album “Planets + Persona” [Kscope Music] is his third solo album, following 2005’s “Things Buried” and 2008’s “Stranger Inside”, both of which I enjoyed quite a bit. The three albums are similar in many ways, but this new album seems, to me, to be warmer, more organic (or acoustic), and more contemplative. Geno Thackara, at AllAboutJazz.com, explains it so: Continue reading “Richard Barbieri’s Prog-Electronica Genius”