The world is much smaller now in 2010 than when David Parsons first began playing Spacemusic. When his classic cassettes Tibetan Plateau (1982) and Sounds of the Mothership (1980) were released the idea of combining sounds and ideas from non-western cultures with synthesizers and electronics was just dawning and hitherto unknown. Thirty years and twenty or so albums of cross-cultural compositions later Parsons has idled the sounds but kept the concepts of world music in his release Akash (61’32).
Proudly photographed for the CD liner notes in front of a bank of Novation synthesizers
Chuck van Zyl / Star’s End –
The world is much smaller now in 2010 than when David Parsons first began playing Spacemusic. When his classic cassettes Tibetan Plateau (1982) and Sounds of the Mothership (1980) were released the idea of combining sounds and ideas from non-western cultures with synthesizers and electronics was just dawning and hitherto unknown. Thirty years and twenty or so albums of cross-cultural compositions later Parsons has idled the sounds but kept the concepts of world music in his release Akash (61’32).
Proudly photographed for the CD liner notes in front of a bank of Novation synthesizers