Hear PRIVATE COSMIC SYNTH PROG/KRAUT Laurie Paisley "The Fire Of Dreams" ORIG LP

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ORIG. 1st press PRIVATE COSMIC ELECTRONIC/PSYCH/PROG US LP [SYNTH & SEQUENCER GALORE] LAURIE PAISLEY "THE FIRE DREAMS" METHYLUNA MUSIC 1987 [Dark Space Compositions from 1978-1987] RECORD & VINYL: VG+ to (mostly) EX!!! GREAT KRAUT '70s SOUNDING SYNTHESIZER-BASED DREAMS & NIGHTMARES (also with 12-string guitar, grand piano, machine drums, effects etc)!!!

Ms. Paisley's path to electronic music was fraught with twists and minor diversions. "I studied classical as a kid," she says. "I didn't listen to radio or records till I was 13 or 14. When I was 14, I dropped the keyboards and picked up the guitar, an acoustic twelve string. I played folky stuff like Jackson Browne, Dan Fogelberg and John Denver. When I was 16, I got into rock music and I started playing in bands. Yes and Emerson, Lake and Palmer were popular at the time. Soon after that, I got back into the keyboards. I wanted to be in a band that was playing that kind of music. After being in a bunch of bands and dealing with things like leaving my instruments at a rehearsal space and not being able to work on my own stuff, or playing with bands who played all originals but none of my originals, I decided to go solo. I wrote lots of little songs on keyboards.

"I didn't know of anybody else on the planet who was composing music that was just for synthesizer. I would often play the music for somebody and they would comment that it sounded good and it would sound even better if there were guitar and vocal tracks added. That was frustrating. For two years, I composed in a vacuum until one day I discovered an electronic music show, called Synthetic Pleasures, on WFMU in East Orange, New Jersey."

This program was a revelation for Ms. Paisley. "I couldn't believe it when the DJ come on the air and said, 'You are listening to the Open Door [Synthetic Pleasure before a name change] -- the forum for the independent electronic musician; that is the musician not signed with a major label.' I then sent Richard Ginsburg a tape. He said the music was good but the recording was poor. So he set up a recording session for me. We got some air playable stuff and he had me on the show to play. He interviewed me and played some of my music. The rest is history."

Each artist's music reflects their separate pre-performance influences. While the Nightcrawlers have come a long way from the non-directional sequenced drone of their earlier work, they still create thickly layered, minor-key textured characterized by subtly propulsive rhythms, haunting minimalist melodies, and immense synthesizer washes. This somber meditative music draws inspiration from Berlin-school electronic music as well a mystical and lysergic encounters.

Lauri Paisley employs many techniques used by the Nightcrawlers, such as sequenced passages, wavering tonal clusters, and stereophonic panning, but with a much different effect. Her music can be best characterized as quite active and more consciously composed. Unlike the Nightcrawlers, who rely heavily on improvisation, Ms. Paisley works up a series of song fragments and puts them together in a coherent, flowing fashion.

"It starts out on the wing," says Paisley. "I just sit down and play. When I'm playing, I will get ideas, and when I come across something I like, then I stop improvising and I work on that one thing. I then develop that theme. I string a whole bunch of these little parts together. To me, the real challenge is in the arrangement."

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