The Hessian guide to the proper care and maintenance of your records and sound equipment.
Part I – Digital
Throughout the years, I have met many hessians that, despite the passion for metal music that is so common among them, haven’t yet learned how to take care of their records and sound equipment of which they depend so much.
Being part of a culture means, among many other things, maintaining the material manifestations of that culture. We get stronger, as individuals and as a culture, by learning good habits and applying our energies towards the preservation of the things that we care the most.
So it is imperative for us at the Hessian Studies Center, in our efforts to improve the well-being of metalheads worldwide, that we provide our readers with a comprehensive guide to the proper care of your music records and reproduction system.
CDs
Compact discs are by far the recording medium of preference for hessians of all ages and inclinations, and it is easy to see why: it is small, so it’s easily transportable and manageable, provides great, clean sound, and doesn’t degrade with use since the reproduction of sound doesn’t involve the constant friction of a needle or a cassette tape head. Of course, this medium has its detractors, and much more in the metal culture than other music-oriented human groups, for reasons we’ll explain later on.
Despite its advantages, CDs are very easy to damage if mistreated, so you must take the following cautions:
- Never touch the readable surface of the CD. Grab the discs by its edges, never by the middle. It could get fingerprints on it, resulting in bad playback.
- Always keep the CD in a protective jewelcase if you ain’t playing it. Other storing devices, such as wallets and cakeboxes, are not recommended since they could easily scratch the discs. Make sure that you have the inner tray of the CD case as clean as possible, removing all particles of dust, before storing the CD.
- If the CD gets some dirt or dust on it, clean with a dry cloth, gently so that you barely touch the surface of the CD.
- Keep your CDs away from humidity or high temperatures. If your CD gets splashed with water, gently dry it with a soft cloth, from center to edge, in a careful fashion so that you don’t scratch it.
- Never use solvents or liquids of the sort to clean the CD, save for those cleaning kits available in commerce. Better yet, Just try your best to keep your CDs from getting dirt on them and they’ll be fine.
- If your CD ever gets scratched, and those aren’t too deep into the surface, you can try one of those machines that refinish the readable surface, meaning they remove the scratches by polishing the acrylic plastic that is the transparent layer of the CD. If the scratch is too deep, or in the label side of the disc, it probably damaged the silver layer (where the audio is recorded). In that case you’re screwed. Repair kits aren’t too efective, so I wouldn’t mind with them if I’m you. DVD renting or used CD stores usually keep one of the aforementioned machines handy, and charge a small fee for the repair of a disc or several.
Also, keep in mind that straight scratches from the center to the edge of the CD are much less likely to cause your CD to malfunction when compared to scratches paralel to the circumference of the disc, for obvious reasons – a CD reproduction system can afford to lose one or a few bits without any problems, but not several of them, in which case the information (audio) might be impossible to read by the equipment.
CDRs
To record a sample from your recordings, compilations and rare albums you know you won’t easily get otherwise, CDRs are very practical. They are also cheaper than they were years ago, but the average in price have lowered in great part because of cheap quality CDRs flooding the market. In choosing your recording medium, pick a good brand of CDR: Sony, Zykon, Kodak, Mitsui. Buying the CDRs in packs of 20, 25 or 50 is cheaper in the long term as well (less value per unit).
Make sure you buy a good brand of CD burner. Favorites among the public are Asus, Sony, Samsung, LG and AOpen.
For recording, use a good software such as Nero Burning Rom 9. Always record your CDRs at the lowest speed possible. Preferably, you should never burn the disc faster than 4x of speed.
The bad combination of low quality CDs, cheap CD burner equipment and excessive burning speed may cause your CDRs to fail to reproduce on the short or the long term, so be sure to spend a little more and be a bit more patient. That way your burned CDRs will last for a long time (+5 years, at least, if you pick a good brand).
For storing the CDRs, you can use either a jewelcase or a slim case, the latter tending to be more practical if you have way too many CDRs. In the last case, it is also a good idea to have an Excel sheet of all your recorded CDs so you can find them, since you can’t easily label the side of slim cases.
Care tips for CDs are equally applicable to the recorded sort. Another thing that should be considered, though, is the damage that heat can produce to the special chemical properties particular to a CDR. So, you should never place a CDR in direct sunlight. More info here.
To label your CDRs, use a water-based marker with a non-sharp tip.
Digital formats
Not much to say here. Preferred audio formats for PC playback are mp3 and FLAC. The latter allows one to keep a CD quality, lossless reproduction of the recording, with its downside being a lot heavier in individual file size than mp3. Other formats, such as .ogg, are also preferred by certain digital audio aficionados.
One thing that should be mentioned, though: if you keep a large collection of digitalized music, it is convenient to store them on a separate external hard drive in case your computer crashes or fails, like they do so often these days.
Some links on the subject you may find useful:
- Foobar 2000 – best damn audio playback software for your computer with lots of different options for amateur and expert audio freaks.
- FLAC codec home – to download the program/codec that allows your PC to reproduce and burn FLAC files. It includes a coding/decoding software that is light and easy to use.
- Fraunhofer mp3 audio codec – One of the best mp3 encoders, allows to get a better quality or definition of sound.
Part II – Analog
Members of the metal culture have a natural preference for analog formats, such as tape and vinyl. Other musical subcultures share this inclination with headbangers, whether out of audio resolution considerations (electronica fans seem to be of this camp) or simply out of an indescribable mystic feel that the listener captures out of enjoying or simply owning an album on analog format. I’ve seen that most hessians prefer this for the last consideration, that is, the special aura it invokes.
Not that there aren’t any practical considerations for preferring analog over digital formats. Tapes, for example, are sturdier than CDs, which give them an advantage on physical resistance. Besides, tapes permit multiple recordings as long as its sound quality lasts (which depends on the type of cassette…more about that later).
As you all most know, the main disadvantage of analog formats is their weariness. Since sound reproduction in their case involves the use of either a head or needle which is mechanically attached to the source of the recording, the latter slowly experiences a wearing of the surface layer where the audio is recorded, resulting all of this in a progressive loss of sound quality.
Yet, as with CDs, there are certain tips that can help increase the lifespan of your tapes and CDs in order for them to provide the maximal amount of listening time and enjoyment.
Tapes
Tapes were (and still are, for some) tremendously practical for the active listener, in great part due to its portability and endurance. Besides, who didn’t start out on its metal journey without a Black Sabbath or Iron Maiden cassette on one’s walkman? Few, I guess.
- First of all, keep your tapes from extreme temperature and humidity conditions. The recommended range is within 59 and 77° F and 40% to 60% relative humidity (that is, not wet, but not too dry either).
- Keep your tapes away from any sort of magnetic field. Those include not only magnets, but also home appliances such as refrigerators, speakers and anything containing an electric motor.
- Keep your tapes evenly wound, otherwise they get easily stuck on their casing and it may bring problems to sound reproduction, screwing with the tape itself and your deck as well! If your tape has a see-through casing, you should easily see uneven woundings in the rolled tape. If not, then try to roll the tape by hand to check if it presents difficulties or if it gets stuck. Solve the problem by fully rewinding your tape several times until it gets looser. If the tape is stuck in the casing, it would be better to do the process by hand, carefully so that you don’t break it. Also, be sure to rewind tapes completely after each use to maintain high performance.
- Don’t leave your tapes in the car or other places where they may get direct sunlight or excessive heat. Remember the first tip.
- It’s recommendable that you make quality copies of an original so that the latter lasts as long as it possibly can.
Vinyl
The LP and EP formats are a favorite for hessians and the one that carries most “mystique”. A lot of it has to do, in great part, with nostalgy: after all, in the classic era of metal the LP was THE format for albums that got released at the time, and most cover art was done specifically to fir into the large sleeves of LPs: if you want examples, you should look into Iron Maiden’s, Morbid Angel, Carnage, Dio and many, many others…the list goes on and on.
However, this particular medium requieres a lot more care to it, as vinyl is a very delicate material and the discs have some significant weaknesses that, with the arrival of the compact disc, were no longer an issue for listeners.
- First things first: clean your records thoroughly. That is by far the most important detail you should think about. Not only the disc’s lifespan depends on it, but also its sound quality. Playing dirty records can eventually cause permanent damage to the disc, not to mention that the stylus on your record player wears more rapidly. Distilled water is recommended by many sources to be ideal for cleansing of the plastic in the record, it being a non-abrasive liquid, doesn’t leave any residues and the bottle is inexpensive. Besides, it disperses static charges and counteracts the increased conductivity from the pick-up of salt deposits form finger prints. Nonetheless, water isn’t enough. Surfactants are used as additives to enable water to be a grease solvent. Clean with a soft, anti-static cloth. Discs should be cleaned before and after each performance for the best results.
- Handle your vinyl records as follows: keep finger contact with the edge and the labeled surface of the disc, never with the grooved surface. Remove the record from the jacket with the inner dust sleeve by bowing the jacket open by holding it against the body and applying a slight pressure with a hand. Hold a corner of the inner dust sleeve and pull the record out. Avoid pressing down onto the disc with the fingers as any dust caught between the sleeve and the disc will be pressed into the grooves. Remove the disc from the inner sleeve by bowing the sleeve and letting it slip gradually into an open hand so that the edge falls on the inside of the thumb knuckle. The middle finger should reach for the center label. Never reach into the sleeve.
- Use inner sleeves made of polyethylene. Do not use record sleeves made of PVC. Paper made sleeves may scratch the surface of records.
Part III – Sound Equipment and Storage
We won’t stop here to review all kind of sound reproduction systems available in the market, for that would take many lines of text. A general rule that can be said about sound equipment shall, instead, be mentioned: that is, when you buy a new piece of equipment, give it a try at the store. Bring one of your CDs and check for the following:
- Bass and mids response.
- Speaker response @ full volume, although many stores won’t be so enthusiast about that test.
The ideal would be for you to buy one of those multi-unit hi-fi equipments that can be mounted on top of each other. Those usually are the best, for the reason that you can buy each unit from different sources and assemble your own, personalized system.
Your system needs to be dusted periodically, optimally once a day, to prevent particles of dust to reach any delicate part of the equipment, such as the lens from the CD player or the tape head. I’ve found that keeping a disc inside the CD player and a tape inside the deck while not using the stereo prevents this, in part. Also, be sure to put a piece of cardbox on top of the ventilation holes of the equipment so that dust and others don’t penetrate through them. Just make sure that you take the cardbox out when you’re using the stereo! Those ventilation holes are there for a reason, and if you obstruct them, your system may malfunction out of the heating of the components.
Your CD unit should be cleaned periodically. Electronics stores sell a kind of special CDs with little brushes on them that are made specially for the task of cleaning the lens of the unit. Using those with a once-a-month frequency can greatly augment the lifespan of the CD player.
For the tape deck, regular cleansing of the head with isopropyl alcohol is recommended. Buy a box of cotton buds and use it to apply a small amount of alcohol on the playback and recording heads. If there’s oxide, apply the cotton tip until it is removed. Give it a few seconds to dry out. Also, in the same way clean the tape guides and capstan (if you don’t know what I’m talking about, refer to this diagram). The pinch roller should also be cleaned in the same manner, this time using a mixture of water with a pinch of washing-up liquid. Do not use alcohol for the pinch roller, as it is made of rubber.
Demagnetizing the tape decks is also recommended. With use, the tape heads and guides tend to accumulate a magnetic charge that not only can interfere with the appropiate playback of the cassette, but an also destroy its high frequency content (remember what we learned about the sour relationship between tapes and magnets?). There are cassette-shaped, battery-powered demagnetisers available in commerce. Those should be applied to your decks once a month.
On vinyl record players, the following tips should be followed:
- The stylus should be cleaned with a special kind of brush. This should be applied along the cantilever, in the direction pointed by the stylus (see here).
- As stylus wears out, it eventually needs to be replaced. Have yours checked once a year by a specialist – usually someone who sells record players and related equipment. He will tell you if your stylus needs to be changed.
- Place your record player on a stable, solid surface.
- Dust it every once in a while.
Storage
This one is simple: keep your vinyl, CDs and tapes in their respective cases, and always store and stack them vertically, that way you avoid the deformation of the cases and the disc itself, in the case of vinyl. Obviously, the environment in which you store your records should have respectable temperature and humidity rates and be as clean as possible.
No CommentsTags: fraunhofer codec, hi-fi, mp3, stereo, zine-articles
Asphyx make that which is heavy fun and compelling. This could be one of my favorite recorded metal concerts because it captures not only the professionalism, but also the minimal set-up and adornment, as well as the different frequencies of energy this band emit. They convert dark empty spaces to ones filled with a new kind of like, like twilight or morning, in which the darkness is never pure, having been converted to the inertia of day. All band members are professional and precise, and while Martin van Drunen gets his share of camera time, in my view it is the workmanlike and intensely concentrating Bob “Mister Asphyx” Bagchus who steals the show with his serious and intense facial expressions to accompany his exact drumming. Wannes Gubbels, bassist/vocalist late of Pentacle, injects a ton of exuberance, while guitarist Paul Wayyans shows us death metal the original way — a science and an art that both has to be kept simple and done so that it all makes sense in the end. These 62 minutes of powerful recording span the band’s entire career but focus on the classics from The Rack and Last One on Earth, giving us a set with career diversity but also a powerhouse of the songs that defined this band. Video is professionally shot with multiple camera angles, and while effects like the high contrast black and white flash, the rising fake flames, and occasional slo-mo are used, they are not distracting. van Drunen’s voice is excellent; I don’t know another metal vocalist who can make the guttural sounds of death vocals while keeping a forced scream going at the same time. He is an excellent frontman who both works the crowd, throwing out his ad libs with perfect rhythm to keep motivation high, and a consummate professional who uses his voice as an effective instrument. I think this should be mandatory watching in schools. This review refers to the DVD included with the release of Asphyx 
The new Osmose recruits Mord seem to have been actually born in Poland, then relocated to near Kristiansand, which is remembered as the location of a violent death metal sect in support of Varg Vikernes back in 1991 and the origin of Tchort (Blood Red Throne, Emperor, Green Carnation). Not quite living up to the bloody and progressive traditions of the area, Mord specializes in a cold, modern, thrashed-out black metal sound that could scientifically have been developed in a norsecore factory to create an endless amount of productive clones. Maybe because they are originally from Poland, they do seem to possess a better grasp of what makes Nordic black metal good than most Scandinavians around exhibit. They keep the album vile and to the point, imitating the blasphemous rhythm guitar of, besides Euronymous, Ivar Bjørnson during the phase of Enslaved when they dropped most of their classical influence and switched to riff rock. Later Ancient springs to mind in tracks such as “Opus II” which is essentially is a meeting of pop and black metal in a graveyard infested with drunked teenagers who wear makeup and like to flash stupid expressions in photos. It may sound bad but in fact, as guitar rock or something, it excels. It is simply lacking in the Romantic nature worship, warrior ideology and mysticism of Burzum, Ildjarn and the other greats. So while musically this has potential for an above average Norwegian black metal album (even though these ideas are 15 years late) it ends up as one more relic that brings black metal closer to mainstream acceptance and youth culture phenomena today, and no-one will remember it in ten years.
It should be obvious to anyone with even the slightest exposure to black metal music and ideas that while it’s arguable that he ever was a genius, for the last decade Satyricon has really gone far out of his way to create the most crowd pleasing, catchy, insipid rock’n’roll version of black metal. It sounds quite redundant to say in 2009 that this kind of music is abhorrent to “Euronymous’ ideals” or the Weltanschauung of the scene that existed in 1991-95 but I can’t help it. This is simply so far from anything that was great in old Norwegian black metal, what made me and so many others interested and follow the events and music with awe inspired by mystique. In this music there is no trace of passion, only of pure professional approach to musicianship and studio production, not even oriented to mastery of the style (in jazz sense) but to a desire to make money and gain profit. This sort of capitalist black metal makes for a new genre in itself. Mechanical, vapid and outdated, it mostly sounds like a collection of random groove metal tunes given a superficial black metal treatment (raped by the half beaten corpse of norsecore) for the mainstream listeners who want to get a piece of black metal’s evil but refuse to go all the way to possession. Precise riffs and metronomic drumming approach Rammstein-like monotony as they are arranged into the laziest sequence and development imaginable. Frost’s sometimes interesting drumscapes have been lost to the adult contemporary studio values and his fans are probably better off listening to 1349 or one of the other bands he plays/played in. Satyr is not trying to play Voivod riffs anymore (as he was doing in Rebel Extravaganza) nor can he duplicate the fast thrashy parts of Nemesis Divina – these new riffs by Satyr have a habit of getting old before the song is over.
While the gloomy shroud of 21st century black metal clichés weighs like lead upon Throne of Katarsis, a sense of ambition and greatness, the carefully followed tread of frozen melody including an airy vastness copied from In the Nightside Eclipse or early Taake and some elegant and progressive forms makes this rise above the level of total weakness. Like Isvind and Tsjuder, Throne of Katarsis explore the melodic territory in between Darkthrone and Emperor in an effort to replicate the impression of transcendent evil boiling in the depths. Fast percussion underlies the sonic depression of dubiously plodding, soaring but monotone and unenergetic low production (Grieghallen copy) guitars repeating spherical themes (rotating the minor chords “De Mysteriis” style during the slow parts over and over again to give the melancholic feeling) over to vastness. The best of the musical ideas are hidden by the desire to create a standard black metal album, as they probably succumbed to creating an album too quickly and thinking that it’s enough to put out cold and intensity-devouring two-penny riffs that have been overused for 20 years – bulk Norwegian black metal in good and bad.
I do remember the Apollyon/Aggressor duo Aura Noir as a high-energy, motor powered and tradition respecting black metal cult from the days of the bewitching “Dreams Like Deserts” MCD, never afraid to rock out nor experiment with unusual guitar and drum techniques – even cross-quoting with Ved Buens Ende material. Something really devastating has happened and I don’t know if it has to do with Aggressor’s falling down from a balcony or something, but they sound totally drunk, tired and old on this album. I mean, if you think that Darkthrone nowadays sounds like a lazy beer-swilling band from the pub, try this one! I can hear they are trying to play like Sodom, but I can’t hear any Germanic “raaaaaah!” mania. I can hear Autopsy, but I can’t hear the stinking amputated corpses rising all around to wreak their vengeance upon the societies of the living. I can hear hardcore, but I can’t hear the decisive violent power of wrath against conformity. So, what is there left? It sounds a bit Southern Lord-y – you know, ironic old metal fan hipster who likes to get stoned out of his mind and listen to feel-good old-times metal. By the way, the drum production sounds like MIDI – utter failure. If you want real speed/black metal power, go for the originals, this one is a weak joke.
It would be quite interesting to see if someone, somewhere in Norway, has during the year released black metal or death metal which does not a) try to duplicate the old Grieghallen soundscape with in the most generic no-sense-of-style manner, b) fill their album with a load of budget riffs called depressive black metal by the kids (which is actually C, D, E minor again… and again…). Anyway, while Celestial Bloodshed has ripped off these ideas from better bands, they are 50% better in their songcraft than Watain, Funeral Mist and other generic black metal of the era. Also, they have been able to create inner beauty towards the realization of the music in melodic intensity. Additionally, the fullness of the soundscape and the implications of the structure make this release more grim, oppressive and grinding than the mainsteam manipulations of Norwegian metal which can not be but a good thing. After a beautiful intro which sounds somewhat like one of the demos from Equimanthorn (Absu members’ ritual project) the album pounds into a lexicon of guitar techniques borrowed from a range of musicians from Mayhem to Enslaved, with a dynamic range from slow romantic soulseeking to blasphemous speeds, sometimes bridged with jarring changes, while death metal influenced vicious, likeable and personal (down to some insistent mannerisms) vocals pace like hammer upon an anvil the grim predictions of mortal future and the drummer operates battery like Faust and Hellhammer used to in the early 90′s. While all of this is not fully developed yet into pure communication, it speaks with instant, amazed, satanic impressions of life facing the darkness of Infinity – Celestial Bloodshed has replicated the old school with care, honesty and vicious intent.
Keep of Kalessin arouse my interest during their demo days, as 1997′s “Skygger av Sorg” repeated the style of old Satyricon in a series of simple, emotional song fragments that revealed a sad beauty lying underneath the grim soundscape. I had heard some less interesting newer material but it is truly shocking what they have submerged into now – an arrogant, over-produced tribute to the honor of Greek warriors through quasi-talented commercial death metal. Synth washes and expressive vocals (in the vein of Nergal when he’s really pissed off in the later Behemoth albums) fill this piece of plastic because they want to sound big and they want to play on a stadium. I am convinced that someone with their musicianship should be able to create a listenable and consistent album, but these super fast blastbeats and commercial heavy metal oriented song dynamics from quiet to loud make this just a faux extreme version of something like Spearhead or Deströyer 666, made worse by the angry shouter vocalist. The people interested only in dry technique and production standards will love this for being an emphatic and empty opera of sharp drumwork and the constantly shifting death metal type fast guitars and entertainment value. They are also happy that it lacks the primal natural force of old Norwegian metal, because it might be distrubing. The sense of space created should be one of a studio or a big venue, instead of a woodland crypt, right? This amount of polishing emphasizes the superficiality of the entire composure, down to metalcore action computer game synchronized by MIDI in Kolossus, where accurate but inconsequential fast drum beats follow cheap-ass tremolo melodies from the pits of norsecore Hell and the vocalist sounds angry at people at the nearby mall and emo pop chorus in “Ascendant” which doesn’t even fit the music underneath. Likewise the arabic solos in the middle part of “Kolossus” don’t seem to have anything to do with the metal riffs, nor do the “300″ soundtrack reminiscent bits with synths and tablas. Whoever has produced this must be a commercial minded jerk.
Tchort from Kristiansand was a newcomer to the death metal scene with his band Green Carnation right when the genre went out of fashion because of Euronymous’ hatefulness towards it and while that name was resurrected for Tchort’s progressive metal project he formed the neo-death metal group Blood Red Throne at the end of the millennium. While not having heard the early Green Carnation material, it’s easy to hear from this that some trace of early influence from excellent bands like Grave and Cadaver does exist, but none of their ability to turn basic riff structures into progressive and morbid magic. This type of song construction mostly resembles Cannibal Corpse and Deicide during the latter’s worst days of In Torment In Hell, filling songs with groovy mosh parts, faux-brutal growls and the drummer and bass player (from Deeds of Flesh) insisting wimpily on always playing to the beat of the riff. If this is the king on Norway’s death metal throne since Cadaver disbanded, it is quite sad actually. Most good (death) metal is memorable from its melodies, however convoluted and vicious they may be, but Souls of Damnation is mostly simple rhythmic phrases like guitar exercise patterns for introducing mechanical creation technique for sub-Florida death metal. Like all boring death metal, it severely underestimates its audience. I mean, many listeners do like death metal that sounds like basic no-frills brutal grind, but this worthless chugging goes too far. It seems like the whole album lacks even one interesting melody part or arrangement.
One of the newer Oslo bands mostly known from relentless and uncompromising fast black metal, 1349 surprise with their latest effort in refusing to conform to the rules of the flock. This time conjuring echoes of Samael’s Ceremony of Opposites and later Mayhem, 1349 composes suffocated, devilish and industrial tinged black metal sounds which despite being somewhat predictable, retain the doomy beauty of an industry of inferno. The loneliness of space as described in Moorcock’s trippy novel “The Black Corridor” and the classic fantasy movie “Alien” fill this Gigerian landscape of planets, threats and biomechanical blasphemies. Bodies twitch into contorted positions in a sea of light. The psychedelic feel is enhanced by a cover of Pink Floyd’s “Set the Controls for the Heart of Sun” featuring Tom G. Warrior. Several tracks use minutes to unfold submerged ambient and experimental soundscapes, while there is some Red Harvest type digital manipulation featured in many of the metal songs too. The arrangement is dramatic and regal, with Frost’s drumming skills put to good use. Multiple vocal styles herald the theatrical nature. Some interesting lead guitars add desperate wails to the background. Some parts are in their wicked minimalism close to what one could also expect to, say, Beherit to compose if he were in a more commercial high budget recording project, making this one of the more worthwhile efforts from Norway last year in producing new vistas of black metal.
This little EP from Mare, one of the infamous Trondheim cults tends to sound a bit like Live in Leipzig era Mayhem recording in a sewer infested with rats and worms and the decrepit and rotten soundscape makes this one an aesthetically more attractive listen than most of the studio produced turds. Intuitively they grasp the idea of structuring long songs in the old Emperor vein so that while the bits and pieces are redundant, it is a journey through minimalist music themes into the realization and acceptance of the power of darkness. Slow, crawling, anti-logical repetition of simple melody (where the keyboards add a tasteful of old Enslaved) make it a bit of an un-musical experience – the composition seems to be mostly oriented to the fans of droning soundscape whereas the planning and calculation in the overstated reverb, vocal sound (while Kvitrim is good at pacing) and lack of invention in the riffs suggest seem to be aimed for the black metal consumer. But it is deconstructive, degenerate and deceitful music – for pure ideas, about as good as the best of the bunch reviewed here. An ambience and sense of space is reached, the Faustian concept of man as a warrior who travels and explores the universe, only to relinquish his individuality to the higher natural order – in death and rebirth.
