logos analysis Re: Why Franke left
gustavojobim2 <jobim <at> gustavojobim.com>
2011-08-02 13:11:11 GMT
I've been inferring from their respective solo output. I'm sticking with my theory that, basically,
Franke did the pop/energetic/sequencer parts; Froese, the textures and more abstract, simple,
repetitive melodies; Schmoelling did the melancholic moods (a role that was abandoned since Baumann
left), gave the larger-scale pieces a more "composition" character than what previous TD had (mostly,
improvisations over sequencer rhythms), and when it came to rhythm, more variation and a wider sound pallette.
Yeah maybe there's a lot of Schmoelling in Le Parc. Listen to Central Park's rhythm section full of
different noises.
I guess the difficulty of pinpointing a particular sound or piece to a specific musician goes to show the
value of the FFS ensemble...
About the FFB group, Baumann did a good deal of sequencing too, for my ears. Just listen to his static
bleeping sequencers in Romance 76, and then listen to the sequencers in Encore. Stratosfear also has a
very strong Baumann character for me, specially the middle pieces. The more tuneless, rhythmic and
simple sequences, could have come from Baumann. Froese maybe did some too, if you listen to his solo works
from the period, but they are also of a simpler, bassy character. Then, for the more complex and melodic
sequencer parts, that could be Franke.
now playing: Cyclone - it's been years since the last time. Had a good time with Bent Cold Sidewalk for all its
silliness. Rising Runner remains a hard listen though. Madrigal Meridian saves the album for me - even
though there's some brute Froese soloing out of rhythm, over the rhythmic base during the first minutes,
that remind me of the more rambling, boring pieces in Froese's Ages.
GJ
--- In tadream <at> yahoogroups.com, "Cyaron" <moc_liam <at> ...> wrote:
>
> --- In tadream <at> yahoogroups.com, "gustavojobim2" <jobim <at> > wrote:
> >
> > It's been a very long time since I last heard Encore, it's not one of my favourites. Yeah Franke may be more
rhythmic but Froese is more of pulses and textures, he's not so adept at melodies. Just listen to White
Eagle: Midnight in Tula is Franke, Convention is obviously Froese, the title track might be Schmoelling.
JS does quirky sounds, long buildups, and melancholic melodies; as far as I know he's declared that the
parts with a more unusual time signature are his. Charlie the Kid from Firestarter sounds like the
precursor to Matjora is Still Alive, for example. So by exclusion, the happy poppy melodies go to Franke -
just listen to Pacific Coast Highway.
> >
>
> I always had the notion that Schmoelling was the main driver of Le Parc, which suffered from way to much
happy poppiness. If Midnight in Tula and its ilk are Franke and not Schmoelling ... then okay, this might
sound weird, but I wonder why people were so upset when he left, LOL.
>
>
> Are any of these impressions confirmed? Or are we all guessing here based on what we've read and heard before?
----------------
> I wasn't ever there in the 70s, but from what I've seen/heard/read I always pictured Franke handling the
pulses underneath, while Froese played some freestyle solo melodies overtop, and Baumann added sound
effects and percussive noises. Perhaps this view diminishes Baumann's true role, but I don't know.
>
> However ... and I've been thinking about this after I sent yesterday's messages (or maybe it was before
yesterday) ... Edgar soloing on concerts doesn't necessarily mean he was all that melodically-inclined
when it came to writing the bases for album tracks.
>
> Parts of Logos still remain a little mysterious, but part of that may also be due to the live setting (and not
being comprised of album tracks), where they might have collaborated more fully than in the studio.
>
>
> Cyaron
>
>
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by the way since I'm currently quite low on cash I'm putting that particular cd in my "let go" pile...
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