The entirety of the "New Age" market went through a period where everything was pretty bland. I blame digital synths of the time, causing people to think that neo-Romantic compositions on synths *didn't* sound cheesy now. Or maybe the marketing ethos, something like "hey, this is selling to yuppies now who are using it at their yawn-inducing cocktail parties, don't do anything *too* out there..."Solderman wrote:john909kid wrote:When I listen to the Sorcerer soundtrack followed by Melrose, I hear such a tragic loss in creativity that I have to wonder if Froese didn't have the contents of his skull emptied and filled with bees. Is it a wonder shortly after this that the general public associate synthesizer music with Yanni or Mannheim Steamroller?
Before "New Age" was "New Age", eg before say 1983-1984, a lot of early all-electronic, spacy stuff had a rawer, more experimental vibe that naturally had less popular appeal. After the "New Age" fad died, where alternate terms began to be used and the raver crowd wrestled away ambient for chill room, I think the edge returned... for a lot of the artists that remained in the field, that is. (Tangerine Dream unfortunately not being one of them, though some of the ex-members make interesting work.)
A few days ago, someone asked me if Hearts of Space was still on the air. I said yes... but it's different from the late 1980s. Instead of playing Yanni and Ray Lynch, you will find them playing more deep ambient and ethnic, with your "New Age" holdovers being artists that never were quite so "New Age" to begin with (eg Steve Roach and Robert Rich). This is a good thing.