{"id":1069,"date":"2020-04-09T20:21:37","date_gmt":"2020-04-09T19:21:37","guid":{"rendered":"http:\/\/www.conedm.nl\/?p=1069"},"modified":"2020-04-10T07:33:19","modified_gmt":"2020-04-10T06:33:19","slug":"analog-reality-1984-and-1985","status":"publish","type":"post","link":"https:\/\/www.conedm.nl\/?p=1069","title":{"rendered":"Analog Reality 1984 and 1985"},"content":{"rendered":"\n

\u201cSometimes I -and I guess most musicians- are haunted by a dream where one discovers a tape with songs, forgotten but still small treasures in their own right. If anything, this collection of songs is my \u2018analog reality\u2019 of that dream.\u201d <\/em><\/p>Ewald Kegel, April 2020<\/cite><\/blockquote>\n\n\n\n

Forty-six songs from 1984 and 1985 have been released on two separate releases: Analog Reality 1984: Dreams and Come Trues<\/em> and Analog Reality 1985: Cosmic Connection<\/em>. Originally kept away from release due to incompletion of the recordings, mistakes or other quirks these songs were given a second chance with extended help of modern audio software. This software enabled the original songs to be re-edited and remixed with great detail. Other software was used to reprocess and enhance the sound sonically, filling in missing frequencies and harmonics.<\/p>\n\n\n\n

The 1984 album takes the listener back to a time when the 4 track cassette recorder was introduced, the Fostex X-15. Any Way You Want Me To<\/em> was the very first recording with that recorder, mid 1984. Then follows a sequence of songs with some plans to release (from (No More) Low Down Blues<\/em> to A Dream Girl’s Call<\/em>). Body2body <\/em>is remarkable for it comes close to the later so popular live DJ-ing: live adjustments of drums and sequenced synth sounds on the fly.<\/p>\n\n\n\n

Then there is a selection of songs sorted from old to new, where Summer Child II<\/em> clearly shows the progression and the ambition to create more complex compositions compared to the simpler and an earlier song like Truly We Do<\/em>. <\/p>\n\n\n\n

All the songs were recorded with relatively minimal equipment consisting of a Roland JX-3P synthesizer, Roland TR-606 drum computer, an electric guitar (Gibson RD Custom) that also was used as a bass guitar in several tracks. In order to create a reverb effect instruments were often fed into a Fender Vibrolux amplifier. From the track Song for Jerry<\/em>  onwards a Boss digital delay was introduced adding new sonic perspectives to the songs on the album.<\/p>\n\n\n\n

The 1985 album shows an expanding ambition to create more complex compositions, instrumentations and arrangements. On Sun Lover<\/em> we hear the Roland TR-707 rhythm composer for the first time and in other songs the introduction of the Simmons drum can be noticed (like on Big Boy<\/em>), enriching the drum and percussion sounds. Mid 1985 saw the introduction of FM synthesis with the Yamaha DX-7. This would lead to a rather dramatic shift in the sound of the music, most notably in The Woman I Love<\/em>. FM synthesis would dominate Ewald’s music for many years to come. The role of the guitar would become more and more subordinate to the use of synthesised sounds. <\/p>\n\n\n\n

This Is Love<\/em> is without doubt the most ambitious (some might say too over ambitious<\/em>) music production until that point in time. It features the Yamaha QX-7 sequencer as well as myriad of themes and tunes within one song. The final song Dancin’ With You (2015 Remix)<\/em> is a spectacular ending of the album introducing new 21st century elements to this energetic early 1985 track, with its sequenced JX-3P bass line. <\/p>\n

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