Fusion

Underground  minimalism.

These musical efforts have their origins in underground rock dating back to the late 1970's through the early '90's, when small music clubs proliferated in the Mid-Atlantic region of the U.S.  Magazines like Trouser Press, Matter, and the New Music Express gave some coverage to the scene, and ultimately some bands were esteemed by music critics and grew to be popular and successful in the mainstream.  My musical interests tended toward the experimental and improvisational, as reflected in the aforementioned journals' comparisons of recordings by groups I worked with to the Doors and the Velvet Underground.  Such press coverage was minimal; the groups were insignificant, except that they provided a great deal of experience in performing and recording, expanding my awareness of both cultural and technical ideas and processes.

As to nostalgia, that would be absurd.  I do recall one evening after a long rehearsal, relaxing and listening to an album titled Evening Star by Robert Fripp and Brian Eno, and becoming aware, with sudden certainty, that this music was, in terms of heightening intellectual and emotional awareness, far superior to anything possible with rock, jazz/fusion or otherwise, and that beside it rock and roll was, at best, boring. 

That moment made all that is under consideration here possible.

Upon Reflection

While designing a work of manipulated sounds the interest is focused on the process, and in large part it is the case that what might be generously called the composer's perspective-- fed by the familiar works that directly or indirectly influence the outcome of the sound design-- is not very apparent over the course of that process.  Later, following a number of times spent listening, some of those influences come to mind.

There are some basics informing all these Black Mountain School works, from general elements of sound and production to specific pieces.

Generally speaking, along with such works as Eno's Music for Airports and On Land, it is possible to perceive the impact of a variety of musicians and albums upon the sound and production qualities.  Among them are Pink Floyd's Ummagumma, Wendy Carlos' Sonic Seasonings, Roxy Music's For Your Pleasure, and the "atmospheric" qualities of such diverse albums as Miles Davis' Kind of Blue, Close To The Edge by Yes, Green River by Creedence Clearwater Revival, Azimuth by the group of the same name, Nat Adderley's Calling Out Loud, and a variety of tracks by The Doors, David Bowie, and The Velvet Underground.

Quite likely there are some elements of The Three Stooges in there as well.