so, ashra roughly 1974 to 1978. manuel götsching's inventions, paris downers, new age of earth, blackouts, the private sessions issued much later but containing incredible versions from the period. this stage of mr. göttsching's music seems so appropriate to this age of crisp hubble images and looking into the sky and yet it seems neglected, not in bed with progressives and not held in the same regard as the cans, clusters and harmonias. heaps of praise for klaus schultze but mr. göttsching with his guitar and innocent smile do not belong in the synth canon either. is it because the guitar lead is suspect, even muffled beyond recognition by echo and effects? is it the density? or is it that the search for harmony and beauty is anachronic to this blacker, more cynical time?
in any case it's a lonely, unique music, echoes of karl friedrich schinkel's forms and premonitions of the renewed interest in space and nature of the late seventies (carl sagan's cosmos/vangelis/new age stuff). i recommend starting with inventions and exploring this dense region of musical space.