Hi,

Serrie was on the same label as TD, or vice versa ... in Seattle, which was when the 220 Volt Live was recorded. 

My adding Gert, was important ... regarding the so called space/ambient is (for me) not an issue since the music itself might not have anything to do with the space/ambient at all, despite its CD cover, as is the case for Serrie.

Gert, is probably closer to TD in that his music is less rock sound oriented or formatted and has a much larger freedom for expression, which in TD, I call "classically minded", though I can not find anything "classically minded" in Gert Emmens at all ... which in many ways ends up being a NEW expression in electronic music ... if we want to get picky. Larry Fast fits in this area also were it not that some of his music on solo albums kinda came from film soundtracks and it has a feel that fits film ... not necessarily the music we are used to ... his work on Nektar's Recycled, shows that he can add to the rock thing a lot more than just thunder ... it made the album explode loud and clear.

My take on electronic music is different ... I like KS because he is an original, and you can not find a "song" in his work, and in the length of his pieces. They are all incredibly different and the "trip" is insane. I like TD because their music for my ears is like listening to classical music ... it is totally beautiful and the saddest thing for me since EF passed on, is that it has become a machine music group ... and nothing else and the atmospheric and orchestra sound is gone, even though the one member does a wonderful job on the violin, but not enough to help carry away from the electronic machine sounding work. And this was my contention, and the main reason why I did not enjoy Pete Namlook as much ... I thought his sound was too much machine and not enough music/musical.

Another example, is, while I can appreciate the efforts from Dave Sax which are very enjoyable, in general for my ears it still is way too machine sounding, and I'm not sure that my saying that helps him understand what I am saying ... I think his manner of composing might be the issue ... starts with the sound from the machine and then another sound added, as opposed to starting a sound and then work it so it matches the feel that your imagination has ... that "translation" always adds to the over all content ... but I think that as soon as one part is established, it's time to add another one, and then it comes off a bit clinical for my tastes ... mind you, I find him better than many of the things listed here.

BTW ... missing here is the stuff that CHRISTOPHER FRANKE did on his own, which is also very lovely, and I am one of the few that says he is sorely missed and I would love to hear from him, hopefully not angry still, and with a lot of music in his heart to share with us ... we need more like him and Edgar Froese!