During the pandemic I found Robertson's second album from 1984 and was pleasantly surprised how great it was. As noted there, I didn't own the debut but had heard it at least (twice in fact). That situation has finally been rectified. Dawn is more "out there" than I originally thought - meaning this is a highly experimental work recalling such luminaries as Friendsound and Fifty Foot Hose. It's all very psychedelic, but not in a 60s styled rock kind of way. More like disorienting and trippy with period instrumentation. A lot of sitar, female vocals, and some fuzz guitar. Sound collage is used to drive home Robertson's we're-all-going-to-hell-in-a-handbasket message, though the liner notes indicate that he was pursuing an academic approach to music. Overall a very satisfying work and one of America's most freaky albums.
I had wondered why I didn't include this album in the CDRWL as the only reissue was from the always questionable Akarma. But it's very clear in this case that the label worked directly with Robertson and features extensive liner notes. Though I have Robertson as from Colorado, where he spent his youth and most of his adult years, this album was from his time in San Francisco.
Ownership: 1969 Limelight (LP)
2008 (first listen); 3/19/15; 8/20/23 (review)
I remember reading about this album in Eurock back in the 80s. They had referenced his debut album Dawn from 1969 as a classic of its kind. I have since heard that album (though still do not own), and have to agree that it is a unique early psychedelic infused new age styled work. I presumed Spring would be New Age without the psychedelic aspects, especially 15 years later. Yes and no. It's not really New Age at all, at least as the term has come to mean - that of a hollow digital recording, canned percussion, and saccharine melodies. And while it's not exactly psychedelic in the 60s sense of the word, there is a disorienting aspect to his sound here. Primarily what Robertson has managed to achieve here is the same kind of "crystalline" sound that Klaus Schulze did on 'Crystal Lake' (Mirage). And yes, there is a Berlin School component here. There's a lot of depth to the composition and sound structure. One of a kind to my ears. A pleasant surprise and explains why this album is sought after.
Interesting to note that Robertson thanks Bernard Xolotl on the back cover (another unique electronic musician of the early 80s).
Ownership: 1984 DBR (LP)
11/14/20 (review)
11/14/20 (new entry)
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