Tales of Heaven & Hell | Wendy Carlos | my apologies for getting it wrong the first time.

Tales of Heaven & Hell | Wendy Carlos | A musical classic

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Tales of Heaven & ...

	Tales of Heaven & Hell Wendy Carlos East Side Digital, 2003 average customer review:based on 22 reviews view larger image
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highly recommended

Wendy Carlos is one of the pioneers of Electronic music and has been since the debut of the Switched On Bach album was released in 1968. The album was a huge critical and commercial success and won many awards including three Grammys. On Tales Of Heaven and Hell, Carlos explores the dark side with characteristic sonic depth and brilliance. Meticulously mastered by Wendy herself in Hi-D sound, this enhanced CD includes additional notes and other material from her website. Rediscover a Pioneer in electronic sounds and modern composition. East Side. 2007.

my apologies for getting it wrong the first time.

When I first heard this album a few years ago, I honestly was a little disappointed. To summarize the review I posted at that time (which Amazon was kind enough to remove at my request), I felt the album to be a little contrived. It felt "overworked" to my ears, as it was something of a contrast to the (seeming) simplicity of many of Ms. Carlos' earlier efforts. I also felt the more "humorous" aspects of some pieces detracted from the overall emotional continuity (or "mood") of the album.

I do agree with at least one of the reviewers here that most American listeners do not have an appreciation for "serious humor". I would include myself in that category. However, I've since learned to recognize the "tongue in cheek" aspect of the album as a desirable part of the album's character. And I will also admit that I allowed the "tongue in cheek" aspect of the album (particularly in the first piece, 'Transitional'), to color my judgment for the entire album. This was obviously not an intelligent response on my part, but most of all, it was clearly not fair to Ms. Carlos.

If I have any real complaints about this album, I would level them almost exclusively at the piece 'Clockwork Black'. There are segments in this (nearly 18 minute long) composition that are nothing short of the very best sound "collages" I have ever heard. This piece contains some amazing musical material as well, but even these are sometimes dwarfed by Ms. Carlos' astounding technical prowess. (I guess I still feel this particular piece is over-worked.) Which brings me to my main complaint about many of the musical transitions in this piece. While I believe these are intended to bring the listener to one part of hell to another, instead, I find that they do a good job of repeatedly interrupting the emotional "flow" of the piece. At these points, my attention is drawn to the "mechanics" of the music itself, and I am temporarily taken away from my emotional journey. I am also not at all fond of some of the voice acting, which by itself is not convincing, but taken in the context of the piece, does not feel (to me) "in tune" with the emotional mood of the piece. (I found myself annoyed by the "crying" people, particularly by the woman at the end of the piece.) However, I found the "latin"-spoken passages very effective. And as I said, parts of this piece are as immersive and lush as anything I've ever heard. (Please do not listen to it without a good set of headphones...)

Apart from that, I get a firm impression that the pieces 'Clockwork Black' and 'City of Temptation' contain subtle commentary on the state of our society/civilization. There is a tragic aspect that I believe Ms. Carlos basically alludes to, that states that humanity, as a whole, has created a hell here on earth through attitudes we hold that encourage/perpetuate suffering in both our own lives and those of others. I am sure you could accuse me of looking too deeply into this, but I am not sure the vocoder-spoken lyrics in 'Clockwork Black' ("Let us prey -- on those who are different. Let us pray -- we never are wrong.") and the liner notes for 'City of Temptation' ("This is music of a large, populous city of our era, or perhaps in the near future.") could be interpreted in any other way.

I am particularly fond of the pieces 'Afterlife' and 'Seraphim' (which are the final two tracks on the album), which I feel are both inspired and superbly well-crafted without being at all contrived. In 'Afterlife', Ms. Carlos appears to work effortlessly with the unusual temperament(s?) used in this piece, and creates, at least to my ears, a piece that is both beautiful and genuinely haunting. The musical transitions, unlike 'Clockwork Black', are first-rate, which gives this piece an immersive flow that is lacking in the former. 'Seraphim' is a powerful answer to the emotional "uncertainties" of 'Afterlife', and I agree with Ms. Carlos' assessment that this piece is certainly the most sublime of any piece on the album. It is an excellent and fitting end to this album.

Overall, I am ashamed that it took me three years to recognize this album for what it is, and that instead, I chose to neatly itemize it with the prevalent social misconception that Ms. Carlos' artistry was waning in lockstep with her increasing age. This album is among Ms. Carlos best work to-date. And while I still very much enjoy her early/"immature" work (from the first twelve or so years of her career), Ms. Carlos' artistry and technical mastery has indeed matured with the digital technologies that have so enabled her.

Through my serious misjudgment of Ms. Carlos' work, I have also become aware of the true nature of the devoted critic. The critic, sometimes in the safety of his/her own home, can assume the role of a destroyer. And while not ever capable of creating anything of his/her own, will, for whatever reason, repeatedly and thoughtlessly indulge themselves in wrecking havoc on those who assume the role of creators.

But, please do not misinterpret what I am saying. There is a definite need for the critic, and there is a definite time and place to be a merciless destroyer. But in this era we are living in, which by definition is an artistic famine, there appears to be no shortage of critics! (Just consider the sheer quantity of harsh/blasting reviews on a site like Amazon.com.) Watch how politicians get "off the hook" after subverting the law and destroying the rights of the common man time after time. Yet, nothing is said or done. But, apparently, we have no qualms about keeping our own "in check", and will happily throw dirt on the tiny embers of creativity that is expressed publicly/commercially by innocuous and generally well-intentioned people.

Either way, I again apologize to Ms. Carlos. I hope she has continued on her way since the release of this album, and was not discouraged from doing more work in this vein by the many unfortunate reviews (like the one I originally offered).

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A musical classic

I recently purchased TALES OF HEAVEN AND HELL by WENDY CARLOS and it is a true classic of music. I truly adore listening to this cd. Any work by Wendy Carlos is wonderful but this is exceptonal. I have purchased this cd for my friends too and they all savour it.

A Tale to be heard from Wendy Carlos

I don't know much about Wendy Beyond the usual. Her work with Stanley Kubrick, the sex change and being the original synth with Moog himself. Growing up her albums were hard to find in stores. But thanks to the internet and re-mastering we finally have them available. I bought switched on Bach as a suggestion from a friend..and although I did hear the immense talent wasn't a Bach fan. That however led me to search around and acquire this album. Now this is my kind of record. This is a stunning array of early dark synth work, laced with Theremin swirls and sinister overtones of dirge like hymns in Clockwork Black to low end smoke filled jazz. This album knits together perfectly in my opinion. It's simply one of the best early synth/orchestral works I've ever heard. I am a new fan of Wendy Carlos. It is one of the best horror induced old style Gothic records I've heard in 25 years of loving and purchasing electronic music.
I suggest this for anyone from the old school of sit and listen to a record in the rain. It is a magnificent well deserved and credited purchase.

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trippy?Indeed,sir!

this is every bit as good as the Clockwork Orange score,and it doubles as a great halloween album that won't scare the kiddies TOO much.(I had some visitors last year that found the "death cube k" cd a bit too frightening though,unfortunatly.) I like putting on this cd while the backlight and strobe are going in my room for a cool effect.also,"trendy"folks that think old 60,70,80's electronic music is lame should steer clear of this,cause trippy as it is,I could see how some could find it cheesy-stick with bill laswell,paul van dyke,etc if you do.otherwise,the only complaint I have about the album are the robot voices at the start of "clockwork black",but they only go on for about a minute or two and the track is perfect other than that(and 17 minutes long to boot!)

get it if you're a true "tripper"!

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reviews: page 1, 2, 3, 4, 5

Tracks
Transitional | Heaven Scent | Clockwork Black | City Of Temptation | Memories | Afterlife | Seraphim

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