{"id":19116,"date":"2019-05-02T01:07:45","date_gmt":"2019-05-02T00:07:45","guid":{"rendered":"http:\/\/www.johncoulthart.com\/feuilleton\/?p=19116"},"modified":"2019-05-02T01:07:45","modified_gmt":"2019-05-02T00:07:45","slug":"synapse-the-electronic-music-magazine-1976-1979","status":"publish","type":"post","link":"https:\/\/www.johncoulthart.com\/feuilleton\/2019\/05\/02\/synapse-the-electronic-music-magazine-1976-1979\/","title":{"rendered":"Synapse: The Electronic Music Magazine, 1976\u20131979"},"content":{"rendered":"

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Synapse<\/em> magazine has been mentioned here before, but only briefly in a weekend post. Looking last week for one of the back issues revealed that the scans of the magazine placed online by the publishers<\/a> in 2012 have now vanished so this post links to an archive of PDFs at Monoskop<\/a>. The publishers didn’t have copies of the first two issues so the run begins with issue 3.<\/p>\n

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Synapse<\/em> wasn’t around for very long but it’s of great interest for people like myself who have an enthusiasm for the analogue synthesizer music of the 1970s. The magazine was small but managed to secure interviews with major synthesists of the period (and Stockhausen!), as well as lesser-known figures who you wouldn’t expect to see in the general music press. Tangerine Dream and Brian Eno have never been starved of attention but the interviews with Isao Tomita and Michael Hoenig are valuable ones; the latter discusses his earlier career in the Kosmische band Agitation Free as well as his new album, the very Tangerine Dream-like Departure From The Northern Wasteland<\/em>.<\/p>\n

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Elsewhere in the magazine there are the usual technical articles that were common in journals of this type (the border between art and engineering in the early synthesizer world used to be as permeable as it was in the first decades of science fiction); and the latest synth-related albums receive reviews, many of which are more equivocal than you might expect. It’s a surprise seeing an album such as Ricochet<\/em> by Tangerine Dream being treated with scepticism but then the reviewer evidently preferred the recordings of the group’s pre-Virgin period. Likewise, Kraftwerk were featured in the third issue but their Man-Machine<\/em> album is given the same “Is this the future we really want?” appraisal they used to receive from the rock press.<\/p>\n

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As always with old magazines, the ads are often as interesting as the editorial, and Synapse<\/em> is filled with promotional material for a wide range of synth gear, from the major keyboard manufacturers to tiny electronic companies. It’s not every magazine where you can see a full-page command to “Trade in your Mellotron”.<\/p>\n

\u2022 Synapse<\/em> contents list at Wikipedia<\/a><\/p>\n

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Previously on { feuilleton }
\n\u2022 German gear<\/a>
\n\u2022 Edgar Froese, 1944\u20132015<\/a>
\n\u2022 Synthesizing<\/a>
\n\u2022 Tangerine Dream in Poland<\/a>
\n\u2022 Electronic Music Review<\/a>
\n\u2022 Tonto\u2019s expanding frog men<\/a>
\n\u2022 A Clockwork Orange: The Complete Original Score<\/a>
\n\u2022 White Noise: Electric Storms, Radiophonics and the Delian Mode<\/a><\/p>\n","protected":false},"excerpt":{"rendered":"

Synapse magazine has been mentioned here before, but only briefly in a weekend post. Looking last week for one of the back issues revealed that the scans of the magazine placed online by the publishers in 2012 have now vanished so this post links to an archive of PDFs at Monoskop. The publishers didn’t have … Continue reading “Synapse: The Electronic Music Magazine, 1976\u20131979”<\/span><\/a><\/p>\n","protected":false},"author":1,"featured_media":0,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"jetpack_post_was_ever_published":false,"_jetpack_newsletter_access":"","_jetpack_dont_email_post_to_subs":false,"_jetpack_newsletter_tier_id":0,"_jetpack_memberships_contains_paywalled_content":false,"_jetpack_memberships_contains_paid_content":false,"footnotes":"","jetpack_publicize_message":"","jetpack_publicize_feature_enabled":true,"jetpack_social_post_already_shared":true,"jetpack_social_options":{"image_generator_settings":{"template":"highway","default_image_id":0,"font":"","enabled":false},"version":2}},"categories":[29,43,3,15],"tags":[6496,145,8205,10035,122,1160,10036,10034,10033,889,5529],"class_list":["post-19116","post","type-post","status-publish","format-standard","hentry","category-electronica","category-magazines","category-music","category-technology","tag-agitation-free","tag-brian-eno","tag-isao-tomita","tag-karlheinz-stockhausen","tag-kraftwerk","tag-mellotron","tag-michael-hoenig","tag-monoskop","tag-synapse-magazine","tag-tangerine-dream","tag-tomita"],"jetpack_publicize_connections":[],"jetpack_featured_media_url":"","jetpack_shortlink":"https:\/\/wp.me\/pq7rV-4Yk","jetpack_sharing_enabled":true,"_links":{"self":[{"href":"https:\/\/www.johncoulthart.com\/feuilleton\/wp-json\/wp\/v2\/posts\/19116","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.johncoulthart.com\/feuilleton\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/www.johncoulthart.com\/feuilleton\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/www.johncoulthart.com\/feuilleton\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/www.johncoulthart.com\/feuilleton\/wp-json\/wp\/v2\/comments?post=19116"}],"version-history":[{"count":0,"href":"https:\/\/www.johncoulthart.com\/feuilleton\/wp-json\/wp\/v2\/posts\/19116\/revisions"}],"wp:attachment":[{"href":"https:\/\/www.johncoulthart.com\/feuilleton\/wp-json\/wp\/v2\/media?parent=19116"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.johncoulthart.com\/feuilleton\/wp-json\/wp\/v2\/categories?post=19116"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.johncoulthart.com\/feuilleton\/wp-json\/wp\/v2\/tags?post=19116"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}