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Amaterasu Omikami - Movement 3 - Goddess of Glass
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The third movement of Amaterasu captures the new Japan, fast paced, modern, technologically advanced and well ordered. The goddess of grain becomes the goddess of glass. Soon to be released in the movie "A Grave for the Corpses".
electronic ambient
Artist picture
Primarily electronic music - ambient electronic, new age, electronic classical and Electronic Jazz Fusion. An auditory sound sculpture, a sensory emotional
Cross electronica with Alan Parsons, a bit of Depeche Mode and Dead Can Dance - stir well with jazz influences and classical music and you get my electronic music. Ken Linder has written hundreds of compositions in many different styles (pop, alternative, ambient electronic, new age, gothic, gothic industrial, folk, classical, electronic classical and Jazz) over the years. This is a small sampling of his instrumental work. He is equally at home with an acoustic guitar as he is with a synthesizer and an electronic studio. "In my instrumental music I work toward creating an auditory sound sculpture, a sensory emotional journey that conjures up images in the minds and sensations of the listener."
Song Info
Genre
Electronic Ambient
Charts
Peak #1,126
Peak in subgenre #91
Author
Ken Linder
Rights
Copyright (c) 1996 by Ken Linder. All Rights Rese
Uploaded
February 08, 2003
Track Files
MP3
MP3 4.1 MB 128 kbps 0:00
Story behind the song
This is one of several themed pieces created for my second instrumental album; entitled Native Sun, it was oriented around the role of the sun as deity and center of worship, and spanned the cultures of 4 continents (South America, Europe, Africa, and Asia). In this third movement of the final theme, the Japanese solar goddess Amaterasu Omikami (who is said to have danced the world into being, out of Chaos and darkness) becomes the Goddess of Glass, patroness of the new Japan; her sun-self now gleams from a technological world spun of glass and chrome and steel. I find the three movements of this theme particularly intriguing as they represent the only female solar deity among the cultures from which I drew my inspiration, and the classical creation myth cycle of which she is a part lent itself beautifully to an entirely different examination of the role of a solar deity in the development of an advanced culture; the stages of the myth seemed to twine with the development of the Japanese culture, inspiring me to tell both stories at once, through the exploration of this musical theme. This piece was the culminating piece from the album, and I felt at the time that it was one of several memorable milestones for me, representing a breakthrough to another stage of my musical development.
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