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Chris Klein Overzero | Aftershock

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Avant Garde: Modern Composition Electronic: Experimental Moods: Type: Political
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Aftershock

by Chris Klein Overzero

Electronic, Fusion, Ambient, Jazz, Techno, Rock Pop, Retro.
Genre: Avant Garde: Modern Composition
Release Date: 

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  Song Share Time Download
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1. Wake up Call
1:47 $0.99
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2. Broken Mirror
3:37 $0.99
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3. Reign of Splinters
5:02 $0.99
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4. Slave to a Bomber
4:32 $0.99
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5. Ride the Wave
4:30 $0.99
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6. More Wants More
5:43 $0.99
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7. Broken Water
4:21 $0.99
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8. Imitation Emotion
4:30 $0.99
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9. Time Machine
5:30 $0.99
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10. Shockwave Pilot
4:23 $0.99
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11. Wings of Fire
4:05 $0.99
Downloads are available as MP3-320 files.

ABOUT THIS ALBUM


Album Notes
This is the final album from the End of the Beginning trilogy and this is how it all began.
Since my mid teens when I was introduced to Orwell's 1984, I have been both fascinated and appalled by authority's ability to manipulate our perception of the truth. I was also delighted by the way Orwell divulged his inside knowledge of officially secret acts by placing them in a fictitious future where they were beyond the reach of his contemporary legal jurisdiction.

As one of the very few civilians aware of Bletchley Park's existence at that time (thanks to my Mother's forbidden divulgence of her involvement there and a revelation of the principles behind cryptography and intelligence) I felt a tenuous connection to the world of subterfuge. Perhaps also, I inherited a bit of her reactive paranoia and obsessive need to find the hidden truth or unseen message.

The 9/11 incident in 2001 was a milestone for everyone - our perception of the world and our place in it changed irrevocably. The boundaries between fantasy and reality started to fade and all notions of certainty vanished. We had become unwitting inmates in a psychogenic delusional open prison. The time and place we were living was no longer our own and neither were our thoughts.

About four years later the temporal shockwave slowly hit me and I felt the need to make some statement about my experience of it. The result was the Overzero web site, built as a development beyond the perceptions and concepts which had been fueling my visual artworks. It was my attempt to make sense of the latter half of the twentieth century and its transition through into the twenty first.

The underlying concept was to blur the boundaries between actuality and possibility in order to present a hypothetical version of what might have happened. This is best explained in the title track of the first album, Beyond Nothing. "Clouds are gathering for the best of sunsets, both desolation and hope; it wasn't a game, there won't be a replay, this might have happened - this could be real". My having survived beyond a night in hospital when I had felt certain I was staring death in the face also influenced this album. There's nothing quite like seeing the morning sun after a night contemplating the dark void, to make one really appreciate being alive.

After finishing the first album I realised I had only just scratched the surface of Overzero and so, drawing on pieces from the web site, I began the second. Soon after beginning, I began reading the works of John Twelve Hawks and was immediately struck by the similarity between his preoccupations and my own. At the time I was working in a Community Technology College and couldn't help notice how its changes in policy and behaviour modification was echoing the pervasive way that structure and controls within society were becoming enhanced. Whilst on the one hand I was delighted to have found a kindred spirit, I was also simultaneously enraged that my earning a living depended on supporting a system I found abhorrent.

I needn't have worried about the conflict of interests. Half way through writing the fifth track, "Don't Worry About It", I was rushed to the country's leading neurological hospital for a series of emergency operations, with the result that I was no longer considered fit to continue in my job. It's no coincidence that the guitar solo on this track sounds like someone having a brainstorm. As I regained consciousness after the third operation, I once again saw my shadowy hooded friend at the foot of the bed, reading through my notes. "Oh, E before I, that's not what it says here. We can't action a request if there's even the slightest chance of a mistake. I'm awfully sorry to have alarmed you - until we meet again then..." With that, he left. Soon afterwards I was eased off the morphine.

Following my discharge from hospital, I had to make periodic returns to London for a series of consultant's appointments. This gave me a wonderful opportunity to rediscover the workings and feel of our capital city, thus giving the second album a direction and purpose. I felt a strong connection to JXIIH and the characters in his stories as I walked through areas he described so well, and enjoyed a wonderful sense of anonymity riding the tube - nobody wants to be seen staring at someone with a hole in his head! The final order of the tracks was determined by the way that best described my personal journey as an understanding of the time, beyond which lay the third album.

Aftershock is like rebounding through the looking glass. Initially I had tried to make sense of the twentieth century; on reflection, I found it made no sense whatsoever. Past, present and future had become as interchangeable as fact, fiction and propaganda. There were no absolutes any more, only a plethora of opinions all jostling to find their place on a sliding scale of validity. In a world where communications have taken on the same virtual quality as an act of faith, we are as free to define our own reality as a castaway adrift in an open boat. Living immersed in the collective imagination, our minds are prone to play tricks on us. Memories are no longer personal or provable; they have become the property of the consensus. Authority no longer needs to manipulate our perceptions - we do it to each other and ourselves. But just to be on the safe side, there has also been an alarming increase in the militarization of civilian life.

Time seemed to come full circle for me during the course of this album. Twenty years ago I began writing "Wings of Fire" after experiencing a feeling of dissociation while walking through Bloomsbury. It was as though I was invisible - just a disembodied spirit much like the Angel in the Wim Wenders film "Wings of Desire". After a reunion with some old friends this summer I walked back along the same route I had taken before and noticed a woman touching a commemorative plaque for those killed in the London bombings, just round the corner from where I too had contemplated the possibility of my own death and longed for solace. The rest of the song wrote itself after that. Time had passed. As the cover frames an album, so I had squared the circle.

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