Simo Lazarov, "UFO," 1981

Video: Bulgarian composer and keyboardist Simo Lazarov (Simon Lazar), performing his composition "UFO" in 1981. (via Mikael Jorgensen)

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9 Responses to “Simo Lazarov, "UFO," 1981”

  1. Rider says:

    This period has to the fast ever that things went from being cutting edge to dated instantly.   Kraftwerks Computer World suffers the same fate.  

    This stuff was so space age and advanced but now when I hear this stuff  it makes me thing of everything cheesy in the 80′s.  This stuff makes think of going to shopping malls looking at Casio keyboards and digital watches. 

    Not sure I can ever experience this stuff the way the artists originally intended. 

    •  Yeah, but today’s sound is so retro-fetishistic that sounding dated equates to sounding like might have been recorded yesterday. 

      • Andess7646 says:

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        This stuff was so space age and advanced but now when I hear this
        stuff  it makes me thing of everything cheesy in the 80′s.  This stuff
        makes think of going to shopping malls looking at Casio keyboards and
        digital watches.

    • John Blair says:

      But some of us *love* Casio keyboards and digital watches.

  2. niktemadur says:

    I’d like to think that it’s pronounced “ooh-fou”, instead of “you-eff-ou”.

  3. To Whom It May Concern,
                                             11th September 2004, Burghfield, READING Berks England,
    After investigating this sighting we no longer require reports of U.F.Os as the video evidence shows all we need to know,
    once again thank you all for your support,
    michael lewendon

  4. technogeekagain says:

    Remember, the reason some of the classics sound cliche’d is that they INVENTED the stylistic bits which were then over-quoted until they became cliches.

    Also remember the limitations of the time. To paraphrase Star Trek, he’s performing this on “stone knives and bearskins” compared to modern equipment. At that time, getting anything credibly musical out of a synth was somewhat remarkable.

    And styles change, both to accomodate the limitations of the instruments available and to reflect shifts in public taste.

    I had occasion to work with that generation of equipment, so I have no trouble listening to it with an appropriately calibrated ear and appreciating it for what it is… just as I can also listen to harpsichord without complaining about its limitations versus piano. Just as I can listen to a less-than-perfect amateur performance; I can hear and appreciate what they’re *trying* to do even if they aren’t quite getting there.

    On the other hand, one should remember Sturgeon’s Law and recall that a lot of cultural material has been forgotten because it wasn’t worth remembering. And that there’s no arguing of tastes.

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