|Produced by Takayo Nanri|
|Released on 1979|
|no chart information|
|Find it at GEMM|
[high resolution scan]
I magine vintage TD (c. mid to late 1970s) filtered through a Japanese lens and sealed in space in a synthetic Jarre, and you’d arrive at Oasis. Kitaro draws heavily from the explorations of past space pioneers—TD, Jarre, Cluster, Vangelis—and gives them an Oriental, Om-like twist. As with the best of Jean-Michel Jarre, the sounds are simple and evocative: the ripple of water, the whoosh of invisible space currents, the light of a thousand stars and the beating of a single heart. In this tapestry of electronic sounds, Kitaro weaves in acoustic guitar, timpani, the sounds of bells and native stringed instruments. The result is a smooth and soothing journey of sound and space. Kitaro has clearly studied the new electronic masters, so it’s not surprising to find elements of Klaus Schulze and Pink Floyd in the details. Whether it’s a case of drawing from the same inspired well or studied flattery, I couldn’t say. However, I will tell you that I took an instant shining to Oasis, a reaction I also had to the contemporaneous Stuntman from Edgar Froese. While tracks from Oasis have been included on various compilations (“Oasis,” “Morning Prayer”), the album doesn’t really shake out like that. It’s a series of vignettes stitched together, warm glow yielding to cold space, tunneling one moment, floating the next. Personally, I’m partial to the electronic music of the late ‘70s: Force Majeure, Equinoxe, China, Grosses Wasser. If those albums elicit a leap in your heart, add Oasis to your electronic itinerary.
KITARO -- Korg, Roland and Yamaha synthesizers, acoustic guitar, percussion, engineer, mixing
Takeo Akiyama -- mixing
Kimio Ariumi -- executive producer
Manfred Manke -- design
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