INTRO
A tesseract, also known as a hypercube or 4-cube, is a four-dimensional analog of a cube, similar to how a cube is a three-dimensional extension of a square. It's a geometric shape with 16 vertices, 32 edges, 24 square faces, and 8 cubic cells.
Just as a square is defined by two dimensions (length and width) and a cube by three (length, width, and height), a tesseract exists in four spatial dimensions.
It can be visualized as a cube within a larger cube, with corresponding vertices connected by edges, similar to how a cube can be represented by two squares connected by lines.
Tesseract Part 1
Tesseract Part 2
The Synthesizer Revolution: A Journey Through the ’70s and ’80s
The 1970s and 1980s witnessed a seismic shift in the way music was imagined and created. Synthesizers, once the domain of laboratories and avant-garde composers, became the defining instruments of a new era — shaping genres, reinventing production, and expanding the emotional vocabulary of sound.
Early 1970s – The Foundations
1970–1973: Kraftwerk in Germany begin experimenting with minimal, metronomic rhythms and electronic timbres, laying the groundwork for synth-pop and techno.
Tangerine Dream and Klaus Schulze pioneer long-form, sequencer-driven cosmic music, blending Berlin School electronics with cinematic ambition.
Isao Tomita reimagines Debussy, Mussorgsky, and other classical composers entirely on synthesizers, proving the instrument’s orchestral potential.
Progressive rock bands like Yes (Rick Wakeman) and *Emerson, Lake & Palmer (Keith Emerson) introduce the Moog and other synths into rock stadiums, turning them into virtuoso instruments.
Genesis (Tony Banks) and Pink Floyd (Richard Wright) add lush, atmospheric synth textures to concept albums, showing how electronics can serve narrative and mood.
Mid-1970s – The Visionaries Emerge
1975–1976: Brian Eno formalizes the concept of ambient music, creating soundscapes for thought and reflection.
Mike Oldfield, already known for Tubular Bells (1973), begins integrating electronic textures with his multi-instrumental compositions.
Jean-Michel Jarre releases Oxygène (1976), a landmark in ambient electronic music — melodic, hypnotic, and vast in scope.
Late 1970s – Conceptual and Cinematic
1977: The Alan Parsons Project releases I Robot, blending progressive rock structure with synthesizer textures and thematic storytelling.
Vangelis shifts from prog rock roots into fully electronic composition, producing lush, emotive works like Spiral (1977).
Gary Numan and Tubeway Army bring synthesizers into pop charts with a futuristic, minimal sound.
Ultravox and OMD emerge, combining synth melodies with art-rock sensibilities.
Early 1980s – Mainstream Expansion
1980–1982: Synth-pop flourishes with Depeche Mode, OMD, Ultravox, and Gary Numan refining the electronic pop formula.
Vangelis composes the score for Chariots of Fire (1981) and Blade Runner (1982), merging electronic soundscapes with deep emotional resonance.
Jean-Michel Jarre follows with Magnetic Fields (1981) and monumental outdoor performances, making synthesizer concerts a global spectacle.
Mid to Late 1980s – Integration and Legacy
Synthesizers become standard in studio production, used by rock, pop, and classical crossover artists alike.
Alan Parsons Project continues releasing concept albums (Eye in the Sky, 1982) where synths blend seamlessly with orchestration.
Mike Oldfield incorporates Fairlight sampling and electronic rhythms into albums like Crises (1983).
The pioneering work of the ’70s and early ’80s lays the foundation for electronic film scoring, new age, trance, and ambient music that will dominate later decades.
The Legacy
This era’s artists proved that synthesizers could be more than novelty — they could tell stories, create worlds, and evoke emotion as powerfully as any traditional instrument.
From Jarre’s cosmic vistas to Vangelis’s symphonic drama, from Alan Parsons’s conceptual precision to Oldfield’s organic-electronic blend — and surrounded by innovators like Kraftwerk, Tangerine Dream, Eno, Wakeman, Emerson, Wright, Tomita, Schulze, Numan, Depeche Mode, OMD, and Ultravox — the synthesizer became the voice of a generation’s imagination.
This is my humble attempt to revive the spirit of that time with this concept album "Tesseract." The genius and quality of the music of my idols is unmatched, but please allow me a little nostalgia.
