Partendo dallo spunto polemico di Stewart Home contro Karlheinz Stockhausen, il brano sviluppa una parodia del noto brano elettroacustico Helikopter Streichquartett del compositore tedesco. La polemica è contro la cultura "alta" o "seria" e contro le dichiarazioni da parte di Stockhausen di essere ispirato da entità superiori. Per questo motivo la seconda parte del brano si trasforma in una sorta di beffarda adorazione del divino "Karlheinz". Questo pezzo è parte della produzione del MAV (Movimento per l'Arte Vaporizzata).
Starting from Stewart Home’s polemical cue against Karlheinz Stockhausen, the piece develops a parody of the famous electro-acoustic track “Helikopter Streichquartett” by the German composer. The controversy is against “high” or “serious” culture and against Stockhausen’s assertion of being inspired by supernatural beings. For this reason the second part of the song turns into a sort of mocking adoration of the “divine Karlheinz”. This piece is part of MAV (“Movimento per l’Arte vaporizzata” or “Vaporized Arts Movement”) production.
Starting from Stewart Home’s polemical cue against Karlheinz Stockhausen, the piece develops a parody of the famous electro-acoustic track “Helikopter Streichquartett” by the German composer. The controversy is against “high” or “serious” culture and against Stockhausen’s assertion of being inspired by supernatural beings. For this reason the second part of the song turns into a sort of mocking adoration of the “divine Karlheinz”. This piece is part of MAV (“Movimento per l’Arte vaporizzata” or “Vaporized Arts Movement”) production.
This sound construction has a very poor value, and the well-known composition by Karlheinz Stockhausen which we have parodied, has even less value
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