Flangers and equalizer effects are applied, not like the overexcited tantrums of a modern DJ, but rather methodically and with deep feeling, changing the texture of entire passages, as if we are gently passing from a radio show through a train tunnel back to a great concert hall.In the interview, Baldelli emphasizes playing diverse selections of classical, African and Brazilian folk, and synth-pop at improper speeds, mixed with effects and drum machines: To explain to you what I was doing… For example, I used to play bolero by Ravel, and on top of this I would play an African song by Africa Djola, or maybe an electronic tune by Steve Reich, with which I would mix a Malinké chant from New Guinea(sic).
Or, I would mix T-Connection with a song by Moebius and Rodelius, adding the hypnotic-tribal Izitso album of Cat Stevens, and then Lee Ritenour, but also Depeche Mode at 33 instead of 45, or a reggae voice by Yellowman at 45 instead of 33.
I would also use synthesizer effects on the voices of Miriam Makeba, Jorge Ben, or Fela Kuti, or I would play the Oriental melodies of Ofra Haza or Sheila Chandra with the electronic sounds of the German label SKY.Cosmic music has been cited as a "touchstone" for contemporary "space disco" artists like Lindstrøm collaborator Prins Thomas and Andy Meecham of Chicken Lips.
[28] In 1983, after hearing the music in Italy, Austrian DJ Enne and Stefan "Cosmic-Dieter-Bohlen" Egger brought it to the club Galaxy in Innsbruck, Austria, and at some point introduced it to German audiences while on tour.
His style, once dubbed "Eben cosmic music" by Hannes Alshut & Rob Neureiter,[citation needed] remains popular in Austria and Southern Germany to the present day.
[29] Afro/Cosmic music has been associated with iconic disco clubs in Lombardy (Northern Italy) and had relevant impact on the sub-culture of teenagers and young adults until the early 2010s.