I'll have to differ on the 'TD rarely used different time signatures' there Peter. CF is on record saying he liked using 5/4 and 7/8 etc etc against more standard stuff for sequences throughout the 80s (I seem to remember that Mojave Plan is in 5/4). BUT....Michael's stuff still sounds unique today.Peter Beasley wrote:It's probably difficult for some new, young listeners to appreciate 70s electronic music like 'Departure From The Northern Wasteland', which was made before fully polyphonic programmable synthesizers and digital equipment was around.
To appreciate Hoenig, especially 'DFTNW', it helps if you're into rhythm patterns. One of Hoenig's skills is integrating sequencer patterns of different time signatures (something that TD have rarely done in the same way, e.g. a 15 step pattern combined with a 16 step pattern). There's a strong influence of minimalist composers like Philip Glass and Steve Reich in Hoenig's work.
One of the most sublime parts on 'DFTNW' is towards the end of the title track when two synchronized rhythms gradually drift apart and then move back in sync again. Wonderful.
And listen to the meticulously structured lead solo on 'Hanging Garden Transfer' - pure jazz, such expression.
If people would like to checkout different length sequences playing against longer or shorter sequences then they don't have to look further than Klaus Schulze. I'd hazard a guess that Klaus hit upon this as he needed to have a sequence play behind his soloing with little or no input from him during the gig (only TD had the luxury of 3 people with modulars and sequencers...plus the even more handy 6 hands to control them in real time), so that's why Klaus uses a 8 note sequence with a 7 step VCF sequence for example. You can make a long piece of music with quite simple sequences. Above and beyond that, it's just sounds good
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That came out in 1978 David 
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