Zanov, strongly influenced by his own scientific background, always attempted to connect some scientific concepts such as chaos theory, fractals and complexity theory with his music. Its influence appeared in 1977 while experimenting with some three counts patterns sequencers that changed almost unnoticed to four counts pattern sequences and reverse. This process made Zanov think of the Moebius endless loop which shifts unnoticed from one face to the other and appears as the album’s cover art.
“Moebius 256301” continues the soundscapes introduced on “Green Ray” with new melodic elements creating another immersive aural experience, this is its brief history. In December 1976 Zanov expanded his synthesizer set up with a new ARP2600 with sequencer. 1977 shaped up as a busy year expanding Zanov’s musical realm with a series of live performances and more instruments offering new musical possibilities. “An Zero” was the first composition completed for Moebius while preparing for his first live concert at the Paris Laser Olympia in March 1977.
After “Green Ray”, the record label requested shorter compositions to promote the album and from a dozen sound sketches only “Moebius 256301” and “Enygma” ended up on the album. During a live tour in June 1977 Zanov purchased the RMI Harmonic synthesiser used for the first time during the Paris Planetarium concerts which also inspired his personal favourite composition “Plenitude”, the only album track the RMI was used on. “Moebius 256301” was completed eventually at the end of 1977 setting the scene for more concerts in the following year and for the follow-up album “In Course of time”, but that’s another story... P.S. The 40th anniversary cd-release contains “Moebius 256” in its original long version as a bonus, for which Zanov applied both the EMS VCS3 and ARP 2600. Bert Strolenberg/SonicImmersion.org
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