This past week I was bitten by the avant garde bug and dropped a few hundred on all the milestone recordings I had read about in my travels. It was excellent timing as I was surprised along the way when several rare but essential discs landed at my local antique mall and at the outstanding record shop in my old home town.
Morton Subotnick – Silver Apples of the Moon (1967)
This was one of the first early electronic records I heard back in college and I suddenly decided that I needed it and everything like it. At that point the only New Music recordings in my library were Charles Dodge – Earth’s Magnetic Field and a few works by John Cage.
Morton Subotnick – A Sky of Cloudless Sulphur (1980)
While youtube browsing Subotnick’s other recordings I found “A Sky of Cloudless Sulphur” which is a virtual assault on your table’s cartridge. It’s a ceaseless rapid-fire onslaught of quick, staccato mechanical tones described as “a ghost score – gesture sketches on magnetic tape.” This beautiful disc turned up at the antique mall that very weekend beside a selection of John Cage and Iannis Xenakis works and I snatched it up instantly.
Steve Reich – Music for 18 Musicians (1974)
This album goes without saying. It is one of the most widely recognized minimalist pieces, on par with Riley’s In C from 1968.
Electronic Music Winners – First Recordings of the League of Composers – ISCM International Competition (1976)
(From the cover: ) In the autumn of 1974, the League of Composers-International Society for Contemporary Music organized an International Electronic Music Competition, the first undertaken by the organization. Tapes of electronic music compositions were solicited from the composers and electronic music studios all over the world. A distinguished panel agreed to select the winners.
When I dug deeper for information I discovered that parts of the Lansky and Krieger pieces were sampled by Radiohead in “Idioteque” on Kid A!
The Electrosoniks – Electronic Music: A New Concept of Music Created by Sonic Vibrations (1962 PROMO Stereo)
This is the single most phenomenal experimental work I’ve ever encountered in my travels. It has everything – glorious explorations of bizarre, alien noise and free jazz (such as “Twilight Ozone”), Cage-like treated piano works (particularly the finale, “Pianoforte,”) and hints of synthesized melody that recalls the short “bleep bloop” playfulness of Perrey and Kingsley. It’s out there, but enjoyable at the same time. The only copies I found online were listed at over $200 but I happily swung this clean promo from an antique dealer’s collection for $30.
When I got it home and dropped the needle on it for the first time I discovered something even more exciting. As the second track, “Moon Maid” began I found myself singing “The Martian Hop” by The Ran-Dells. I stopped the record and cued up the novelty hit and sure enough, the entire opening of the song was lifted directly from the first thirty seconds of “Moon Maid.” I scoured the internet, the Wikipedia and the Ran-Dells official webpage and it appears that for the last 50 years the sample has been credited to the Ran-Dells as “the first pop record to use additive synthesis from sine wave generators.” I promptly revised the Wikipedia entry to acknowledge the work of Tom Dissevelt and Dick Raaymakers, (aka Kid Baltan) – The Electrosoniks!
Stockhausen: Electronic Music – Gesang der Junglinge & Kontakte (1962)
Produced by the electronic studios of West German Radio, Cologne, 1962
When I walked into my hometown’s finest record shop and inquired about Stockhausen, the owner turned to me and asked, “Do you have any yet?”
I confessed that I didn’t.
It was like a red alert went off. He looked up and called out, “Hey, he doesn’t know Stockhausen! Get the West German Radio Recordings!”
As I prefer strange electronic sounds I remembered Kontakte and Gesang der Junglinge being two memorable tracks from youtube and the 75 LP-rip megatorrent I picked up of his work. This was an original German pressing in unplayed condition so I didn’t pass it up!
The Copper Plated Integrated Circuit: Plugged in Pop (1969)
This was a novelty recording produced by Sear Music Productions, Inc and released on the Command label. I already own Dick Hyman’s Age of Electronicus and Electric Eclectics (both released that same year on Command) so I trusted that the label wouldn’t let me down.
Can – Tago Mago 2LP (1971)
Limited edition heavy colored wax reissue on United Artists. One of Can’s most experimental adventures. “Peking O” is a wild standout track.
Can – Future Days (1973)
Limited edition reissue on colored wax
Here Can journeys into proto-ambient territory with a lengthy and memorable title track. This is the album that introduced me to Can.
Can – Peel Sessions 2LP (recorded 1973 – 1975)
Ltd edition colored vinyl reissue
These improvised recordings from John Peel’s studio are affectionately referred to as “the lost Can album.” Thank you, John Peel for the hundredth time.
Can – Ege Bamyasi (1972)
Yet another limited colored vinyl reissue
Features “Vitamin C” and “Spoon,” which I believe are some of their most famous tracks.
Each of the Can reissues are out of print but I was able to pick them all up at once from a single seller, each at cost and all with free shipping! You can’t pass up an offer like that.
Terry Riley – A Rainbow in Curved Air (1972)
Spectacular melodic ambient minimalism. Each track is a side-long. Side B, “Poppy Nogood and the Phantom Band” has turned up on a number of psychedelic compilations.
Perrey-Kingsley – The In Sound From Way Out!: Electronic Pop Music of the Future (1966)
As soon as this appeared on my record shop’s Facebook page I raced to the phone and asked them to hold it for me. It actually came in with a pile of early synth albums.
The In Sound is officially the first electronic pop recording. (1966) If you liked the humor and fun of Raymond Scott’s Manhattan Research, Inc you’ll LOVE Perrey & Kingsley.
There is a compilation set called The Out Sound From Way In which is much easier to come by, and it includes Moog Indigo which features the classic synth track, “E.V.A.”
The Amazing New Electronic Pop Sound Of Jean Jacques Perrey (1968)
This was right behind The In Sound and I wasn’t about to miss my chance to take them both home. Again Discogs currently lists copies of this album for $53 but I got both titles for a total of $35. Even better, the money went to support my favorite record store.
Spooky Tooth / Pierre Henry – Ceremony: An Electronic Mass (1969)
While digging for avant garde albums the store owners handed me this gem and said they were confident I’d be taking it home. They were right. They explained that this collaboration ended the career of Spooky Tooth. It is, indeed, OUT THERE.
And finally, right up there with The Electrosoniks for explorations of the bizarre, I ordered this last but critically essential album.
Louis And Bebe Barron – Forbidden Planet (1956) – 2012 National Record Store Day green vinyl ltd ed reissue
After previewing just the first minute online and reading that it was the first completely electronic score ever produced for a film, I just had to have Louis And Bebe Barron – Forbidden Planet (1956). The original pressing was limited and most copies were signed by the musicians. I quickly learned that the 2012 reissue reportedly cleaned up much of the surface noise that was experienced with the original PLANET label pressing. To my surprise the copy I picked up turned out to be the limited edition 2012 transparent green Record Store Day issue; only 500 copies worldwide!
These eighteen classics are a wonderful start to my experimental music collection. My new McIntosh pre-amp and power amp will arrive soon, and I’ll be sure to post an update testing my finest LPs with my new Ortofon 2M Red.
The Innerspace Connection 