The Crystal Method album has a couple of great ones that I love. Especially Busy Child, which is great. And a couple others like Trip Like I Do., although the version on the Spawn soundtrack adds a vocalist, the guy from the 90's alternative band Filter. And it's great. The whole Spawn album is fantastic. I also like The Crystal Method next album after this one, Tweekend. And also one called Legion of Boom is alright.
I'll have to check out those next couple albums. Busy Child and Trip Like I Do are fantastic. I also really like the track High Roller. The rest is pretty above average.
RoundTheBendI miss the comfort in being sadProfile Ground Control
Haha, I don't know if the "Soothing Sounds for Baby" albums ever actually worked, you'll have to tell me if your boy responded to it at all.
As to what I like about those albums;
Raymond Scott- A fun album that pushed electronic music away from the avant-garde and towards a pop sensibility. (Although that wasn't necessarily the intention). The first track is stunning. Scott also made his own instruments.
Terry Reilly- I went on a Terry Reilly crusade about 2 years ago and listened to at least 10 of his albums. This one is probably my favorite, but I'll have to give that thing that Tap mentioned a listen.
Henry Flynt- A really interesting person who made some bonkers music with the violin and other instruments. Trance-like, minimal stuff.
Joe Meek- Wrote hits for other artists and made a lot of his own instruments and studio trickery like Scott. "Telstar" is his best known hit, but this album focuses on some of his weirder stuff from the early 60s.
Ussachevsky, Luening, Dockstader, Parmegiani- Need the musique concrete and tape music represented, and it's hard to find better than these dudes. They were crucial in the evolution of electronic music.
Laurie Spiegel- Sounds like what I wish the soundtrack to my life on a distant planet would be.
People Like Us- Plunderphonics and Collage music deserve to be mentioned as well, and I really like this album. Almost as much as I like The Avalanches.
Ramleh- Power Electronics should also be included for at least one spot, and this album is one of the more accessible releases in that genre to me.
Thanks for the recap.
My only experience with musique concrete is with The Beatles. What do you recommend doing to understand/get into it? I suppose reading about it is obvious.
I think it's rad that early (even current) electronic artists often literally create their own instruments or sounds, etc. I don't know all the technical terms - but it's like they created the sound from scratch.
It's like early painters... they had to make their own materials to paint with/on.
Haha, I don't know if the "Soothing Sounds for Baby" albums ever actually worked, you'll have to tell me if your boy responded to it at all.
As to what I like about those albums;
Raymond Scott- A fun album that pushed electronic music away from the avant-garde and towards a pop sensibility. (Although that wasn't necessarily the intention). The first track is stunning. Scott also made his own instruments.
Terry Reilly- I went on a Terry Reilly crusade about 2 years ago and listened to at least 10 of his albums. This one is probably my favorite, but I'll have to give that thing that Tap mentioned a listen.
Henry Flynt- A really interesting person who made some bonkers music with the violin and other instruments. Trance-like, minimal stuff.
Joe Meek- Wrote hits for other artists and made a lot of his own instruments and studio trickery like Scott. "Telstar" is his best known hit, but this album focuses on some of his weirder stuff from the early 60s.
Ussachevsky, Luening, Dockstader, Parmegiani- Need the musique concrete and tape music represented, and it's hard to find better than these dudes. They were crucial in the evolution of electronic music.
Laurie Spiegel- Sounds like what I wish the soundtrack to my life on a distant planet would be.
People Like Us- Plunderphonics and Collage music deserve to be mentioned as well, and I really like this album. Almost as much as I like The Avalanches.
Ramleh- Power Electronics should also be included for at least one spot, and this album is one of the more accessible releases in that genre to me.
Thanks for the recap.
My only experience with musique concrete is with The Beatles. What do you recommend doing to understand/get into it? I suppose reading about it is obvious.
I think it's rad that early (even current) electronic artists often literally create their own instruments or sounds, etc. I don't know all the technical terms - but it's like they created the sound from scratch.
It's like early painters... they had to make their own materials to paint with/on.
I suppose you mean Revolution 9? Yikes.
It's like a kid trying to eat vegetables. You're going to hate it the first several times, but it will (maybe) eventually be OK.. The hard thing with musique concrete is that there is really no "soft entry" point. Meaning that there is very little accessibility for most people. Whether you can listen to frantic bleeps and bloops for 30 to 40 minutes is up to you. I hated John Cage and the like when I first heard it. But as I kept listening I found myself entranced with the delicacy and coldness of the music (that's kind of a weird way to describe it). Reading about it helps, but it's really just a case of familiarizing yourself with something foreign until it either becomes acceptable or incompatible.
musique concrete is sort of confusing to me as far as the definition goes, like RYM says "Musique concrète makes the attempt to create music while relying mainly on environmental/real-world sounds and noises, though it can also use recordings of human voice and various instruments", but then I've also seen purely synthetic music that is focused on timbre get called musique concrete, and that makes sense to me too. but yeah, it can take a lot of different forms. I'd say probably the best ways in are stuff where the distinction with electro-acoustic is ambiguous and so they get called both, like Parmegiani - De Natura Sonorum or Michel Chion - Requiem. like it seems as though the really amazing stuff that people are babies about will just get called musique concrete alone, like Andre Almuro - Kosmos/Musiques Experimentales. but yeah there's a lot of stuff where I'm not sure, like with Ghedalia Tazartes - Diasporas, or this Francoise Barriere piece https://www.youtube.com/watch?v=aleg4pLgW00
I had a buddy give me this on Super Audio CD. First time I even knew it existed. I came to really like quite a bit of this album.
Trance is one of my least favorite genres, except for this really good album by Paul Van Dyk. I think it's the only trance album in my charts. And I ranked it pretty highly too. It came out way back in 2000, and if I played it now I'm sure I would still find it awesome.
Haha, I don't know if the "Soothing Sounds for Baby" albums ever actually worked, you'll have to tell me if your boy responded to it at all.
As to what I like about those albums;
Raymond Scott- A fun album that pushed electronic music away from the avant-garde and towards a pop sensibility. (Although that wasn't necessarily the intention). The first track is stunning. Scott also made his own instruments.
Terry Reilly- I went on a Terry Reilly crusade about 2 years ago and listened to at least 10 of his albums. This one is probably my favorite, but I'll have to give that thing that Tap mentioned a listen.
Henry Flynt- A really interesting person who made some bonkers music with the violin and other instruments. Trance-like, minimal stuff.
Joe Meek- Wrote hits for other artists and made a lot of his own instruments and studio trickery like Scott. "Telstar" is his best known hit, but this album focuses on some of his weirder stuff from the early 60s.
Ussachevsky, Luening, Dockstader, Parmegiani- Need the musique concrete and tape music represented, and it's hard to find better than these dudes. They were crucial in the evolution of electronic music.
Laurie Spiegel- Sounds like what I wish the soundtrack to my life on a distant planet would be.
People Like Us- Plunderphonics and Collage music deserve to be mentioned as well, and I really like this album. Almost as much as I like The Avalanches.
Ramleh- Power Electronics should also be included for at least one spot, and this album is one of the more accessible releases in that genre to me.
A Rainbow in Curved Air was one of those albums that I heard about all my life but never really listened to it until about a year ago. I thought for sure it would just be something I thought was interesting but not really enjoy. But I was wrong cuz I really enjoyed it also. I only listened to one other of his albums since then, and I like that one too.
music for the gift/bird of paradise is really amazing but also doesn't sound like his other stuff and is basically plunderphonics recorded in 1962/65 but when he took this to the labels they were like "uh no thanks" so it didn't come out until 2000
musique concrete is sort of confusing to me as far as the definition goes, like RYM says "Musique concrète makes the attempt to create music while relying mainly on environmental/real-world sounds and noises, though it can also use recordings of human voice and various instruments", but then I've also seen purely synthetic music that is focused on timbre get called musique concrete, and that makes sense to me too. but yeah, it can take a lot of different forms. I'd say probably the best ways in are stuff where the distinction with electro-acoustic is ambiguous and so they get called both, like Parmegiani - De Natura Sonorum or Michel Chion - Requiem. like it seems as though the really amazing stuff that people are babies about will just get called musique concrete alone, like Andre Almuro - Kosmos/Musiques Experimentales.
I believe musique concrete is primarily the manipulation of tape and other recordings -- both "real-world" sounds and music. It seems like it can be also be some other electronically-derived music, but I imagine that's limited to only certain kinds of early electronic music.
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