Klaus Schulze was a German composer and musician, a pioneer in electronic music. Briefly a member of the Krautrock bands Tangerine Dream, Ash Ra Tempel, and the Cosmic Jokers he launched a solo career consisting of more than 60 albums.Continue reading
Richard H. Kirk was an English musician working within electronic music. With Cabaret Voltaire, he released compositions such as “Nag Nag Nag” (1979).
Jan Boerman was a Dutch composer active in electronic music when it was still an affair of room-filling electronic machines.
Much of that music is also called ‘acousmatic’ and I suspect that this “Alchemie” (1961) composition by Boerman also falls under that label.
If you like “Alchemie”, be sure to check out Bernard Parmegiani’s masterpiece “De Natura Sonorum” (1975).
I guess I first stumbled upon Silver Apples when I bought the Underground Moderne cd by Nova Records. It had the track “Gypsy Love” on it, and I always skipped it. Silver Apples were undeniably of great influence, but none of their records would end up in my desert island selection.
Of interest in my book is the connection of Kraftwerk to Afro-American music as noted in “Planet Rock”.
Jon Savage noted in his piece “Machine Soul: A History Of Techno” (1993) that:
“In 1981, Bambaataa and the Soulsonic Force, together with producer Arthur Baker, paid tribute [to Kraftwerk with] “Planet Rock,” which used the melody from “Trans-Europe Express” over the rhythm from “Numbers.” In the process they created electro and moved rap out of the Sugarhill age.”
Simon Reynolds in Energy Flash (1998) similarly remarked:
“In New York, the German band almost single-handedly sired the electro movement: Afrika Bambaataa and Soulsonic Force’s 1982 smash “Planet Rock” stole its doomy melody from “Trans-Europe Express” and its beatbox rhythm from Kraftwerk’s 1981 track “Numbers.””–Generation Ecstasy (1998) by Simon Reynolds
Apparently, none of Kraftwerk’s material was actually sampled, all was emulated.
André Stordeur was a Belgian musician.
To be honest, I’d never heard of Stordeur.
He did the soundtrack to Office Baroque (1977) but that’s not on YouTube.
There is, however, a fine selection of his recordings by Sub Rosa Records on YouTube.
Once again it is clear that electronic popular music (Telex) and electronic art music (Stordeur) are miles apart. That there is no overlap in audience nor in historiography between the likes of art music electronic music practitioners such as Stordeur and counterparts such as Telex who work in the popular idiom.
This has happened seven years ago but even Wikipedia only noticed it in 2018.
Personally, I only noticed it today.
Ruth White (1925 – 2013) was an American composer noted for her work in early electronic music.
Of interest to me is her 1969 Baudelaire album, on which she reads 10 poems from The Flowers of Evil. This is really bizarre and reading her liner notes makes the experience only weirder. “The Litanies of Satan” is one of the poems that got him in to trouble.
This happened last week.
He is known for singing compositions such as “Der Mussolini” (1981). This song, together with “Los Niños del Parque” (1981) by Liaisons Dangereuses and “Numbers” (1981) by Kraftwerk put Germany on the map in black America and the dance music world.
If you listen to the full Alles ist gut album where “Der Mussolini” comes from, you cannot help but wonder if D.A.F. listened to Suicide. The sighing voice on “Mein Herz Macht Bum” would give them away.
Charles Wuorinen was an American composer.
He is best-known for Time’s Encomium (1969), his electronic piece.