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- Albums and Singles
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- Albums and Singles
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- Albums and Singles
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- Albums and Singles
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- Albums and Singles
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- Albums and Singles
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- Albums and Singles
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- Brume - Faction 2
- Brume - Faction 4
- Artificial Memory Trace - Telegram I (part 3)
- Artificial Memory Trace - Telegram II (part 5)
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Taking the low-end route, the album's first tracks feaure nearly subsonic rumblings from Kristian while Shalabi and St-Onge — on oud and upright bass, respectively — are almost having a contest to see who can out-quiet each other while still tactfully coloring the music. Continuing on, the electronics seem to shift into a more vibrant mode, taking center attention as opposed to underscore, with a repetitious crescendo, almost like waves crashing while the stringed players do their best to keep up. This stops for a bit while the electronics take the wheel completely, but it soon returns to a clearly observable interactive trio, as the stringed instruments are bowed and plucked while the electronics return to a grumbling sub-bass hum. Fans of improv and Shalabi Effect, Kristian or St-Onge's stuff will most likely have this record already but those new to the scene wouldn't suffer having this in their collection.
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Long before children of the '70s and '80s were blipping and bleeping on laptops in the '90s, people were building large walls of gear just to create the simplest electronic melodies. While many contemporaries were experimenting with music concrète, Raymond Scott was making a commercially viable living composing music for advertisements and short films, along with manufacturing equipment like custom doorbells, telephone rings, burglar alarms and ambulance sirens.
Collected on this 2xCD set issued last year from Holland is over two hours of incredible music — most never before available to the public — including many commercials, short film scores and collaborations with muppetteer Jim Henson. It's simply amazing to think that melodies here from the 1950s and 1960s are almost exactly replicated by folks like Microstoria decades later. Scott wasn't about making random noises, however, he was a true composer, a bandleader, a pianist, electronic engineer, inventor and entrepreneur. The set takes the form of a hard-cover book, including many old photos of various setups, device diagrams, and interviews with folks like Robert Moog and Scott's third wife, Mitzi. Modern electronic music fans need to educate themselves on stuff like this before they jump down somebody's throat who finds their biggest idols derivative.
 
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