วีดีโอ

26:45

👽 💯

Et dire que j’étais à l’enregistrement

Great Electro acoustic work... the best i have heard..!

I studied piano with Emerson Meyers at the time he released this album. Even today, hearing the words "move him into the sun, gently" (beginning around 6:45) gives me an unsettling feeling. Fantastic step forward in what we thought music could be.

Intrada "Calls", Tornado, Tides

Fue una época donde experimentó con el sintetizador Buckla en el CENIDIM de Bellas Artes.

Hello

Amazing, trippy music

Atmospheric and ethereal.

Y, de pronto, jazz desatado, magnífico.

O rock progresivo (que se decía) por momentos; pero en cualquier caso, y fuera de etiquetas, una maravilla de álbum.

Aunque sería más correcto decir una obra maestra de la música electroacústica.

He aquí una obra maestra de la música electrónica.

Never will forget the performance of Totentanz, the ballet, which was performed.by Carlos Caravajal's Dance Specrum in Grace Cathedral in San Francisco and set to this music. The Spanish medieval dance of Death, and done in what a setting!

th-cam.com/video/G9KnYEYahRc/w-d-xo.html

The original 1977 pressing was advertised in the back of Hit Parader or one of those magazines. Supposedly "almost illegal" and "mind altering" etc. as I remember

Overwhelming and transcendent in its stark simplicity and spatial placements. Listen when you're really stoned.

I cannot imagine what it would have been like hearing this in 1969. That's over half a fricken century ago.

Waay ahead of their time....this music is a masterpiece!

I was 12 when I first heard this music. I am now 75 years old. It was interesting to hear it again and bring me back all of those years, at a time, for some reason, when I appreciated this music.

airballllllll

🌹

I absolutely love this.

Exceptionally good..atmospheric.

proto-Autechre Adventure Time

I studied Renaissance counterpoint with Michael Czajkowski at Juilliard in 1973-74. He was an inspired teacher. Regularly wore dapper, doubled-breasted suits to class.

thanks Dom. 🎉

what a bullshit is this

I know that rumor has it that only 20 copies of Greek Electronic Music Vol 1 were sold and the rest were destroyed. But is it really so ? Look at the Discogs platform for it.

7:08

Are Head and Numbers actually different in any way?

20:15

❤

I have also loved this album for years ❤

It''s not his first record, though. Although the original "Party" record (1953) is impossible to find at all. It doesn't really matter, though: it's a pretty unsignificant work of musique concrete by a student. I bought ten copies of this 1975 album from Proprius at original list price sometime around 1990 to keep two for myself and give the rest to friends. "Predestination" is the best electroacoustic album to come out of Sweden and in terms of raw expression and magic it puts all of the masters of the Düsseldorf school to shame. It's Lindblad's absolute prime.

santo que hermoso

I already knew Labat from his involvement on the first Utopia album and the 1973 album he did on Bearsville. I never realized he released any more albums after he left Utopia.

one of the greatest compilations in this "genre" i've heard

Fascinating and mysterious sounds and thoughts. Love it!

Tell me more about this... I'm amazed! Leave me some informations & if you like,contact me. Im a fan of electronic rock music & experimental sounds. I was doing similar work with my Korg Poli Six,my Yamaha PRT 1000 and some effects years ago. Nice to know that there are other musicians that dont do it for money. Its all about the world of sounds,isnt it? Cool video...hell of a work i guess!🧔🏼😎😊🎉😂❤🤗

amazing.

iconic piece

Wow, merci!

Speechless ! !!

Rest in peace Harry Gilbert Trythall Jr.

very nice. these closely miked mouth noises (is he using a gasmask?) sounds like something aaron dilloway would do

I bought this back when it came out and still have it.

muy bueno

I was fortunate enough to study composition and, later, the Moog synth with William Hoskins in that same Jacksonville University Fine Arta Electronic Music Studio beginning in 1979 when he kindly helped me fix the construction of the awful cello concerto I timidly showed him. He later gave me an autographed copy of this very LP when it came out along with a kind dedication and memento of our sessions together. I listened to it for years afterward and then finally found it on CD from Mimaroglu Music. As a result of my association with Hoskins, I was also lucky enough to Meet Bob Moog and his family when Bob came through in 1980 to perform one of his periodic synth inspection/consultations with Professor Hoskins who, himself, was *incandescently brilliant* and humorous and knowledgeable to an amazing degree about an astounding variety of subject areas besides music - and he was in fact a fine composer. William Hoskins was also very much a DIY sort of fellow. The JU EM studio (as we called it) was tricked out with all manner of objects and devices that Hoskins had built himself to facilitate the student's work in the studio. From custom-made plywood patch cord trees on mike stands, to tons of patch cords he made himself, to his own home-made ribbon controller and telegraph key. I think he also built his own mixer. The EM Studio at the time was further equipped with a 4-track, a 2-track, and a mono Ampeg tape deck that we often used for making tape loops. The EM studio also had an Elka string synth, a MiniMoog, some excellent Klipsch speakers, and a rickety old upright piano crammed in the corner by the few student desks which could manage to also fit in that cramped corner studio space upstairs in the Fine Arts building at JU. Hoskins also had an even larger studio and Modular Moog synth installed at his house as well - and that's where this recording was made. His knowledge of synthesis in general and the Modular Moog synthesizer in particular was Galactic. In a lesson I once saw him set up a really complicated patch on the Moog and then when he hit the home-made keyboard and didn't hear *precisely* what he expected to hear, he ran his eyes over the patch real quick making sure that the levels were correct and such, then he squeezed into the very cramped space behind the synth and pulled out a specific board and peerer carefully at it. He said, "Just as I thought, got a few smoked components there. I wonder when *that* happened. I'll have to replace it". Then he re-routed the patch around the bad component and got the sound he was after in short order. You can also get a good idea of him from his lively response to an article in the Journal Of Music Theory from 1959: libgen.li/ads.php?md5=3da4bbcb8209d51ddd0a0e7c471f6716&downloadname=10.2307/843006 I admired William Hoskins very much, and I will always appreciate his frightfully vast knowledge of the world in and around music, and his kindness in freely sharing it with me.