Cecil Leuter / Georges Teperino ‎– TVMusic 103

TVMusic ‎– TVM 103
Vinyl, LP


A1 Cecil Leuter Video-Tronics N° 1 2:25
A2 Cecil Leuter Video-Tronics N° 2 2:13
A3 Cecil Leuter Video-Tronics N° 3 2:16
A4 Cecil Leuter Video-Tronics N° 4 2:00
A5 Cecil Leuter Video-Tronics N° 5 2:08
A6 Cecil Leuter Video-Tronics N° 6 2:10
A7 Cecil Leuter Video-Tronics N° 7 2:23
B1 Georges Teperino Hi-Tronics N° 1 2:20
B2 Georges Teperino Hi-Tronics N° 2 2:17
B3 Georges Teperino Hi-Tronics N° 3 2:02
B4 Georges Teperino Hi-Tronics N° 4 2:18
B5 Georges Teperino Hi-Tronics N° 5 2:02
B6 Georges Teperino Hi-Tronics N° 6 1:45
B7 Georges Teperino Hi-Tronics N° 7 2:00

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April 5, 2009
edited over 3 years ago

I think i'm not the only one who think that the 4 records belonging to Chappell TVMusic series are the Best Examples of Early Electronic Music made with analogue synthesizers fused with high skills of musique concrete manipulation.
Roger Roger with his alias "Cecil Leuter" and Georges Achille Teperino were widely so ahead into starting using new electronics and synths that soon they went under Chappel music publishing contract on early 1970, just after the first TVMusic 101 record was personally produced and by Roger and Teperino in their Studio Ganaro.
This means that the first volume of this newly created TVMusic serie was so hot and amazing that the Chappell Big heads just feeled the scent of surprise that was coming out of the tracks and soon they deicided to be the first up front on producing the authors for more records to come intyo background music business.
At that time there were only small number of person names in Europe nd UK pioonering electronic landscapes and our French collaborative Duo took soon the chance to experiment using preminently fresh equipment borrowed by ORTF and newly aquired EMS VCS3 e Synthi AKS.
Plus we should pin that they both were into adding new instruments technologies into usual orchestra sound since the 1963: the first with Ondes Martenot and Ondioline, the other with Sud American and African exotic instrumentation.

So the first TVM 101 is an acceptable introduction of this LPs serie, with a hint of concrete music details: a wide landscape of slow experimental spacey mood wich do not cross the extreme line, its ambiant is not on the further lps of the series and share similarities with Nardini's "Musique pour le futur".
The second TVM 102 offers us even a "similar electro like" noise weird session from the Teperino orchestra band: improvvisational pieces with bass and drums and wha-wha guitar wich resemble in their timbre the movement of some plastic synth soundings: these tracks, with a lot of silence belonging to "free jazz-like improvvisation", deliver sometimes a small amount of surface noise even in new well keeped vinyls and only TVM 102 Leuter track gives us fully electronic mood with drum machine and puzzling long sounds.
But fortunately Leuter and Teperino were pushing ahead the boundaries as the Seventies were rolling on.
The years between 1971 and 1975 were to be the most important for future Electronic
The collected soundings for the TVM 103 are kind of progressively atmospherical with a full emplyoment of such called "fast manipulating speed rate knobs": it is all made with master craftmanship witha strict sense of timing and timbre. With a lot of simultanous layering at different speed we have borderline experimentations and electronic opus miniatures, with a lot of extremely tripping surface sounds and with as many counterpoint noises of accellerations and decellerations as the synths VCS3 and Moog can give with his their versatility and a deep knowloedge of its functions and wide creative capabilities by the musicians.
These track shows with clarity that Teperino and Roger really knew how to manipulate all the new electronic instrumentation at the time with a strong mind pointed straight to the future with innovations, all topped with their fundamental classical orchestra training as composer and conductor, and among all, being themselves creative musicians.
So with this TVM 103 the ground was ready to be breaked and it really opens up the path for more extreme electronic experiments, coming further in TVM 104 record.
counting that here we have wide fast tempo with many carzy synth knobs twiddlig manipulation where high pitched sounds come to be stretched and cut where music need , the totality of tracks on both side deliver a strong omogeinity of intent and a very pleasant unity of purpose on listening from A side to B side, with a less noticeable deifferentiations between Teperino tracks and Leuter's ones: all of them go straight to speedy - groovy to enachanting industrial ambient, still fresh nowadays.
Instead on TVM 104 we have on side B a strong slice of remaining outtake tracks from this LP with side A having first 3 track filled with the sugary funkiness by Roger we know so well, plus the other following tracks do retain the same electro fully head on style made of multiple layers and aggressive percussions.
For example hear the first Teperino track, it is like an electronic Carnival or End of the Year Festival Parade made of fuzzing fast sounds wich overcome one to another to give a particular un-balanced feeling of happy destabilization .

All TVMusic 4 records can be easily considered the best example of early experimentation into the coming age of electronics, and widely still unsurpassed by most of their contemporaries.
I recognize that most of my beloved bands and electronica authors wouldn't be here if Roger andTeperino wouldn't have achieved such a great point into music history.

Go Get TVM !