Various ‎– OHM: The Early Gurus Of Electronic Music



Clara Rockmore Tchaikovsky: Valse Sentimentale 2:08
Olivier Messiaen Oraison 7:42
Pierre Schaeffer Etude Aux Chemins De Fer 2:50
John Cage Williams Mix 5:42
Herbert Eimert & Robert Beyer Klangstudie II 4:27
Otto Luening Low Speed 3:40
Hugh Le Caine Dripsody 1:26
Louis And Bebe Barron Main Title From Forbidden Planet 2:19
Oskar Sala Concertando Rubato From Electronische Tanzsuite 3:07
Edgard Varèse Poeme Electronique 8:00
Richard Maxfield Sine Music (A Swarm Of Butterflies Encountered Over The Ocean) 6:00
Tod Dockstader Apocalypse – Part 2 2:01
Karlheinz Stockhausen Kontakte (Edit) 6:20
Vladimir Ussachevsky Wireless Fantasy 4:35
Milton Babbitt Philomel (Edit) 4:57
MEV* Spacecraft (Edit) 6:06
Raymond Scott Cindy Electronium 1:55
Steve Reich Pendulum Music 5:52
Pauline Oliveros Bye Bye Butterfly 8:02
Joji Yuasa Projection Esemplastic For White Noise 7:36
Morton Subotnick Silver Apples Of The Moon, Part 1 (Edit) 4:20
David Tudor Rainforest Version 1 (Edit) 5:09
Terry Riley Poppy Nogood (Edit) 7:55
Holger Czukay Boat-Woman-Song (Edit) 5:01
Luc Ferrari Music Promenade (Edit) 7:00
François Bayle Rosace 3 From Vibrations Composées 3:19
Jean-Claude Risset Mutations (Edit) 4:55
Iannis Xenakis Hibiki-Hana-Ma (Edit) 4:39
La Monte Young Excerpt "31|69 C. 12:17:22-12:25:33 PM NYC" From: Drift Study "31|69 C. 12:17:33-12:24:33 PM NYC" From: Map Of 49's Dream The Two Systems Of Eleven Sets Of Galactic Intervals (Edit) 7:00
Charles Dodge He Destroyed Her Image 1:59
Paul Lansky Six Fantasies On A Poem By Thomas Campion: Her Song 3:04
Laurie Spiegel Appalachian Grove I 5:20
Bernard Parmegiani En Phase/Hors Phase 2:29
David Behrman On The Other Ocean (Edit) 6:48
John Chowning Stria (Edit) 5:11
Maryanne Amacher Living Sound, Patent Pending Music For Sound-Joined Rooms Series (Edit) 7:02
Robert Ashley Automatic Writing (Edit) 7:07
Alvin Curran Canti Illuminati (Edit) 7:25
Alvin Lucier Music On A Long Thin Wire (Edit) 6:43
Klaus Schulze Melange 6:52
Jon Hassell Before And After Charm (La Notte) 7:59
Brian Eno Unfamiliar Wind (Leeks Hills) 5:21



Add Review



October 5, 2002
referencing OHM: The Early Gurus Of Electronic Music, 3xCD, Comp, CD3670

Highly recommended for anyone who has an interest in how all of this got started, and has a taste for experimental electronic. You won't find much in the way of beats and structure often, because in many cases what you are hearing on the track is the first time such methods were even used. These are the pioneers. The ones who invented the synths and the algorithms in them, with names like Chowning, Theramin, and Moog in the credits; the ones who strung thousands of feet of wire around a studio to see how it would distort a sound wave; built elaborate "sonic rooms" where the audience would walk around triggering effects, creating their own personal roar.

The book that accompanies the 3 disc set is gorgeous. Full color, glossy, and around 100 pages long. It includes not only detailed information on each song and artist on the three discs, but a wealth of tangental information as well, such as history, engineering, artist's thoughts, and so on. It is by no means a substitute for a thorough essay on the history of electronic music, but far, far more than you usually get in even a box set.

As for the music itself, it is great stuff, though a bit "out there" in some cases, and not really something you would just put on as background music. For instance, track eight on disc three features nothing but the murmering of Robert Ashley's personal thoughts surrounding his work. Other songs are practically sonic blasts that are almost akin to the Noise genre. Alas, a lot of the music has been edited and shortened, as noted above. It is understandable though, especially considering the fact that some of the tracks are excerpts from hours long shows. The good news is that you would have a hell of time procuring all of this music on your own, especially since some of these tracks have never been released before.

Some highlights: John Cage's Williams Mix, here is a song with a score that is over five-hundred pages long! From a technical standpoint, very interesting. No doubt it could be accomplished in no time with today's technology, for 1952 it was a huge achievement. Terry Riley's long, completely improv organ sets with an eastern influence. Amacher's petri dish approach to dynamic, three dimensional sound sculptures (woefully handicapped in their stereo form.) It's all good though.