Showing posts with label Moog. Show all posts
Showing posts with label Moog. Show all posts

Wednesday, October 29, 2008

Esa Kotilainen: Ajatuslapsi (1977) Now Re-Released



A treat for electronic ambient fans is provided by a long-awaited CD re-release of Esa Kotilainen's Tangerine Dream/Klaus Schulze-style solo album Ajatuslapsi ("A Thought Child") from 1977, which is now out on Love/Siboney, a company specializing in CD re-releases of the legendary Finnish label Love Records, which went bankrupt in 1979, leaving behind a large legacy in Finnnish rock, jazz, folk and also political music.

The album was originally released as an edition of 500 copies, Kotilainen playing all instruments there. Alongside Tangerine Dream, Lobsang Rampa's controversial book The Third Eye is mentioned as its inspiration, Kotilainen visualising such tracks as 'Avartuva näkemys' as a journey of Tibetan monks in a cave of stalactites.


Esa Kotilainen in 1979, introducing the electronic sounds of Moog

Esa Kotilainen (b. 1946) is known as a keyboard wizard and synth veteran, who provided his contributions to Wigwam's most popular album Nuclear Nightclub (1975), also as a member of the band's latest incarnation, which is still in business. Furthermore, Kotilainen has provided his services as a session musician for such as Tasavallan Presidentti, Jukka Tolonen, Hector, J. Karjalainen, Nils-Aslak Valkeapää and many more. He has also been a member of Neum.

Esa Kotilainen's career in electronic music started in 1974 when he expensively imported from Germany a MiniMoog, an instrument rarely seen in Finland those days. During this era Kotilainen was playing gigs on a ferry called Finnhansa, which sailed between Helsinki and Travemünde, and paid for the instrument 6.100 Finnish marks: the price of a small car those days. The first gig with Kotilainen's Minimoog was creating sound effects for the soundtrack of Spede Pasanen's film comedy Viu-hah-hah-taja (1974), and the first music recording was obviously for the solo album Robson of Frank Robson.

Kotilainen's new career as a synth wiz got him loads of offers for background music in commercials after which his career was guaranteed in progressive bands like Wigwam, who were after electronic sounds generally favoured by the prog genre. Kotilainen is also said to have in his collection a Mellotron (an analogue predecessor of samplers, using pre-recorded tape loops played with a keyboard), perhaps the only one in this country.

Ajatuslapsi CD features as bonus tracks two versions of 'Matkaaja' ("The Traveller"), a 1978 commissioned work from Kotilainen for the Finnish National Ballet. The CD booklet also includes English liner notes by Pekka Laine, where Esa Kotilainen shares his insights on the album's origins.

Artist: Esa Kotilainen
Title: Ajatuslapsi
Cat.no.: LRCD 196 (original LP: LRLP 196)
Re-release year: 2008 (original LP: 1977)
Tracklist:

1. Unisalissa ("In a dream room")
2. Avartuva näkemys ("The mind broadens")
3. Ilmassa ("In the air")

CD bonus tracks:

4. Matkaaja (1978) ("The traveller")
5. Matkaaja (1978) Kaiutettu versio (= A version with echo, 2008)

Album credits:

Esa Kotilainen plays on the album: Mini-Moog, ARP-2600, Vox StringThing, Fender Rhodes, Kouvola Casotto, kantele, Hammond B3, Leslie 251 & 145, Binson Echo, MXR 90 Phase, MXR 100 Phase, Maestro Phase Shifter, Foxx Wah Wah pedal, Indian bells, Farfisa organ, Polymoog.

Recorded by Jukka Teittinen at Alppi-studio, mixed at Finnlevy Studios, Helsinki, summer 1976.
Cover by Kari Sipilä.

CD bonus tracks recorded at Esa Kotilainen home studio.
CD remastering by Pauli Saastamoinen at Finnvox Studios, April 2008.
CD layout by Japa Mattila.
CD liner notes by Pekka Laine.

  • Release info @ Love
  • Esa Kotilainen @ Finnish Wikipedia
  • Ajatuslapsi @ Finnish Wikipedia
  • Ajatuslapsi @ Mutant Sounds
  • A review in Finnish by Jussi Niemi, Soundi 3/1977
  • Discography info @ FinnScene: The Early Years @ pHinnWeb
  • Monday, August 18, 2008

    Stereolab: 'Three Women'/Chemical Chords


    Stereolab: 'Three Women' (2008)

    I've been a fan of UK's Situationist Moog lounge indie pop adventurers Stereolab for years. (Here is from pHinnWeb archives an ancient review of their Dots and Loops of 1997.) Stereolab now have their new album Chemical Chords out. The track 'Three Women' is from the album.

  • More Stereolab video clips @ YouTube
  • Friday, July 25, 2008

    More Mechanical Fruits from A Clockwork Orange Tree



    Karenlee Grant's collage art for the alternative version of A Clockwork Orange soundtrack (1972)

    A Clockwork Orange -- a 1962 novel by Anthony Burgess and its 1971 film adaptation by Stanley Kubrick -- has stirred controversy and both positively and negatively influenced people in ensuing decades since the original conception. The movie was released in 1971, the same year as two other notoriety-gaining film studies on violence, Don Siegel's Dirty Harry and Sam Peckinpah's Straw Dogs, indicating that something had perhaps gone sore in the aftermath of the 60s liberal revolution.

    Probably Burgess and Kubrick's intentions were not exactly ACO becoming such a pop phenomenon and starting a life of its own, inspiring countless artists in music (from David Bowie to Sigue Sigue Sputnik; punk movement being in general another reflection of the ACO ethos), fashion, and naturally other films (Oliver Stone's sensationalist Natural Born Killers lacked the philosophical depths and ironic nuances of Kubrick). My own take on ACO is as a sister work to Kubrick's 2001: A Space Odyssey (1968), perhaps depicting the sinister, seedy and violent circumstances of those unfortunate left on Earth while Dave Bowman and Discovery crew were on their more spiritually heightened, universe-embracing cosmic pursuits.

    Here are some new-found interesting alternative takes on the phenomenon.

    Feuilleton, the blog by British visual artist John Coulthart always worth checking, recently featured an entry on A Clockwork Orange and sounds & images connected to it.

    Switched-On Bach was a 1968 album of Johann Sebastian Bach adaptations for the Moog synthesizer, painstakingly created by the electronic composer W. Carlos together with Rachel Elkind as a sort of sonic animation movie with multiple tape splices, when with early Moogs one could only generate one monophonic sound at a time. The album was a huge success in the days synthesizer was still mostly considered an expensive gimmick only good for creating spooky or funny sound effects for sci-fi movies and radio jingles, as is chronicled in Analog Days (2002) by Trevor Pinch and Frank Trocco. Or to be used in avantgarde music, allegedly with not too much commercial potential there.

    Rock bands such as The Doors also had experimented with a Moog synth but the instrument was considered only good for creating weird psychedelic sounds, to spice up a bit the usual rock instrumentation, and not something one could create whole albums with. Switched-On Bach changed all that, and tons of more-or-less cheesy copycat Moog albums followed in its wake: there were some exceptions such as the works by Dick Hyman, but at this moment Moog felt like another passing craze.

    Nevertheless, thanks to the album's success, Wendy Carlos was subsequently commissioned by Stanley Kubrick, planning his film version, to basically do the same thing for Ludwig van Beethoven, the favourite composer of Alex, in the book the devilish leader of his gang of "droogs".

    Alongside the official film soundtrack, Wendy Carlos published in 1972 another album featuring also Carlos's compositions for the film that remained unused. On her page Carlos shares more information on her film music.

    Allen Jones (b. 1937) is a British sculptor who came into prominence with his notorious "Chair, Table and Hat Stand" -- the jury is still out whether this is a misogynist work of glaring pop art verging on pornography or an ironic, even feministic comment on sexism. In a Guardian story Allen Jones tells Kubrick wanted to use his designs as props for the film but Jones refused, instead offering to design BSDM-type rubber costumes for the Korova Milk Bar waitresses (it's interesting Jones calls himself a feminist in the Guardian story). Kubrick didn't use the outfits by Jones but still emulated the artist's style for the bar's now-infamous forniphiliac furniture.





    Some unused Clockwork Orange designs by Allen Jones

  • A Clockwork Orange search results @ YouTube
  • Electronic Music History Links @ pHinnWeb
  • Friday, July 06, 2007

    What The Future Sounded Like (2007)


    What The Future Sounded Like: film teaser (Australia 2007)

    As the latest addition to pHinnWeb's list of documentary films on the history of electronic music, the 27-minute What The Future Sounded Like (Australia 2007), directed by Matthew Bate and featuring some Super 8 animation and hand-painted sequences by UK's Ian Helliwell (who also visited Helsinki's Avanto festival some years ago), sounds like a very interesting one...


    Synopsis:

    Post-war Britain rebuilt itself on a wave of scientific and industrial breakthroughs that culminated in the cultural revolution of the 1960s. It was a period of sweeping change and experimentation where art and culture participated in and reflected the wider social changes. In this atmosphere was born the Electronic Music Studios (EMS), a radical group of avant-garde electronic musicians who utilized technology and experimentation to compose a futuristic electronic sound-scape for the New Britain. Comprising of pioneering electronic musicians Peter Zinovieff and Tristram Cary (famed for his work on the Dr Who series) and genius engineer David Cockerell, EMS’s studio was one of the most advanced computer-music facilities in the world. EMS’s great legacy is the VCS3, Britain’s first synthesizer and rival of the American Moog. The VCS3 changed the sounds of some of the most popular artists of this period including Brian Eno, Hawkwind and Pink Floyd. Almost thirty years on the VCS3 is still used by modern electronic artists like The Emperor Machine (DC Recordings, UK). What The Future Sounded Like colours in a lost chapter in music history, uncovering a group of composers and innovators who harnessed technology and new ideas to re-imagine the boundaries of music and sound. Features music from Pink Floyd, Hawkwind, Roxy Music and The Emperor Machine.






    Click for larger images: the anti-Moog stance EMS seems to have in this ad is quite interesting, and I also wonder if their perceived target market were sex-starved synthesizer geeks... would perhaps not happen in these more "politically correct" times.




  • What The Future Sounded Like: official site
  • What The Future Sounded Like @ MySpace

  • History of Electronic Music @ pHinnWeb
  • Wednesday, February 28, 2007

    Electronic Music Films



    I was recently asked if I knew any documentary films that would shed more light on the history and beginnings of electronic music. I did some searches, and subsequently found out that most of those documentaries in existence (well, at least those listed at Internet) concentrate mostly on the latest developments in electronic music, or to be more precise, electronic dance music and rave culture.

    The early history of electronic music (before 1960s, an area mostly populated by academic/avantgarde composers and inventors of electronic instruments) seems to be only sporadically (or as footnotes) featured in most existing documentaries, bar perhaps Steven M. Martin's 1994 feature on León Theremin or even Mika Taanila's 2002 Future Is Not What It Used To Be on Finnish electronic instrument inventor Erkki Kurenniemi; not forgetting the films dedicated to Robert Moog or Bruce Haack. If you know of any other related documentary films, please let me know.

  • Music Arcade: BBC Radiophonic Workshop (UK, early 80s?)
    Part 1
    Part 2
    Part 3
    Part 4
  • Discovering Electronic Music (USA, 1983)
    Part 1
    Part 2
    Part 3
  • The Electric Music Machine, Five Days at the BBC Radiophonic Workshop (UK, 1988)
    Part 1
    Part 2
    Part 3
    Part 4
    Part 5
  • Bring The Beat Back (Finland, 1992)
    Credits
    Director Hannu Puttonen info
  • Rave New World (UK, 1994)
  • Theremin: An Electronic Odyssey (USA, 1994)
    related clips @ YouTube
  • Universal Techno (France, 1996)
  • Modulations (USA, 1998)
    IMDB entry
    trailer @ YouTube
  • Hang The DJ (Canada, 1998)
  • Sonic Visions: From Stockhausen to Squarepusher (USA/Netherlands, 1998)
  • Better Living Through Circuitry (Australia, 1999)
    clips @ YouTube
  • Synergy: Visions of Vibe (UK/Japan/Germany, 1999)
    clips @ YouTube
  • Bass Frequency (USA, 2001)
  • The Future Is Not What It Used To Be (Finland, 2002)
    info @ pHinnWeb
  • Electro Dziska: Miami 2001-2002
    a clip @ YouTube
  • Radiophonic Workshop -Alchemists of Sound (UK, 2003)
    clips @ YouTube
    BBC Radiophonic Workshop @ Wikipedia
  • Bruce Haack: King of Techno (USA, 2004)
    clips @ YouTube
  • Moog (USA, 2004)
    IMDB entry
    info @ Wikipedia
    (see also: Bob Moog clips @ YouTube)
  • Liquid Vinyl (USA, 2006)
    trailer @ YouTube
    a clip @ YouTube
  • Darkbeat, An Electro World Voyage (USA, 2006)
    trailer @ YouTube
  • Feiern (Germany, 2006)
    trailer @ YouTube
  • High Tech Soul: The Creation of Techno Music (USA, 2006)
    trailer @ YouTube
    another trailer @ YouTube
  • Put the Needle on the Record (USA, 2006)
    a clip @ YouTube
  • Rough Electro (Romania, 2006)
    trailer @ YouTube
    another clip @ YouTube
  • The Sound of Dubstep (UK, 2006)
    a clip @ YouTube
  • What The Future Sounded Like (Australia, 2007)

    More related titles @ IMDB:
    http://imdb.com/keyword/electronic-music/

    All electronic music documentary search results @ YouTube

    History of electronic music links @ pHinnWeb

    And a silly old text of mine



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