Björk Replaced the Band With Bodies

29 Aug 2026 Compose With You Raymond

The Machine That Was Supposed to Compose With You

Raymond Scott is remembered by many people without them knowing his name. His earlier compositions were adapted extensively for Warner Bros. cartoons, but another side of his work took place inside a private electronic laboratory.

During the 1950s and 1960s Scott built machines with names such as the Circle Machine, Rhythm Modulator, Bass-Line Generator, Clavivox and Electronium.

The Electronium is the one that interests me most.

Scott did not conceive it simply as a synthesizer that waited for a musician to tell it which notes to play. He imagined a system in which electronic circuitry could generate and develop musical patterns while the human operator guided the process.

That sounds remarkably close to later ideas of generative music.

The machine was unfinished, constantly evolving and never became a normal commercial instrument. Scott later worked for Motown, where an Electronium was installed.

This may be part of why his place in electronic music history feels strangely unstable.

Successful products leave thousands of physical copies behind.

Experimental machines can disappear almost completely.

Yet sometimes the abandoned machine contains an idea more important than the product that actually reached the shops.

Scott was asking a question that musicians are still asking:

What should happen when the instrument starts making decisions too?

Available Recordings

#RaymondScott #Electronium #ElectronicMusic #GenerativeMusic

The Machine That Was Supposed to Compose With You Raymond Scott (1908-1994) Available Recordings | Raymond Scott (1908-1994) Recordings by Raymond Scott which are commercially available on CD, LP, or as digital downloads.

28 Aug 2026 Experimental Music

Laurie Anderson Built Her Own Duet Partner

Laurie Anderson’s Self-Playing Violin from 1974 contained a speaker and amplifier inside the instrument. A prerecorded violin part played from the body while Anderson could perform another part live on the strings.

One violin effectively contained two performers.

That idea seems simple now because looping is everywhere. A pedal can record a phrase in seconds and immediately turn one musician into an ensemble.

Anderson’s instrument feels different because the playback system is physically embedded inside the object that originally produced the sound.

The violin appears to remember itself.

She later used the instrument in Duets on Ice, a performance in which she stood on ice skates frozen into blocks of ice and continued performing until the ice melted enough that she lost her balance.

Time was therefore not only musical.

It was physical.

The concert duration was determined by temperature.

I like how several systems meet here: recorded loop, live performance, instrument design, body weight and melting ice.

None is simply decoration.

The technology creates a duet.

The ice creates the clock.

The performer exists between both.

It is the kind of work that makes the boundary between music and visual art feel completely unnecessary.

https://www.nonesuch.com/artists/laurie-anderson

#LaurieAnderson #PerformanceArt #ExperimentalMusic #InventedInstruments

Laurie Anderson Built Her Own Duet Partner Nonesuch Records Official Website Nonesuch Records Laurie Anderson Laurie Anderson’s Self-Playing Violin from 1974 contained a speaker and amplifier inside the instrument. A prerecorded violin part played from the body whi…

28 Aug 2026 Electric Guitar

Rock Guitar Before Rock Was Supposed to Exist

Sister Rosetta Tharpe was combining gospel singing with amplified electric guitar long before rock and roll had settled into a recognisable genre.

By the late 1930s she was already performing outside the church circuit, and her guitar playing eventually became one of the clearest bridges between gospel, rhythm and blues and the music that would later be called rock.

The remarkable part is not simply that she was early.

Listen to the physical attitude of the playing.

The guitar is not background accompaniment.

It answers the voice.

It pushes rhythm forward.

It distorts.

It becomes theatrical.

This is behaviour we now associate automatically with rock guitar.

Historical categories can hide relationships because we name music after the fact. Once “rock and roll” exists as a category, it becomes tempting to search for its beginning only among musicians already labelled as rock musicians.

Tharpe makes that impossible.

She was working inside gospel while producing gestures another generation would recognise as rock.

That is a useful reminder that genres rarely begin on the day somebody gives them a name.

The sound usually exists first.

History catches up afterwards.

https://rockhall.com/inductees/sister-rosetta-tharpe/

#SisterRosettaTharpe #ElectricGuitar #Gospel #RockHistory

Rock Guitar Before Rock Was Supposed to Exist rockhall.com Sister Rosetta Tharpe | Rock & Roll Hall of Fame Rock & Roll Hall of Fame 2018 Inductee Sister Rosetta Tharpe was the first guitar heroine of rock & roll.

28 Aug 2026 Algorithmic Music

A Piano Playing Beyond Human Hands

Conlon Nancarrow spent much of his working life composing for player piano because the machine could perform rhythmic relationships that human pianists could barely reproduce.

Between 1948 and 1984 he created more than fifty Studies for Player Piano. Instead of writing music and hoping performers could realise it, Nancarrow punched the musical information directly into paper rolls.

That changed what composition could demand.

Several independent tempos could accelerate or decelerate simultaneously. Rhythmic canons could unfold at ratios too exact and too fast for ordinary performance. The limitation was no longer the pianist’s hands.

The machine became the performer.

Nancarrow even permanently altered his pianos, modifying their hammers and damping systems to make the complicated textures clearer.

I find this fascinating because it anticipates something electronic musicians now take for granted.

A DAW can execute an impossible MIDI sequence without asking whether a person can physically play it.

Nancarrow reached that freedom through mechanical technology decades earlier.

But there is an important difference.

His player piano is not silent computation. Pumps, motors, paper rolls, keys and hammers are physically struggling to execute the information.

You can hear the machine working.

It is algorithmic music with muscles.

https://www.paul-sacher-stiftung.ch/en/research/1-2-Conlon-Nancarrow-Edition-project.html

#ConlonNancarrow #PlayerPiano #AlgorithmicMusic #Composition

A Piano Playing Beyond Human Hands paul-sacher-stiftung.ch Paul Sacher Stiftung - 2016-21 Conlon Nancarrow: Towards a Critical Edition Conlon Nancarrow spent much of his working life composing for player piano because the machine could perform rhythmic relationships that human...

28 Aug 2026 Album Stored

An Album Stored as DNA

For the twentieth anniversary of Massive Attack’s Mezzanine, researchers at ETH Zurich translated the album’s digital audio into DNA.

The process sounds almost absurdly futuristic. The music was first compressed using the Opus codec. Its binary information was then converted into sequences based on the four DNA building blocks A, C, G and T. Around 920,000 short DNA strands were produced and encapsulated in microscopic silica spheres.

The whole album effectively became biological data.

What interests me is not the novelty of putting music into DNA. It is what this says about the idea of a recording.

We usually associate an album with its carrier.

Vinyl record.

Cassette.

CD.

Hard drive.

Stream.

But none of these is actually the music. Each one is simply a temporary system for storing instructions that can later be turned back into sound.

DNA makes that fact impossible to ignore.

Mezzanine can exist without grooves, magnetic particles, a waveform on a screen or even an object recognisable as music.

At that point an album starts resembling a genetic recipe.

Nothing inside the tiny glass particles sounds like Massive Attack.

The music only returns when another machine knows how to read the code.

A record is therefore not necessarily sound.

Sometimes it is the possibility of sound waiting inside information.

https://fml.ethz.ch/research/research/storing-mezzanine-in-dna.html

#MassiveAttack #Mezzanine #DNAStorage #MusicTechnology

An Album Stored as DNA fml.ethz.ch For the twentieth anniversary of Massive Attack’s Mezzanine, researchers at ETH Zurich translated the album’s digital audio into DNA. The process...

28 Aug 2026 Björk

Björk Replaced the Band With Bodies

For Medúlla, Björk stripped away most conventional instrumentation and built an album almost entirely from human voices. The recording involved Icelandic and London choirs, throat singing, vocal percussion and beatboxing by Rahzel, alongside layers of Björk’s own voice.

What interests me is that this is not really an a cappella album in the traditional sense.

The voice is treated as raw production material.

A mouth can become percussion.

Breathing becomes texture.

A choir can behave like a synthesizer pad.

Individual syllables can be arranged almost like samples.

That changes the usual hierarchy between singer and accompaniment. Instead of placing a vocal on top of an instrumental track, Medúlla asks what happens when almost the entire track is made from the same physical source.

There is also something quietly radical about choosing the oldest instrument humans possess at a moment when digital production technology was becoming increasingly powerful.

The album does not reject technology. Editing, layering and processing remain essential.

But technology is used to enlarge the body rather than replace it.

The result makes synthesis feel less like inventing an artificial sound and more like discovering how artificial a familiar human sound can become.

Björk – Medúlla

#Bjork #Medulla #Voice #ExperimentalPop

Björk Replaced the Band With Bodies Björk Official Store Björk - Medúlla "Almost entirely a cappella, and recorded with choirs from Iceland and London, a throat singer and a human beat-box (Rahzel from the Roots), Medulla has little precedent in popular music. There is, though, an esoteric lineage to be traced back, from Kate Bush's work with the Trio Bulgarka to Donald Byrd's collaboration

28 Aug 2026 ARP2600

Oxygène Came From a Kitchen

Jean-Michel Jarre recorded Oxygène in 1976 in the kitchen of his Paris apartment. He has described the setup as a modest home studio built around only a handful of instruments, including an ARP 2600, Farfisa organ and Korg Minipops 7 drum machine.

That matters because Oxygène now sounds like one of those records that must have required a futuristic laboratory.

It did not.

The scale came from arrangement, layering and imagination rather than from a huge inventory of equipment.

Jarre has spoken about limitations as something creatively useful, and this record is a convincing argument for that idea. A small group of machines had to perform many different roles. Instead of endlessly searching for another sound, the producer had to keep discovering another possibility inside the instruments already there.

There is a strange reversal in modern production. We now have access to thousands of synthesizers and effects inside one laptop, yet it can become harder to commit to a sound precisely because another option is always available.

Oxygène suggests that abundance is not automatically freedom.

Sometimes a limited studio creates a larger musical world because the producer has nowhere else to go except deeper into the machines already switched on.

https://www.electronicbeats.net/how-jean-michel-jarre-directed-a-cast-of-superstars

#JeanMichelJarre #Oxygene #ARP2600 #ElectronicMusic

Oxygène Came From a Kitchen Telekom Electronic Beats How Jean-Michel Jarre Directed a Cast of Superstars In 1977 when the Sex Pistols were spawning angry three chord reactions against the pomp of prog, a young Jean-Michel Jarre was enjoying the success of…

27 Aug 2026 Experimental Film

Visual Music Before Computers

Mary Ellen Bute wanted abstract images to possess something painting could not give her: actual duration. She turned to film and, between the 1930s and 1950s, created abstract animations in which shapes, light and movement were organised in close relationship with music. Her work also included technological experiments involving oscilloscopes and electronic imagery. Several of her films reached audiences at places such as Radio City Music Hall, an unusual level of public exposure for experimental abstraction.

What interests me from a VJ perspective is how familiar the ambition feels.

We now open Resolume, TouchDesigner or After Effects and assume that sound can be translated into movement almost automatically.

Bute was asking similar questions before digital graphics existed.

What does a musical phrase look like?

Should a visual form follow rhythm literally?

Can colour behave like orchestration?

How can movement produce something equivalent to musical tension?

The technology changes dramatically, but those questions hardly change at all.

That is why early experimental film can be more useful to a contemporary VJ than another software tutorial.

Software teaches us how to make an effect.

Bute reminds us to ask why an image should move in the first place.

https://www.eastman.org/mary-ellen-bute-rhythms-light

#MaryEllenBute #VisualMusic #ExperimentalFilm #VJHistory

Visual Music Before Computers eastman.org Mary Ellen Bute wanted abstract images to possess something painting could not give her: actual duration. She turned to film and, between the...

27 Aug 2026 Electronic Pioneer

The Blind Synthesist Building Other Worlds

Pauline Anna Strom recorded a remarkable series of electronic albums during the 1980s, much of it released independently in tiny vinyl and cassette editions. Her work later disappeared into collector culture before being gathered in Trans-Millenia Music, an archival collection drawn from music made between 1982 and 1988.

Strom was blind from birth.

I mention that carefully because it is tempting to turn disability into a simple explanation for an artist’s work. Her music does not need that story in order to be interesting.

What fascinates me instead is the scale of the worlds she created inside a home-produced synthesizer practice that received little mainstream attention at the time.

The titles alone suggest imagined geography: “Virgin Ice,” “Spatial Spectre,” “Rain on Ancient Quays,” “Cruising Altitude 36,000 Feet.”

There is something very modern about this kind of independent world-building.

One person, synthesizers, recording equipment and no requirement for a large institution.

Today Bandcamp and digital distribution make that model ordinary. In the early 1980s, self-releasing cassettes could mean almost disappearing.

The strange thing is that obscurity preserved the music from being fixed to one fashionable moment.

When listeners rediscovered Strom decades later, the future she had imagined was still waiting there.

Pauline Anna Strom – Trans-Millenia Music

#PaulineAnnaStrom #SynthMusic #ElectronicPioneer #MusicRediscovery

The Blind Synthesist Building Other Worlds RVNG Intl. Pauline Anna Strom - Trans-Millenia Music (RVNG Intl.) Otherworldly and anomalous, hushed and hallucinatory, Pauline Anna Strom’s unique style of inner space music reaches across time to futures and pasts far from our own. Trans-Millenia Music compiles eighty minutes of Strom’s most evocative work, composed and recorded between 1982 and 1988, for the first authorized overview of the enigmatic Bay Area composer.

27 Aug 2026 Environmental Music

Tokyo Ambient Without Escaping Tokyo

Hiroshi Yoshimura’s GREEN was recorded during the winter of 1985–86 in his home studio. The music uses Yamaha FM synthesizers, machines often associated with the bright and precise digital sound of the 1980s, but Yoshimura uses them to create something restrained, spacious and remarkably soft. He explained that “green” referred not simply to a colour but to the comfortable scenery of a natural cycle.

Yoshimura is interesting because ambient music for him was often connected to actual environments. He made music for museums, galleries, public spaces, television, fashion and other commissioned situations.

That makes ambient less like a genre and more like environmental design.

The composer is not only asking what sounds should occur.

He is asking what sound should do to a place.

I also like the contradiction inside GREEN: digital FM synthesis producing something that feels organic.

There is no attempt to disguise the synthesizer as birds, wind or water. Instead Yoshimura creates an electronic environment gentle enough that the listener begins making those associations independently.

Perhaps natural sound does not require imitation.

Sometimes it requires leaving enough room for the imagination to finish the landscape.

GREEN

#HiroshiYoshimura #JapaneseAmbient #FMSynthesis #EnvironmentalMusic

Tokyo Ambient Without Escaping Tokyo Light in the Attic GREEN Barely known outside of his home country during his lifetime, the late Japanese ambient music pioneer Hiroshi Yoshimura has seen his global stature rise steadily in the past few years. This edition marks a reissue of the highly sought-after and impossible-to-find album. It features the original mix preferred by Yoshimura himself, previously available only on the initial Japanese vinyl release (a limited edition remixed version of the album, with added sound effects, was released on CD in the US).

27 Aug 2026 ARP2500

One Synthesizer for Three Hours

Éliane Radigue spent years working with the ARP 2500 synthesizer, often producing changes so gradual that they can initially seem almost motionless. Her Trilogie de la Mort consists of three extended works: Kyema, Kailasha and Koumé. Kyema, premiered in 1988, lasts more than an hour and was produced with the ARP 2500 onto magnetic tape. The trilogy developed through Radigue’s engagement with Tibetan Buddhism and the states of consciousness described around death and rebirth.

What interests me technically is the patience.

Synthesizers are often demonstrated through change. New patch. New modulation. New sequence. Another oscillator.

Radigue discovered how much can happen when almost nothing appears to happen.

A sustained electronic tone is never completely still. Frequencies interfere. Small changes alter beating patterns. Harmonics emerge and disappear according to listening position, volume and the acoustics of the room.

The listener begins doing part of the work.

After enough time, attention becomes more sensitive.

That makes Radigue’s music almost the reverse of contemporary digital culture. It does not compete for attention by introducing another event.

It removes events until attention itself becomes audible.

https://elianeradigue.bandcamp.com/album/trilogie-de-la-mort

#ElianeRadigue #ARP2500 #DroneMusic #Electroacoustic

One Synthesizer for Three Hours Éliane Radigue Trilogie de la Mort, by Éliane Radigue 3 track album