keymap records
vinyl for sale
about/contact

Sale until 11:59pm EST November 13th!
18% off any order!
25% off orders of 4 or more items!

Discount applied at checkout


Early Electronic ● Experimental ● Electroacoustic ● Avant Garde ● Synthsploitation ● Sound Art ● 20th Century Noise records for sale

sort: alphabeticalnewestprice lowprice high
28
Henk Badings: Genese (1958 for 5 audio-frequency oscillators in just intonation tuning system); Evolutions-Ballet Suite (1958 for tape); Capriccio for Violin and 2 Sound Tracks (1952, in microtones) / Dick Raaijmakers: Contrasts [aka Tweeklank] (1959 for tape)
1968
USA
Limelight LS-86055
vg+
vg+
Essential early electronic compositions. Genese uses a just intonation tuning system; Evolutions is a suite of 6 short electronic pieces which range from carefully structured noise to playful pop- and jazz-influenced portions; Capriccio was one of the first attempts at combining electronic music with a live instrument, with Joke Vermeulen on violin. Closing the album is the brief but stunning Raaijmakers composition (his earliest), an "electronic play of rhythm and sound" and a masterpiece of musique concrete, made out of processed sounds of an Ondes Martenot. All of the pieces were realized at the physics laboratories of Philips' Gloeilampenfabrieken in Eindhoven, Holland; Badings' works were made with the engineering assistance of the young Raaijmakers.
70
Muziek in de aula van Teylers Museum [music in the auditorium of Teylers Museum]-- Henk Badings: Uit "Reeks Kleine Klankstukken" (1954 for 31-tone Fokker Organ in selected tone systems); Sonata III for 2 violins in the 31-tone system (1967) / Anton de Beer: Instructive Sonatina (1964 for 31-tone Fokker Organ) / Hans Kox: Serenade for 2 violins in the 31-tone system (1968) / Jan Pieterszoon Sweelinck: Paduana Lachrimae (16?? for organ in aeolian tuning system) / Giovanni Battista Vitali: Sonata a tre op.2 nr.6 (1667 for 2 violins and bass accompaniment)
1970
Netherlands
Stichting Huijgens-Fokker RC 227
vg+
vg+
Ultra rare lp issued by the Huygens-Fokker Foundation Center for Microtonal Music and featuring an amazing unusual instrument, the one-of-a-kind Fokker Organ (built in 1950 by physicist Adriaan Fokker, student of Albert Einstein), which divides the octave into a scale of 31 tones and allows the creation of custom microtonal scales. These beautiful alien experimental works in non-traditional tuning systems were recorded at the Teylers Museum in Haarlem with Anton de Beer on Fokker Organ, and violinists Bouw Lemkes and Jeanne Vos.
34
Paul Beaver and Bernard Krause: Ragnarok - Electronic Funk
1969
USA
Limelight LS-86069
ex-
vg+
Mega rare early electronic pop psych classic. These tracks, all original compositions, range from ambient atmospheres to drums/guitar/synth instrumentals to weird electronic songs with insane absurd vocals, using Moog and Buchla synthesizers, white noise generators, oscillators, walkie-talkies, samples of news broadcasts, and detuned barrel organs. With notes by Beatles producer George Martin.
7
Luciano Berio: Points On The Curve To Find (1974 for piano and 22 instruments); Concertino (1951 for solo clarinet, solo violin, celesta, harp, and strings); Chemins IV (1975 for oboe and 13 strings); Linea (1973 ballet for 2 pianos, vibraphone, and marimba)
1977
USA
RCA ARL1-2291
vg+
vg+
Berio conducts the London Sinfonietta performing first recordings of his experimental works. Soloists include Heinz Holliger, oboe, Katia and Marielle Labeque, pianos, Jean-Pierre Drouet, vibraphone, and Sylvio Gualda, marimba.
37
Extended Voices-- John Cage: Solos For Voice 2 (1960) / Morton Feldman: Chorus And Instruments II (1967); Christian Wolff In Cambridge (1963) / Toshi Ichyanagi: Extended Voices / Alvin Lucier: North American Time Capsule 1967 / Pauline Oliveros: Sound Patterns (1961) / Robert Ashley: She Was A Visitor (1967)
1968
USA
Odyssey Music of Our Time 32 16 0156
vg+
vg+
Terrific collection of "new pieces for chorus and for voices altered electronically by sound synthesizers and vocoder," bringing together many compositional styles ranging from droning and minimalism to dada-esque insanity to brilliant soundscapes of vocal-sourced electronic noise. All works involve electroacoustic or physical extensions of the human voice and are performed by the Brandeis University Chamber Chorus under the direction of Alvin Lucier. Cage's composition was electronically realized by Gordon Mumma and David Tudor; the Lucier piece makes very early use of the Sylvania Electronic Systems Vocoder; the Ichyanagi work uses Buchla and Moog synths.
15
Electronics & Percussion - Five Realizations By Max Neuhaus-- John Cage: Fontana Mix Feed (1958, realization for electronically treated percussion) / Karlheinz Stockhausen: No.9 Zyklus for One Percussionist (1959) / Earle Brown: Four Systems (1954 for 4 amplified cymbals) / Morton Feldman: The King Of Denmark (1964 for percussion) / Sylvano Bussotti: Coeur Pour Batteur Possitively Yes (1959)
1968
USA
Columbia MS 7139
vg+
vg
5 pioneering live electronic experimental graphic notation works performed by the Fluxus sound artist Neuhaus on a wide array of electroacoustically treated percussion. His now legendary realization of Cage's Fontana Mix is an "interaction and mixture of feedback channels set up by resting contact microphones on various percussion instruments that stand in front of loudspeakers," a glorious symphony of noise. Produced by David Behrman.
3
Walter [Wendy] Carlos: Switched-On Bach II
1973
USA
Columbia Masterworks KM 32659
vg
vg+
Sequel to the classic Switched-On Bach, with beautiful Moog arrangements of classical pieces. Notes by Robert Moog.
5
Walter [Wendy] Carlos: By Request-- Episodes for Piano and Electronic Sound (1965); Dialogues for Piano and Two Loudspeakers (1964); Geodesic Dance Electronic Etude (197?); Pompous Circumstances (197?) / Tchaikovsky / J.S. Bach / Burt Bacharach / The Beatles / Richard Wagner
1975
USA
Columbia M 32088
vg+
vg
Includes Carlos' pre-Moog experimental early electronic compositions from the Columbia-Princeton Electronic Music Center, plus some whimsical Moog-based pop song covers and electronic reorchestrations of classical works. Great assortment of experimental, classical, and pop synth sounds.
28
Daniel Steven Crafts: Soap Opera Suite (1982 for electronic tape); Snake Oil Symphony (1982 for electronic tape)
1982
USA
Lutra 1001
sealed
vg+
Private press gem with 2 tracks of experimental "plunderphonic" musique concrete noise built out of found sounds and vocal samples from television shows and commercials. The Soap Opera Suite is made up entirely of processed samples of tv soap operas.
14
Contemporary Music Project #3-- George Crumb: Madrigals, Books I-IV (1969 for soprano, 2 percussionists, flute, harp, and double-bass) / Edwin London: Portraits of Three Ladies (1967 for narrator, mezzo-soprano, and large chamber ensemble)
1970
Germany
Acoustic Research in collaboration with Deutsche Grammophon 0654 085
nm
ex-
Rare entry in the audiophile avant garde series released by speaker manufacturer Acoustic Research. Crumb's piece is adapted from poems by Frederico Garcia Lorca, and is performed by mezzo-soprano Jan DeGaetani and the University of Pennsylvania Contemporary Players conducted by Richard Wernick. London conducts his own work, which is performed by Marilyn Coles, soprano, Royal MacDonald, narrator, and The University Of Illinois Contemporary Chamber Ensemble.
7
George Crumb: Makrokosmos Vol. II - Twelve Fantasy-Pieces After The Zodiac For Amplified Piano (1973)
1976
USA
Columbia Odyssey Modern American Music Series Y 34135
vg+
vg
1st recording of this seminal prepared piano work composed for and performed by Robert Miller. Incorporating amplification, vocal effects, inside-the-piano string playing, and treatments in the form of paper, glass, and wire brushes placed on various strings, this piece "sounds as though the piano has become an orchestra unto itself."
15
Luigi Dallapiccola: Il Prigioniero (1948 opera)
1975
UK
Decca Headline HEAD 10
nm
ex
Audiophile recording of this serialist opera about a political prisoner, written as a response to Fascism in Italy. With the National Symphony Orchestra of Washington DC conducted by Antal Dorati, the University of Maryland Choir, Giulia Barrera, Romano Emili, Ray Harrell, and Maurizio Mazzieri.
16
Luigi Dallapiccola: Divertimento In Quattro Esercizi (1934 for chamber ensemble and soprano); Rencesvals (1946 for piano and tenor); Quattro Liriche Di Antonio Machado (1948 for piano and soprano); Cinque Canti (1956 for chamber ensemble and tenor)
1979
USA
1750 Arch S-1782
ex+
vg+
Avant serialist works featuring experimental vocalist and 1750 Arch label head Thomas Buckner, soprano Anna Carol Dudley, pianist Marvin Tartak, and Robert Hughes conducting the Arch Ensemble.
48
Electronic Beds Vol. 1 Performed On The Moog Synthesizer
1970
USA
Media Artists Incorporated LP-81070
vg
vg
Ultra rare fantastic electronic library private press gem credited to the obscure (possibly pseudonymous) producers Franklin Morris, Ron Marquisee, and Dick Averson. Made entirely on a Moog, this contains 48 brief electronic sketches 10-60 seconds in length intended for film and radio use but which also work well as a collective suite for listening, with many innovative techniques applied to the then young Moog modular synth which most artists were still trying to figure out how to use at the time, a quite impressive feat in 1970. The compositions are playful while densely orchestrated with many layers of gorgeously sculpted synth textures. This is the 1st pressing, later issued by the De Wolfe library in the UK under the title Electrobeds; this scarce US pressing predates the official De Wolfe issue but has the Media Artists label info crossed out by hand and De Wolfe stickers pasted over the label! Highly recommended obscurity, one of my personal favorite early Moog artifacts.
50
Jim Fassett: Strange To Your Ears - The Fabulous World Of Sound With Jim Fassett
1953
USA
Columbia ML 4938
vg+
vg
Scarce lp exploring the weird and wacky side of early electronic tape manipulations, presenting an array of sped-up, slowed-down, reversed, cut-up, and montaged found sounds. Fassett (of Symphony Of The Birds fame) narrates this whimsical demonstration of the then-astounding capabilities of the newly invented magnetic tape recorder, showing how familiar sounds can be made to oddly sound like totally different ones, how multiple sounds from disparate locations can be collaged together to create utterly alien soundscapes, and how entire universes of sound can be derived from the most unlikely sources, with several truly bizarre moments (perhaps the most hilarious being when he attempts to pronounce his name backwards in order to hear what it sounds like when played in reverse). Highly recommended as a fascinating period document, as a trove of sound effects, and as a beautiful specimen of outsider musique concrete.
48
Mort Garson & Richard Burton: The Little Prince
1974
USA
PIP 6813
sealed
nm
Obscure ultra rarity by the great occult electronic composer Mort Garson in beautiful unopened condition. Garson composed awesome ambient Moog synth background music for this children's story record featuring Richard Burton narrating Antoine de Saint-Exupéry's famous philosophical sci-fi tale.
24
Vinko Globokar: Ausstrahlungen (1969 for ensemble); Fluide (1967 for ensemble); Atemstudie (1971 for oboe)
197?
France
Harmonia Mundi Musique D'Abord HM 933
vg+
vg
Excellent experimental improvisatory works featuring some great free jazz players from the European scene including fellow New Phonic Art members Michel Portal (clarinet, bass clarinet, contrabass clarinet, alto sax, conducting) and Jean-Pierre Drouet (percussion), plus Jean-Francois Jenny-Clarke (contrabass), Heinz Holliger (oboe), Diego Masson (conducting), and Ensemble Musique Vivante.
38
Alois Hába: The Mother (1929 quarter-tone opera in 10 scenes)
1965
Czechoslovakia
Supraphon SUA ST 50681-2
both nm
vg+
Mega rare original 2lp box set of this experimental opera and early microtonal masterpiece featuring the quarter tone piano, a unique instrument designed by the composer which has 2 keyboards, one on top of the other, tuned in a difference of a 1/4-tone. The performers are the Prague National Theatre Chorus and Orchestra, Jiri Pokorny on quarter-tone piano, chorus master Milan Maly, and conductor Jiri Jirous.
12
The Violin Volume 5-- Alois Haba: Fantasy In Quarter Tones For Violin Solo Op.9a (1921) / Hyman Bress: Fantasy (1962 for violin, piano, and electronics) / Roger Sessions: Solo Violin Sonata (1953) / Anton Webern: 4 Pieces For Violin And Piano Op.7 (1910)
1963
USA
Folkways FM 3355
vg
vg+
Scarce gem including an essential pioneering microtonal work by Haba. His beautiful Fantasy In Quarter Tones was only his 2nd microtonal composition, an attempt, in his words, "to cut loose from the chromatic uniformity, and to attain a freer use of intervals by means of the great possibilities of 24 tones..." Bress' serialist piece incorporates electronics in the form of purely electronic tones from oscillators as well as musique concrete drawn from "iron containers and metal appliances which I either hit or bounced for rhythmical effect." With Bress, violin, and Charles Reiner, piano. Includes an essay by Bress entitled "The Role Of Electronic Music In Relationship To The Violin."
8
Pierre Henry & Spooky Tooth: Ceremony - an electronic mass
1970
USA
A & M SP4225
vg
vg+
Strange but enjoyable Xian-electronic-prog-rock collaboration combining Henry's experimental electronic effects and tape loops with Gary Wright's blues-psych jamming and Jesus-inspired lyrics.
19
Electronic Music from the University of Illinois-- Lejaren Hiller: Machine Music (1964 for piano, percussion, and tape) / Herbert Brun: Futility (1964 for speaker and tape) / Kenneth Gaburo: Lemon Drops (1965 for tape); For Harry (1966 for tape) / Charles Hamm: Canto (1963 for soprano, speaker, and chamber ensemble) / Salvatore Martirano: Underworld (1965)
1967
USA
Heliodor H 25047
nm
vg+
Works produced at the Studio for Experimental Music at the University of Illinois. Several pieces feature the Harmonic Tone Generator, an early electronic instrument developed by James Beauchamp. Gaburo's For Harry, dedicated to Harry Partch, is a beautiful attempt to electronically emulate the unique resonances of Partch's microtonal instruments. Hamm's piece incorporates text by Ezra Pound and is conducted by Jack McKenzie.
4
The Trumpet In Contemporary Chamber Settings-- Alan Hovhaness: Sonata For Trumpet & Organ mvt 1 / Verne Reynolds: Music For 5 Trumpets (1955) / Frank Campo: Duet For Equal Trumpets (1976) / Anthony Plog: Fanfare For 2 Trumpets / Leroy Southers: Three Spheres
1977
USA
Crystal S362
vg+
vg+
With Anthony Plog and Russell Kidd, trumpets, Robert Henderson conducting the Los Angeles Philharmonic Trumpet Section, Ladd Thomas, organ, Ken Wolfson, bassoon, Sharon Davis, piano.
8
Dick Hyman: Moog-- The Electric Eclectics of Dick Hyman
1969
USA
Command 938-S
vg
ex
Among the greatest of early electronic pop albums, these original instrumentals (no cheesy Moogsploitation covers here) range from funky, jazzy pop-psych to ambient droning soundscapes to Indian-Raga-influenced extended improv jams. In addition to the titular synth, Hyman also uses an Echoplex tape loop delay system, filtered Lowry organ and piano sounds, a live rhythm section, the Maestro Rhythm Unit early drum machine, microtonal scales, odd time signatures, and bird calls.
28
Sound Forms for Piano-- Ben Johnston: Sonata for Microtonal Piano (1963) / Conlon Nancarrow: Studies for Player Piano #1, #27, #36 (1948-69) / John Cage: selected Sonatas and Interludes for Prepared Piano (1948) / Henry Cowell: The Banshee (1923); Aeolian Harp (1923); Piano Piece Paris 1924
1976
USA
New World NW 203
ex+
vg+
Excellent collection of experimental piano pieces; this is the 1st pressing with gorgeous cover art by Fluxus artist Lucas Samaras. The gem on this record is Johnston's beautiful Sonata for Microtonal Piano, its only existing recording, played on a standard piano microtuned using a complex just-intonation system producing "81 different pitches, providing a piano with almost no consonant octaves... a monstrous parody-enigma, allusive, referential, sometimes derisive, distorted, a tissue of familiarity in radically strange garb." The Nancarrow tracks, created by altering player piano rolls by hand, range from atonal and highly rhythmic 'remixes' of ragtime/blues rolls to completely abstract soundscapes; these recordings are unique to this lp, different from the 1750 Arch releases. The Cowell works are pioneering experiments featuring some of the earliest uses of tone clusters and inside-the-piano playing. Robert Miller performs all of the human-playable works.
27
Andre Jolivet: Concerto for Ondes Martenot and Orchestra (1955); Concerto for Harp and Chamber Orchestra (1955)
196?
France
Erato STU 70430
nm
ex-
Fantastic avant garde work featuring the Ondes Martenot early electronic keyboard instrument played by Jeanne Loriod, plus Lily Laskine on harp and the composer conducting Orchestre Philharmonique De L'ORTF.
27
International Gaudeamus Competition For Interpreters Of Contemporary Music 1973-- Ton De Leeuw: Midare (1972 for marimbaphone) / Isang Yun: Garak (1963 for flute and piano) / Will Eisma: Non Lecture (1970 version for saxophone) / Enrique Raxach: Fases (1961 for string quartet) / Joe Kunst: Solo Identity II (for piano)
1973
Netherlands
Gaudeamus Foundation 73002
vg+
vg+
Ultra rare limited edition private press presenting the winners of the Gaudeamus Foundation's 1973 music competition judged by Harrison Birtwistle and Jacques Parrenin, showcasing brilliant young performers and rarely-heard experimental works of Dutch composers. The prize winning performers are Michiko Takahashi on marimbaphone on the De Leeuw, Norbert Nozy on saxophone on the Eisma, Andre Salm & Jean Koerner on flute & piano duo on the Yun, The Students' String Quartet Of Warsaw on the Raxach, and Carla Hubner on piano on the Kunst.
25
Ton De Leeuw: Litany Of Our Time (1970 for ensemble, live electronics, tape, and voices); Clair Obscur (1982 for electronic tape)
1986
Netherlands
Composers' Voice CVS 1986/6
nm
vg+
Excellent experimental electronics. Clair Obscur was realized at the legendary INA-GRM studios and is described by the composer as "the slow transformation of sound masses and their continual shift into ever-changing subtle shades and forms."
34
Ralph Lundsten: Nordisk Natursymfoni Nr 2 "Johannes och Luldran" (1975 for electronics)
1975
Germany
Odeon EMI 4 E 061-35200
nm
nm
Fantastic electronic experimental lp from this Swedish mad genius (better known for his later cosmic disco output), made on his custom built synths in his Andromeda Studio and mixing swirling ambient synthscapes and musique concrete noise.
42
Marshall McLuhan + Quentin Fiore + Jerome Agel: The Medium Is The Massage
1968
USA
Columbia CS 9501
nm
vg+
Unplayed original red label 2-eye pressing of this fantastic stream-of-consciousness sound collage sampled by DJ Shadow, Towa Tei, The Kleptones, etc., an audio version of McLuhan and Fiore's visionary 1967 experimental book. McLuhan attempts to make his revolutionary theories more accessible to a 'turned-on' public by framing them in the language of popular culture and advertising, intercutting his own recital of his writings with electronic sound effects, field recordings, mass media sound bytes, and jazzy psych-rock played by John Simon.
3
Peter Mennin: Symphony No. 7 "Variation-Symphony" / David Diamond: Symphony No. 4
1976
USA
New World NW 258
ex-
vg+
Modern American symphonies, with Leonard Bernstein conducting The New York Philharmonic Orchestra and Jean Martinon conducting The Chicago Symphony Orchestra. Cover art by social realist Ben Shahn.
17
Ennio Morricone: Moses OST (1974 for orchestra and chorus)
1974
Italy
RCA TBL1 1106
vg+
vg+
Original Italian pressing of this avant garde soundtrack to the 1974 TV miniseries aka Moses the Lawgiver starring Burt Lancaster, with Bruno Nicolai conducting the Unione Musicisti Di Roma featuring soloists Nicola Samale, Gianna Spagnolo, and Dino Asciolla.
36
Luigi Nono: La Fabbrica illuminata (1964 for electronic sounds and solo voice); Ricorda cosa ti hanno fatto in Auschwitz (1965 for electronic sounds and solo voices); Ha venido, Canciones para Silvia (1960 for solo soprano and six chorus sopranos)
196?
Germany
Wergo WER 60038
vg+
vg+
Stunning electronic-avant-vocal pieces realized in collaboration with Marino Zuccheri, mixing the source voices through such fantastically immense walls of early electronic noise and musique concrete that it becomes impossible to discern between the two. With notes by composer Konrad Boehmer. Performers include Schola Cantorum Stuttgart, Coro Da Camera Della RAI, Barbara Miller, Carla Henius, Stefania Woytowitz, and conductors Clytus Gottwald and Giulio Bertola.
36
Luigi Nono: Omaggio A Vedova (1960 for electronic tape); Per Bastiana (1967 for electronic tape and orchestra in 3 groups); Canti Di Vita E D'Amore (1960 for soprano solo, tenore solo and orchestra)
196?
Germany
Wergo Studio Reihe Neuer Musik WER 60067
nm
vg+
3 excellent electronic and experimental works with Nono departing from his early career adherence to serialism to focus on texture and antifascist politics, "adopting wave-like alternating spatial and block sound complexes... Electronic orchestral undulations dominate; an ebb and flow of sound formations which combine to create an expressive tableau." Omaggio A Vedova, realized at the legendary Studio di Fonologia Milano, is dedicated to the tachisme painter Emilio Vedova.
18
Luigi Nono: Como Una Ola De Fuerza Y Luz (1972 for soprano, piano, orchestra, tape, and live electronics); Y Entonces Comprendio (1970 for 6 female voices, chorus, and electronic tape)
1974
Germany
Deutsche Grammophon 2530 436
nm
vg+
Experimental political works expressing Nono's revolutionary Marxist principles. Each piece features an early electronic tape made at the legendary Studio di Fonologia in Milan. Como Una Ola uses quarter tones, and in addition to the electronic tape also features live electronic processing of the instruments by means of contact microphones and modulators. Performers include Maurizio Pollini, Slavka Taskova, the Symphonie-Orchestre des Bayerischen Rundfunks under Claudio Abbado, Mary Lindsay, Liliana Poli, Gabriela Ravazzi, Kadigia Bove, Miriam Acevedo, Elena Vicini, and the Coro Da Camera Della RAI Roma under Nino Antonellini.
20
Luigi Nono: ...sofferte onde serene... (1976 for piano and electronic tape); a floresta e jovem e chaja de vida (1966 for soprano, voices, clarinet, copper plates, and electronic tape)
1979
Germany
Deutsche Grammophon 2531 004
nm
ex-
2 experimental works pairing electronics realized at the legendary Milan Studio di Fonologia with live performers. a floresta quotes from sources like Fidel Castro, South Vietnamese partisans, and protesting American factory workers, reflecting Nono's strong socialist leanings; the performers are soprano Liliana Poli, vocalists Kadigia Bove, Elena Vicini, and Berto Troni, clarinetist William O. Smith, and conductor Bruno Canino. ...sofferte onde serene... is performed by Maurizio Pollini.
23
Ken Nordine and the Fred Katz Group: Word Jazz
1957
USA
Dot DLP 3075
vg+
vg+
Original mono 1st pressing of Nordine's oddball beatnik poetry classic, combining his strange stories, stoned-out musings, and free associations (spoken in his incredibly deep, perfect professional announcer's voice) with swinging jazz backgrounds and electronic sound effects and tape loops.
60
Harry Partch: Delusion of the Fury - A Ritual of Dream and Delusion (1969 opera in 2 acts for large ensemble of unique instruments & voices)
1971
USA
Columbia Masterworks M2 30576
vg+, nm, nm
ex
Original complete 3lp box of this TAS-listed masterpiece, probably the best ever audiophile recording of Partch's microtonal instrument-sculpture creations. Under the composer's supervision, Danlee Mitchel conducts this epic work in Partch's 43-note-to-the-octave scale. Disc 3, which only came with 1st pressings, is "The Instruments of Harry Partch," a full-length bonus lp filled entirely with recordings of Partch himself speaking about and then playing solos on each of the 27 instruments he invented. Includes promo 'suggested cuts' stickers UNSTUCK still on wax paper inside the box, with even a separate sticker for the bonus 3rd disk!
14
Computer Music-- J. K. Randall: Quartets In Pairs (1964); Quartersines (1969); Mudgett- Monologues by a Mass Murderer (1965) / Barry Vercoe: Synthesism (196x) / Charles Dodge: Changes (1970)
1970
USA
Nonesuch H-71245
vg+
ex-
One of the best albums of early computer-synthesized music, here made with the ancient sound synthesis programs Music IV by Max V. Mathews, Music IVB by Hubert Howe, and Vercoe's own IBM Music 360, which provide the composers with a previously unavailable range of parameters with which to sculpt all aspects of their sounds (timbre, microtuning, shape, attack and decay, etc.). Realized at the computer centers of Columbia and Princeton and Bell Telephone Laboratories.
60
The Sounds and Music of the RCA Electronic Music Synthesizer
1955
USA
RCA Victor LM-1922 Experimental
ex
vg+
"Introducing the RCA Electronic Music Synthesizer - a system capable of creating any sound which has ever been produced, and any sound which can be imagined by the human mind..." This rare and amazing artifact is generally regarded as the 1st lp ever to feature a synthesizer. This demonstration of the then-unbelievable capabilities of the RCA Synth has explanations of the technology and science behind the punchcard-fed, room-sized machine (spoken in a stereotypical 1950s nerdy announcer voice, interspersed with synthesized example sounds), as well as actual music produced by the synth. There are classical works by Bach and Brahms, folk, pop, and jazz (including Irving Berlin's Blue Skies "in the style of a dance band"). The RCA Synth would a few years later be installed at the Columbia-Princeton Electronic Music Center where luminaries Vladimir Ussachevsky composed seminal experimental early electronic works using it.
60
Voice of the Computer-- Jean-Claude Risset: Computer Suite from 'Little Boy' (1968) / Max V. Mathews: Masquerades (1963); Slider; Swansong / James Tenney: Stochastic Quartet (1963) / John R. Pierce: Eight-Tone Canon (1966) / Wayne Slawson: Wishful Thinking About Winter / Roger N. Shepard: Shepard's Tones
1970
USA
Decca DL 710180
vg+
vg+
Rare and essential lp with some of the earliest ever computer-produced music, the sequel to the equally legendary Music from Mathematics album, with pioneering experimental electronic works composed at Bell Labs on early IBM mainframes (including the 7090 and 7094) during the 50s and 60s. Some tracks, like Risset's, are beautiful and complex multi-movement compositions, while others are fascinating studies of microtuning, psychoacoustic phenomena, randomization, and mathematical experiments in synthesized sound. This recording documents for the first time the eerie Shepard's Tones (aka the auditory staircase illusion), in which all relative pitch discrimination information has been eliminated from a set of tones. Mathews' Swansong is of particular historic value as "the birth cry of interactive graphic composing... the score was drawn directly on the computer using a TV picture tube attached to the computer and a special light pen..."
4
Rusty In Orchestraville - The Instruments Talk - Rusty Plays
195?
USA
Capitol CCF-3007
vg-, vg-, vg+ (discs 1 and 2 have some scuffing and 2 small scratches)
vg+
Boxed 3x7" 45rpm issue of this forward-thinking children's album containing probably the 1st ever commercial use of a vocoder. Intended to help get kids interested in learning music, this story features a boy frustrated by his daily piano lessons who dreams of befriending musical instruments, which talk back to him in strange synthesized voices made using effects from Sonovox vocoder equipment (with each instrument of the orchestra given a uniquely vocoder-treated voice!). Credits go to producers Henry Blair and Billy Bletcher, composer Billy May, writer Alan Livingston, and technician Gilbert Wright of Sonovox.
35
Electronic Works Created by the Oskar Sala Sound Studios-- Oskar Sala: Five Improvisations On Magnetic Tape (196?) / Remi Gassmann: Electronic Music to the ballet Electronics (1961)
1961
USA
Westminster WST 14143
vg+
vg+
1st pressing of these pioneering experimental works performed by Sala on the Trautonium early electronic microtonal keyboard instrument invented in 1939, with compositions by Sala and ballet composer Remi Gassmann. Sala's own compositions are a set of brief studies ranging from atmospheric microtonal drones and melodies to rhythmic, percussive ditties betraying a sort of demented pop/jazz influence, all beautifully drenched in noise and reverb. Gassmann's sidelong piece was made to accompany a performance by the New York City Ballet under George Balanchine.
80
Musique Concrete 1959 No. 2-- Pierre Schaeffer: Etude Aux Sons Animes (1958) / Luc Ferrari: Etude Aux Sons Tendus (1958) / Iannis Xenakis: Diamorphoses (1958)
1959
France
BAM EX 242
vg+
vg+
Ultra rare amazing 7" of experimental early electronic tape music - the only record on which these pieces were released in gorgeous audiophile 45rpm - presenting the late 50s output of the legendary studio founded by Schaeffer, Le Groupe de Recherches Musicales De La R.T.F. (which eventually became the INA-GRM). These pioneering composers recorded "natural", non-synthesized sounds like machinery, instruments, bells, children's toys, animals, voices, etc., and created structured noise compositions by cutting up the tape, changing its speed, applying primitive filters, and using montage techniques. All 3 tracks are awe-inspiring, but especially notable is Xenakis' Diamorphoses, his first tape composition, constructed from the sounds of natural disasters and train and plane crashes, here presented in its lesser-heard original version.
200
Pierre Schaeffer & Orson Welles: The Liberation Of Paris - Historical Documentary Recorded In Paris In French And English
1945
USA
Asch 50
vg-, vg, nm (disc 1 s1 flawless, s2 has 3 small feelable marks; disc 2 has 1 tiny mark + tiny pressing imperfection bubble; disc 3 flawless)
vg
Ultra rare 3x12" 78rpm bound set documenting the defeat of the Germans in Paris during World War II, conceived and edited by the father of musique concrete early electronic tape music, Pierre Schaeffer, and released in 1945 on the private label of Moses Asch before he founded Folkways. This is the earliest known work by Schaeffer, created during the time that he was beginning his experiments with concrete sound but before he completed his earliest formal electronic compositions. His touch can be heard throughout this album in the brilliantly executed sound montage and obvious appreciation for the power and beauty of raw field recordings; the notes call it "the first radiomontage of recorded historic events." Schaeffer took part in the French resistance during the Nazi occupation and was the chief of the Paris Underground Radio Station at the time of liberation. Featuring commentary in English from actor-filmmaker Orson Welles and artist Emlen Etting, readings by French surrealist poet Paul Eluard, Schaeffer reciting his own poetry, radio signals, recordings of German tanks under fire and other real battle clips, the bells of the churches of Paris ringing to celebrate liberation, the first free French radio broadcast, speeches from de Gaulle, Eisenhower, and others, news reports, and comments from civilians on the street celebrating their liberation. "From material in the archives of Radio Diffusion de la Nation Francaise, Pierre Schaeffer has assembled and woven together excerpts that vividly evoke the excitement, courage and ecstasy that accompanied the return of Paris to France and to Freedom..."
37
Tony Schwartz: Sound Effects Vol.1 - City Sounds: Outdoor Sounds; Indoor Sounds
1958
USA
Folkways FX 6170
nm-
ex
More like an album of extended soundscapes than sound effects, these carefully collaged field recordings border on musique concrete. Legendary sound archivist Schwartz recorded the entire album in New York City with an ear for the cinematic and an obvious love for documenting the noise emissions of his city; there are over 15 minutes of Street Traffic tracks alone (!), plus Street Drilling, Coal Delivery, Cocktail Party, Department Store Crowds, All Men's Bar At Lunchtime, Office Building Lobby, etc. A trove of unique sounds and a slice of 1950s NYC urban life, rising way above run-of-the-mill generic "sound effects" records.
3
Roger Sessions: When Lilacs Last In The Dooryard Bloom'd (1970 for vocal soloists, chorus & orchestra)
1977
USA
New World NW 296
vg
ex-
Based around a Walt Whitman poem. Seiji Ozawa conducts The Boston Symphony Orchestra with Tanglewood Festival Chorus, Dominic Cossa, Florence Quivar, Esther Hinds.
33
Ravi Shankar: Transmigration Macabre [Viola OST]
1973
USA
Spark SPA 06
vg+
vg
Intense Shankar-led free improv featuring the legendary Lasry-Baschet Structures Sonores sound sculptures made of metal and glass combined with sitar and tabla. Probably the closest to a free jazz setting that the Baschet instruments have ever come. Promo copy.
100
Sonic Arts Union: Electric Sound-- Alvin Lucier: Vespers (1968 for live electronics) / David Behrman: Runthrough (1968 for custom circuitry) / Gordon Mumma: Hornpipe (1967 for live electronics-processed french horn)/ Robert Ashley: Purposeful Lady Slow Afternoon (1968 for electronic tape and voices)
1972
USA
Mainstream MS/5010
vg+
vg+
Fantastic and rare document of some of the earliest live electronic music, the lone album by this legendary group whose members would each go on to individual fame. Sonic Arts Union was a collective of experimental early electronic composers who assisted each other in performing their unconventional music on self-built synthesizers, noise-generating circuits, and repurposed machinery, their mission to create music "in which established techniques were thrown away and the nature of sound was dealt with from scratch." Produced by composer Earle Brown.
35
Karlheinz Stockhausen: Sirius (1977 for electronics, trumpet, sorano, bass clarinet, and bass)
1980
Germany
Deutsche Grammophon 2707 122
nm, nm-
vg
2lp. Stockhausen performs as "sound director" on this mystical experimental music theater piece, mixing and processing the performers and playing an EMS Synthi 100 synthesizer and other electronics including a musique concrete electronic tape realized at the WDR Koln early electronic music studios. Joining him are son Markus Stockhausen, trumpet, Annette Meriweather, soprano, Suzanne Stephens, bass clarinet, and Boris Carmeli, bass.
25
Karlheinz Stockhausen: Aus Den Sieben Tagen-- Kommunion (1968 for electronically processed improvising ensemble); Intensitat (1968 for electronically processed improvising ensemble)
1972
Germany
Deutsche Grammophon 2530 256
nm
ex
Excellent improvisation sessions directed and live-electronic-processed by Stockhausen featuring the entire lineup of free improv group New Phonic Art, with Michel Portal (sax, flute, piano), Vinko Globokar (trombone), Jean-Pierre Drouet (percussion), Carlos Roque Alsina (piano, hammond organ), Johannes G. Fritsch (contact-miked viola), Alfred Alings (tamtam with microphone), Rolf Gehlhaar (tamtam with microphone), and Jean-Francois Jenny-Clark (contrabass). Stockhausen himself performs on short-wave receiver, glass with stones, filters, volume controls, nails, hammer, timber, sand-paper, file, rasp, car-horns, siren whistle, sound-direction, and voice.
17
Karlheinz Stockhausen: Prozession (1967 for tamtam, viola, Elektronium, piano, filters, and potentiometers)
1968
USA
Candide CE 31001
vg+
vg+
Stockhausen performs on live electronics, processing his ensemble's instruments, with Aloys Kontarsky, Fred Ailings, Rolf Gehlhaar, Johannes Fritsch, and Harald Boje performing and reacting to semi-improvised "sound events". Boje plays the Elektronium single vacuum-tube oscillator early electronic keyboard instrument. Cover art by Nicolas Schoffer.
32
Morton Subotnick: Until Spring (1975 for Buchla Electric Music Box)
1976
USA
Columbia Odyssey Modern American Music Series Y 34158
vg+
vg+
White label promo copy of this beautiful experimental electronic work realized on a unique synthesizer designed by Donald Buchla in collaboration with the composer; it features an array of abstract and rhythmic synth noises, with some nifty bouncing ball-type effects.
18
Morton Subotnick: Sidewinder (1971 for Buchla Electric Music Box, 4 channel version)
1972
USA
Columbia MQ 30683
vg+
vg
Audiophile SQ Quadraphonic issue of this excellent early electronic work made on Donald Buchla synth gear. Percussive bursts of synth-noise drift in and out of atmospheric clusters of microtones influenced by Gamelan and Indian music.
6
[Sun Ra and The Blues Project as] The Sensational Guitars Of Dan & Dale: Batman And Robin
1966
USA
Tifton 78002
g+ (1 small feelable scratch and many unfeelable scuffs)
g+
Cheap copy of this legendary children's exploito Batman TV show cash-in album of fantastic psychedelic dance-surf-rock blues jams, featuring none other than Sun Ra on Hammond B-3 organ, Arkestra members John Gilmore and Marshall Allen on tenor and alto sax, Pat Patrick on bass, and Jimmy Owens and Tom McIntosh on trumpet and trombone, and Blues Project members Danny Kalb and Steve Katz on guitar, Andy Kulberg on bass, and Roy Blumenfeld on drums, who earned some then-much-needed quick cash to pseudonymously record this session. The result, while clearly much more commercial than anything else done by either band, is fascinating and quite enjoyable. All of the tracks apart from the Neal Hefti "Batman Theme" are blues built on familiar material including Chopin, Tchaikovsky, Bach, and the Beatles. Original mono pressing, missing original inner sleeve.
24
Toru Takemitsu: Asterism (1968 for piano and orchestra); Requiem (1957 for string orchestra); Green (1967 for orchestra); The Dorian Horizon (1966 for 17 strings)
1969
USA
RCA LSC-3099
vg+
vg+
Jasper Johns art cover lp with a great selection of Japanese composer Takemitsu's experimental works, featuring Seiji Ozawa conducting the Toronto Symphony Orchestra and Yuji Takahashi playing piano. Asterism involves many non-traditional playing techniques such as the rubbing of a comb on percussion devices and the use of a double-bass bow on Chinese gongs. Dorian Horizon is a spatial work that separates the players on and off the stage.
34
Music For Electronic & Older Instruments-- Vladimir Ussachevsky: Of Wood And Brass (1965 for electronic tape); Wireless Fantasy (1960 for electronic tape) / Otto Luening + Ussachevsky: Concerted Piece For Tape Recorder And Orchestra (1960) / Mel Powell: Events For Tape Recorder (1963); Second Electronic Setting (1962); Improvisation (1962 for piano, clarinet, viola); Two Prayer Settings (1963 for chamber ensemble and tenor)
1968
USA
CRI 227 USD
vg+
vg+
Excellent Columbia-Princeton Electronic Music Center works including never-reissued tracks by jazz-pianist-turned-experimental-composer Powell. Ussachevsky's Wireless Fantasy is made out of recordings of historic early radio transmission devices. The Concerted Piece is among the earliest to combine electronics with orchestra and is performed by the Oslo Philharmonic conducted by Jose Serebrier.
30
Vladimir Ussachevsky: Colloquy (1976 for orchestra and tape); Dialogues And Contrasts (1983 for brass quintet and tape)
1987
USA
CRI SD 543
ex
nm
Scarce album released for Ussachevsky's 75th birthday presenting the electronic pioneer's final works. Colloquy is an insane "conversation" between the electronic tape and the orchestra, complete with the tape recorder talking to the orchestra in a processed vocoder voice (spoken by Ussachevsky himself!) between beautiful segments of tape-manipulated noise. The lines are in rhymed couplets in a sort of whimsical defense of electronic music against stuffy old-school classical musicians. The tape eventually impresses the musicians with its demonstrations of synthesized sounds and musique concrete processing of each of the orchestra's instruments, and together they prove that they can coexist in harmony - certainly it's the strangest and most humorous Ussachevsky composition. With the Utah Symphony Orchestra under Maurice Abranavel and the American Brass Quintet.
34
David Vorhaus & David Bradnum: Electrographics - Unusual Electronic Pieces Featuring The Fairlight Computer Musical Instrument
1982
UK
Music De Wolfe DWS/LP 3498
ex
vg+
Scarce library music by David Vorhaus of legendary electronic prog group White Noise (offshoot of the BBC Radiophonic Workshop), with 19 tracks intended for film and television use made on the Fairlight CMI synth as well as on the Kaleidophon electronic instrument invented by Vorhaus himself, ranging from new age ambient soundscapes to demented electronic pop and rock. Track descriptions include "relaxed, bizarre, atmospheric", "sinister, menacing", "floating, dreamy", "melodic, tinkling, computer-like", etc.
3
Adolph Weiss: American Life scherzoso jazzoso (1929 for orchestra) / John Alden Carpenter: Krazy Kat (1921 for orchestra) / Henry F. Gilbert: The Dance In Place Congo (1908 for orchestra) / John Powell: Rhapsodie Negre (1917 for piano and orchestra)
1977
USA
New World NW 228
vg+
vg+
Early 20th century classical influenced by jazz and African American folk, including an avant garde piece by Schoenberg's first American pupil Weiss, plus a beautiful cover by the Synchromism painter Morgan Russell. The Los Angeles Philharmonic Orchestra performs with Calvin Simmons and Lawrence Foster conducting and pianist Zita Carno.
25
Iannis Xenakis: Electro-Acoustic Music-- Orient-Occident III (1960); Bohor I (1962); Concret P-H II (1958); Diamorphoses II (1957)
1970
USA
Nonesuch H-71246
ex
vg+
Essential lp presenting Xenakis' superb early electronic/musique concrete works, all composed at Pierre Schaeffer's INA-GRM studios in Paris.





Everything Else: Jazz ● Funk ● Rock ● Non-Avant Classical ● Spoken Word ● World ● Oddball

loading... Load Items...

Your Order:

Full Name:
Email:
Any notes, questions, special instructions:

SUBMIT ORDER       Cancel / Continue Shopping

Please note: All orders are processed by hand. After submitting you will receive an immediate automated confirmation email. Within 24 hours (but usually much quicker during normal USA business hours) you will receive a finalized invoice email with availability confirmation, order total including shipping, and (if paying by PayPal) a Pay Now button that will allow you to submit your full address & payment details via PayPal.
specializing in vintage vinyl of early electronic/electroacoustic, avant garde, microtonal, minimalist, and 20th century classical music, with frequent detours into free jazz, artists records, sound effects/field recordings, poetry/spoken word, breaks/turntablism, ethnomusicology, space age pop, private press oddities, and other unique aural documents
keymap records is based out of Stapleton, Staten Island, New York, USA and ships worldwide; is the preferred payment method
email keymap [at] soundplant.org with questions or requests
all items listed are original vintage pressings and include all inserts as issued, unless otherwise noted
add your email to the keymap records mailing list for occasional sale announcements:

follow me on Twitter, I'll announce sales there too
share keymap records:
check out the keymap records gallery of avant garde rarities
keymap records is also on keymap records on Discogs and keymap records eBay auctions
items in cart: 0 checkout / view