In Japanese folklore, you’ll find the Shinto idea of the tsukumogami, an inanimate object occupied by a spirit. The spirit becomes present in a thing over use and time — after one hundred years in the case of the tsukumogami. And the object-as-spirit remembers its treatment by a prior owner. If the object was previously abused, then the tsukumogami wrecks vengeance, even if it’s now in the hands of a different owner. I assume this works the other way around if the item was held in reverence. I approached my conversation with the German duo Ströme with this concept in mind. The ..read more

One of the first bands I was into was Yes (which is why I know a thing or two about Alan White). One could easily find most of their oeuvre in the cut-out bins, so I had all of Yes’s early albums by the time I was 15 — even this one. But soon, punk rock and post-punk reared their shaggy heads. I quickly jettisoned Yes, prog-rock, and anything resembling those to the dustbin. So, I never really got into Vangelis. The pomposity of it all — I filed him alongside the Rick Wakemans and Keith Emersons of the world. My synth heroes were rarely photographed in front of banks of gear, whethe ..read more

An anonymous artist paradoxically often attracts more attention because of anonymity. Curiosity draws us in for a closer look. Just look at Bansky, with mentions of his accomplishments usually sitting alongside guesses to his identity. And we can’t forget all the electronic artists accused of secretly recording as Burial throughout the end of the ’00s. The scrutiny created problems for the reclusive recording artist and, unlike Banksy (so far), he gave in to the pressure. Hua Hsu in the New Yorker: When Burial was nominated for the Mercury Prize, a British tabloid writer tried to figure out h ..read more

Long before Brian Eno dreamed-up the term ambient music, there was “Furniture Music.” Coined by composer Erik Satie in 1917, “Furniture Music” intends to “make a contribution to life in the same way as a private conversation, a painting in a gallery, or the chair in which you may or may not be seated” (Satie’s words). There’s a story of the debut of “Furniture Music” (or more correctly “Furnishing Music” — ‘musique d’ameublement’). Satie performed it during the intermission of a play, and the audience was encouraged to mill about as they usually would during a theater break. Instead, and ..read more

I’ve done some work with Toni Tennille, helping with the promotion and management of her memoir as well as some general consultancy and publishing guidance. I did have a previous connection: Toni is Caroline’s aunt, which makes Daryl Dragon (‘The Captain’) her uncle. And, technically, my uncle (or uncle-in-law). I never met Daryl but had an email exchange with him several years ago. He was curious about the status of some C&T compositions and wanted help investigating publishing and master rights, with the hope of exploiting selections from the catalog. Daryl sent me this detailed email ..read more

Perhaps a budding Sunday tradition? Once again, I present five online articles that caught my fancy over the past week: Meet The World’s Most Obsessive Fan Of ‘The Velvet Underground and Nico’ Satlof’s collection began in earnest in 1987: a $90 autographed copy from “a record dealer in an antiques mall on Canal Street,” with a scrawled signature that the seller said was Warhol’s, but turned out to be Reed’s. Satlof casually picked up more of the albums over the years, paying “$10, $20, like $100 for ones with the full banana.” He stresses that his hobby is due to the brilliance of the music a ..read more

Writer Stephen Thomas Erlewine has tackled a fascinating (to me) subject for Medium’s Cuepoint: the odd collision of classic rockers and the emerging ‘new wave’ in the late ’70s. Cuepoint: Three or four years after the revolution, all the upheavals of the back half of the 70s were no longer contained in the underground. Disco and punk, synthesizers and drum machines, hip-hop and new wave — these strange new sounds started to seep into the mainstream and not just through new acts. Baby boomers facing their forties decided to try to dig the new breed, albeit on their own terms. Erlewine goes o ..read more

Electronic Beats: In his documentary “Discovering Electronic Music” director and writer Bernard Wilets explores the basics of early analog synthesizers and the first digital sampling techniques. With its dreamlike and slightly dated approach, it’s a worthwhile watch— and if you’re curious about how future technology was referenced in the past, this short documentary is every paleofuturist’s dream. Update: Here’s a handy GIF I created from this video ..read more

Here’s a fantastic article in Collector’s Weekly with a selected history of the synthesizer, focusing on Dave Smith of Sequential Circuits who just got the old name back and is restarting the brand. This section on the making of Switched-On Bach paints a remarkable pitcture of the early days: In a word, synthesizers in 1974 sucked. Sure, their vintage cred looks cool from 2015, but all synthesizers in 1974 were monophonic, which meant they could only produce one note at a time. That was a major headache if you were Wendy Carlos and you had made it your mission to include a composition such as ..read more