![]() Sponsored by the electronics giant Philips, this collaboration between Varèse, fledgling composer Xenakis, modernist architect Le Corbusier and filmmaker Philippe Agostini was a temporary temple to the 20th century gods of science and technology. Synthedelia, anybody?Įven more mind-blowing was the 16mm movie that Jeannie’s father – an engineer infatuated with the latest gadgets – had made of the family’s visit to the Philips Pavilion, a jaggedly futuristic construction at the 1958 World’s Fair in Brussels. Since retroactively invented genres are all the rage these days – nobody at the time talked about minimal synth, or freakbeat, or junkshop glam – it’s tempting to float a comprehensive coinage. Silver Apples and United States of America have long been cult groups, but there’s also lesser-known exponents of the style, such as the Canadian trio Syrinx (and its avant-garde precursor Intersystems), Lothar and the Hand People, Beaver & Krause and Tonto’s Expanding Head Band. Although these bands were largely unaware of each other’s existence at the time, you could group Fifty Foot Hose among a confederacy of acid-era bands from North America who embraced synthesizers and musique concrète’s tape-manipulation techniques. ![]() He originally made that assertion early in ’67 when he and guitarist David Blossom were drunkenly hatching the idea for Fifty Foot Hose, as a rock group that “really incorporated the concepts of electronic music not as sound effects but as a substantive part of the music.”įifty Foot Hose weren’t the only ’60s rockers who’d had this lightbulb moment. ![]() ![]() Marcheschi’s remark is a reissue too, in a way. So says Louis “Cork” Marcheschi of Fifty Foot Hose, whose sole album, Cauldron – a pioneering collision of abstract electronics and psychedelic rock originally released in 1967 – was reissued for the first time on vinyl at the end of 2017. “Rock & roll is electronic music – because if you pull the plug, it stops.”
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