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Reverberations: Tape & Electronic Music 1961-1970

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Download links and information about Reverberations: Tape & Electronic Music 1961-1970 by Pauline Oliveros. This album was released in 2014 and it belongs to Electronica genres. It contains 35 tracks with total duration of 11:25:51 minutes.

Artist: Pauline Oliveros
Release date: 2014
Genre: Electronica
Tracks: 35
Duration: 11:25:51
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Tracks

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No. Title Length
1. Time Perspectives 19:37
2. Mnemonics I 15:09
3. Mnemonics II 9:55
4. Mnemonics III 17:33
5. Mnemonics IV 18:46
6. Mnemonics V 13:54
7. II of IV 16:15
8. III of IV 9:23
9. IV of IV 16:39
10. V of IV 14:38
11. III 16:08
12. Team and Desecrations Improvisation 22:57
13. The Day I Disconnected the Erase Head and Forgot to Reconnect It 32:35
14. Jar Piece 15:52
15. Another Big Mother 31:40
16. Fed Back 1 28:10
17. Fed Back 2 3:55
18. 5000 Miles 32:50
19. Angel Fix 32:37
20. Bottoms Up 1 12:50
21. Nite 16:28
22. Ringing the Mods 1 Heads 9:35
23. Ringing the Mods 2 Tails 9:35
24. Three Pieces I 5:22
25. Three Pieces II 3:20
26. Three Pieces III 4:04
27. Big Slow Bog 32:38
28. Boone Bog 32:34
29. Bog Bog 33:54
30. Mind Bog 33:38
31. Mewsack 32:30
32. 50/50 Heads (Buchla Piece Head Out) 19:30
33. 50/50 Tails (Buchla Piece Tails Out) 19:30
34. A Little Noise in the System 30:25
35. Red Horse Headache 21:25

Details

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Released in conjunction with her 80th birthday, Reverberations: Tape & Electronic Music 1961-1970 chronologically collects hours of experimental composer Pauline Oliveros' early tape experiments recorded at various visits to the electronic music studios of different universities. This remarkably extensive 12-disc set begins with "Time Perspectives," a rudimentary stereo tape experiment Oliveros recorded at home in 1961. This raw stereo tape piece manipulates various sounds; laughter, bell tones, minimal tubular movements — twisting the subtle sounds through phases where they're familiar and then back to unrecognizable gurgles. The experimentation is unhinged and varied throughout the set, from the high-pitched noise of the five-part early synthesizer "Mnemonics" suite to the obscured dark rumble of the proto-ambient "Big Slow Bog." The use of patiently manipulated tape loops on later material such as "A Little Noise in the System" predicts much of what would come to be baseline sounds in the academic noise scenes of the late 2000s/early 2010s. These mostly unreleased compositions are primarily extended explorations, and range widely in sound and emotional depth, always finding a surprisingly natural and humanistic arc for their amusical sounds. Ultimately, the collection wades through the mire of sometimes difficult sounds and reveals a spectrum of sophisticated emotional reflections. Oliveros' unhurried electronic meditations often derive joy and hope from the least likely places.