Swipe
Vinyl LP pressing. A work that literally immerses the listener into an acoustical substance. The sound becomes almost like matter, like jelly. Soon, you're swimming in sound, getting lost inside it. With the Sonic Waters project initiated in 1978, my aim was to situate field of electronic music within a liberating and futuristic experience, outside the concert halls and in sync with the development of new instruments - in particular the Synclavier digital synthesizer, the first model of which I acquired in 1977. As concert space, the Pacific Ocean seemed to me to be the ideal experimental medium for both acoustic and cultural reasons. I then developed the aesthetic and technical
Vinyl LP pressing. A work that literally immerses the listener into an acoustical substance. The sound becomes almost like matter, like jelly. Soon, you're swimming in sound, getting lost inside it. With the Sonic Waters project initiated in 1978, my aim was to situate field of electronic music within a liberating and futuristic experience, outside the concert halls and in sync with the development of new instruments - in particular the Synclavier digital synthesizer, the first model of which I acquired in 1977. As concert space, the Pacific Ocean seemed to me to be the ideal experimental medium for both acoustic and cultural reasons. I then developed the aesthetic and technical
5411867334934

Details

Format: Vinyl
Label: SUB ROSA
Rel. Date: 12/10/2021
UPC: 5411867334934

Sonic Waters Underwater Music 1979-1987
Artist: Michel Redolfi
Format: Vinyl
New: Available $21.98
Wish

Formats and Editions

More Info:

Vinyl LP pressing. A work that literally immerses the listener into an acoustical substance. The sound becomes almost like matter, like jelly. Soon, you're swimming in sound, getting lost inside it. With the Sonic Waters project initiated in 1978, my aim was to situate field of electronic music within a liberating and futuristic experience, outside the concert halls and in sync with the development of new instruments - in particular the Synclavier digital synthesizer, the first model of which I acquired in 1977. As concert space, the Pacific Ocean seemed to me to be the ideal experimental medium for both acoustic and cultural reasons. I then developed the aesthetic and technical

back to top