Steve Reich Pauline Oliveros ?New Sounds In Electronic Music Odyssey 1967 Rare

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Steve Reich / Richard Maxfield / Pauline Oliveros ?– New Sounds In Electronic Music (Come Out / Night Music / I Of IV) Label: Odyssey ?– 32 16 0160 Series: Music Of Our Time – Format: Vinyl, LP  Country: US Released: 1967 Genre: Electronic Style: Abstract, Experimental Tracklist A1 –Richard Maxfield Night Music 9:05 A2 –Steve Reich Come Out 12:58 B –Pauline Oliveros I Of IV 20:03 Companies, etc. Record Company – Columbia Broadcasting System, Inc. Record Company – CBS Inc. Pressed By – Columbia Records Pressing Plant, Pitman Credits Engineer – George Engfer Producer – David Behrman Notes Orange Odyssey label pressing. Later pressings have Columbia Odyssey labels: New Sounds In Electronic Music (Come Out / Night Music / I Of IV) has orange-ish brown Columbia Odyssey labels, a circular "LP" logo on the spine, and "A" near the Odyssey logo on the back cover. New Sounds In Electronic Music (Come Out / Night Music / I Of IV) has beige Columbia Odyssey labels, and no "LP" logo on the spine. Barcode and Other Identifiers Matrix / Runout (A-Side Label): 32 16 0160-1 Matrix / Runout (B-Side Label): 32 16 0160-2 Matrix / Runout (A-Side Runout Etching): o AA-32-16-0160-1 1 p A Matrix / Runout (B-Side Runout Etching): o AB-32-16-0160-2 1 p H Other (Library Of Congress Catalog Card Number): R67-3537
The landmark album featuring the work of three luminaries, Steve Reich, Richard Maxfield, and Pauline Oliveros. The "New Sounds In Electronic Music" would be highly recognized for the piece "Come Out" by Steve Reich that was a model for minimal and phase composition that Reich would go on to develop much further. The album also features some of the first electronic works by Richard Maxfield. "Night Music" is an exquisite pre-synthesizer electronic music made like his pieces "Sine Music" (1959) and "Trinity Piece" (1960) with only the supersonic bias signal of a tape recorder and a supersonic sawtooth waveform from an oscilloscope producing audio range difference tone "ghosts". Identical in feeling to a response to the sound of birds and insects on a summer night in a city park. "I of IV" is a good example of Oliveros' earlier electronic music using a configuration of tape recorders patched into each other with magnetic tape spliced in loops so that a form of "automatic generation" system was created by feedback. Similar to Richard Maxfield, Oliveros used bias frequencies of tape recorders and difference, or lower "ghost tones" produced by the interference of very high frequencies.