Bruce Haack The Electric Lucifer
I agree that many of the vocal are over ridden,leaving the vocals hard to understand. The Electric Lucifer is ahead of its time. About the Author. Some Related Posts. Patrick Keaton January 3, Leave a Comment Cancel reply Name.
His upbringing in the isolated town of Rocky Mountain House in Alberta, Canada, gave him plenty of time to develop his musical talents. Seeking formal training to hone his ability, Haack applied to the University Cornelius The First Question Award Alberta's music program. Though that school rejected him because of his poor notation skills, at Edmonton University he wrote and recorded music for campus theater productions, hosted a radio show, and played in a band.
He received a degree in psychology from the university; this influence was felt later in songs that dealt with body language and the computer-like ways children absorb information. New York City's Juilliard School offered Haack the opportunity to study with composer Vincent Persichetti ; thanks to Bruce Haack The Electric Lucifer scholarship from the Bruce Haack The Electric Lucifer government, he headed to New York upon graduating from Edmonton in At Juilliard, Haack met a like-minded student, Ted "Praxiteles" Pandel, with whom he developed a lifelong friendship.
However, his studies proved less sympathetic, and he dropped out of Juilliard just eight months later, rejecting the school's restrictive approach. Throughout the rest of his career, Haack rejected restrictions of any kind, often writing several different kinds of music at Ray Terrace Watermelon Man Rays Beat time.
He spent the rest of the s scoring dance and theater productions, as well as writing pop songs for record labels like Dot Records and Coral Records. Haack's early scores, like 's Les Etapes, suggested the futuristic themes and experimental techniques Haack developed in his later works.
As the s began, the public's interest in electronic music and synthesizers increased, and so did Haack's notoriety.
The duo often played the Dermatron, a touch- and heat-sensitive synthesizer, on the foreheads of guests; 's appearance on I've Got a Secret featured them playing 12 "chromatically pitched" young women.
Meanwhile, Haack wrote serious compositions as well, such as 's "Mass for Solo Piano", which Pandel performed at Carnegie Halland a song for Rocky Mountain House's 50th anniversary. One of his most futuristic pieces, 's "Garden of Delights", mixed Gregorian chants and electronic music. This work was never broadcast or released in its complete form.
Haack found another outlet for his creativity as an accompanist for children's dance teacher Esther Nelson. Perhaps inspired by his own lonely childhood, he and Nelson Bruce Haack The Electric Lucifer on educational, open-minded children's music.
Though the series included activity and story songs similar to other children's records at the time, the music moves freely between country, medieval, classical, and pop, and mixes instruments like piano, synthesizers, and banjo. The lyrics deal with music history or provide instructions like, "When the music stops, be the sound you hear", resulting in an often surreal collage of sounds and ideas.
Though he had little formal training in electronics, he made synthesizers and modulators out of any gadgets and surplus parts he could find, including guitar effects pedals and battery-operated transistor radios.
Eschewing diagrams and plans, Haack improvised, creating instruments capable of voice polyphony and random composition. Using these modular synthesizer systems, he then recorded with two two-track reel-to-reel decks, adding a moody tape echo to his already distinctive pieces. As the s progressed and the musical climate became more receptive to his kind of whimsical innovation, Haack's friend, collaborator, and business manager Chris Kachulis found mainstream applications for his music.
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