Issued “privately” (via his own “Discant Records” - the label’s sole release) in 1971, this was the recorded debut of composer & author (his “Techniques of the Contemporary Composer” was a big help in my post-collegiate years) David Cope, consisting of two side-length pieces for live instruments, demonic loud-whisper vocals, and analog electronic processing (according to the liner notes, Cope played back “early tapes of his own works,altered through a Moog synthesizer at the Electronic Studio of the Cleveland Institute of Music.”) What’s immediately noticeable is that these pieces really don’t sound like any other one thing, merging a cyclic, at-times sea-sick sensibility (the loping piano figure & pointillistlid-smash antics of the tail-end of the second piece def. make me woozy !!!) with the kind(s)of Hör-spiel & avant-cabaret-leanings Robert Ashley et.al would explore in the coming years (of note ; “K” is symbolically linked with a Samuel Beckett play, which gives some indication of the conceptual frameworks at play herein.) Definitely one for the lovers of the darker end of the early-electronic spectrum; parallels can be drawn, contextually, to Ruth White’s Baudelaire realizations & even such agitprop work as Salvatore Martirano’s “L’s G.A.” - another missing link, thought awash in the void eternal, now anchored safely ashore by the P.C. C.P. brain-trust ... -Keith Fullerton Whitman

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CP 153

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