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keymap records gallery of avant garde rarities

This little gallery represents some of my most treasured records in the early electronic / microtonal / 20th century avant garde genres, a biased selection of the best of the rarest vinyls that have made their way into my hands, stressing private/tiny labels but also featuring some "major" label obscurities and overlooked gems. This is not meant to be a complete discography of anything, but rather an assortment of fantastical artifacts from the golden age of analog avant garde that, in my experience, are the most obscure and hardest to find, never officially issued on CD, the ones rarely if ever seen on eBay or elsewhere (most of these I've only seen once or twice ever), forgotten in the discographies and price guides, perhaps mentioned once in an obscure text book or article, cast away as worthless oddities by unknowing dealers, the ones that you maybe think you saw once but you were never sure if it really happened...

These are from my personal collection and are not for sale (although from time to time I'll put one up for sale on my web store or on eBay if I happen to dig up a spare copy). If you require a cd or mp3 transfer of any of these recordings for research purposes (many have never been reissued in any format), I can provide this service for a reasonable fee, please send me an email (keymap [at] soundplant.org).

· Marcel Blum · last updated December 15, 2009

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The Kepler Label LP 1571 12" 33rpm USA 1979? Willie Ruff & John Rodgers: The Harmony Of The World - A Realization For The Ear Of Johannes Kepler's Astronomical Data From Harmonices Mundi 1619 Terrific private pressing of computer music realized on the Princeton University Computer Center's IBM 360/91 using the program Music 4BF. Ruff and Rodgers derived musical data out of 248 years of astronomical data of the movement of the planets, adapted from the writings of 17th century German astronomer and mathematician Johannes Kepler, reulting in a gorgeous, massive enveloping drone.

Melodiya 25631-32 10" 33rpm USSR undated Electronic Music Played On The Photoelectronic Synthesizer ANS-- E. Artemyev [Artemiev] + S. Kreichi: Music From The Film Cosmos / S. Kreichi: Intermezzo; A Voice Of The East / A. Nemtin: Tears / S. Kallosh: A Northern Tale / J.S. Bach: Choral Prelude In C Major (adapted for ANS by Nemtin) The earliest known release of electronic works composed in Russia on the innovative ANS Synthesizer photoelectronic instrument during the 60s and early 70s - predating the (slightly) better known "Musical Offering" lp. The music ranges from clouds of reverberating microtones to rhythmic quasi-pop. The ANS, completed by inventor Eugeny Murzin in 1958, generates sound via an additive synthesis method adapted from the photo-optic sound recording technology used in film, and is capable of producing 720 pure tones (allowing for microtonal scales of 72 notes per octave); it requires the composer to literally draw sound waves onto a graphical score, a "coding field" in the form of a glass plate that is fed into the machine after it has been physically scraped and smeared by the composer to create the desired sounds. Only one ANS was ever constructed, and it is still used today at Moscow State University by a small group of composers; Artemiev's other ANS film music can be heard in the great director Andrei Tarkovsky's Solaris and Mirror, and Coil recently privately issued a cd of their own ANS music.

Joker SM 3505 12" 33rpm Italy 1973 Romolo Grano: Musica Elettronica Volume 1 - A New Dimension In Sound Electronically Tested In Sound Laboratory 16 impressively dense and atmospheric electronic experiments by this obscure Italian film composer. The odd track titles are all photography-themed ("Zooming," "No Filter," "Exposure," "Lens," etc.). Anyone ever come across a Volume 2?

Barclay 893.005 Artistique 12" 33rpm France ca. 1956 Cite Radieuse Marseille Aout 1956 Festival Art Avant Garde-- Pierre Boulez: Etude II sur sept sons (1952 for magnetic tape) / Jean Barraque: Etude (1954 for magnetic tape) / Olivier Messian: Quatre Etudes de Rythme / Anton Webern: Cinq Melodies op.4; Variations pour piano op.27; Trois Chants op.23 Boulez worked on 2 musique concrete studies early in his career, but they were suppressed by the composer; he apparently later disowned his output from this period (of course thereby endowing it with a sort of mythical status), and I believe this lp was the only contemporary public release of his tape music before he pulled the plug. Both the Boulez and Barraque (friend of Michel Foucault, student of Messiaen) were realized at the GRM studios with assistance from Michel Philippot. The Webern and Messiaen are performed by Paul Jacobs and Ethel Semser.

French Broadcasting System In North America GRC 5394 12" 33rpm USA ca. 1958? New French Instruments Presented At The Brussels Fair-- Maurice Bagot: Suite Op.59 (for 3 Ondiolines) / Gustave Samazeuilh: Musette (for Ondioline) / Darius Cittanova: Chants Pour Les Eternites Differentes (for Ondioline) / Jacques Chailley: Angelique (for Ondioline); Ballet Divertissement (for Ondioline) / Jacques Casterede: Eolus (for Ondioline) / Jacques Lasry: La Mort Du Clown (for crystal organ); Impromptu (for crystal organ); Rapsodie De Budapest (for crystal organ) I was pleasantly surprised to discover on this innocent-looking radio transcription disc an entire repertoire of avant garde compositions for the Ondioline (the early electronic keyboard instrument built in 1940 by Georges Jenny and popularized by Jean-Jacques Perrey and Esquivel). There are also a few tracks for the crystal organ (one of the Structures Sonores sound sculptures built by Bernard and Francois Baschet), including 1 brief piece (Impromptu) that was never officially released on any of the Lasry-Baschet lps. Jacques and Yvonne Lasry play the crystal organ, and Mesdames Robert and Campiche and Darius Cittanova play the Ondioline. It's mind-boggling to think that at the legendary 1958 Brussels World's Fair, attendees could stroll from exhibits on experimental instruments featuring the Ondioline, Les Structures Sonores, and Julian Carrillo's Gold Medal-winning 16th-tone piano to the groundbreaking multimedia installation at the Philips Pavilion created by Le Corbusier, Iannis Xenakis, and Edgard Varese.

Sonido 13 JC-001 12" 33rpm Mexico undated Julian Carrillo: Balbuceos (1958 for 1/16 tone piano and traditional chamber orchestra); Horizontes (1947 for violin in 1/4 tones, harp in 1/16 tones, and orchestra); Preludio a Colon (1924, in 1/4, 1/8, and 1/16 tones, for soprano, flute, guitar, violin, octavina, harp) Private pressing on the composer's own label, with stunning examples of the work of the earliest "modern" "western" microtonalist.

Centro Independiente de Investigaciones Musicales [no catalog number] 12" 33rpm Mexico 1986 Coleccion Hispano Mexicana De Musica Contemporanea 4-- Julian Carrillo: Dos Piezas (1926 for microtonal string quartet) / Silvestre Revueltas: Musica De Feria (1932 for string quartet) / Rodolfo Halffter: Ocho Tientos (1973 for string quartet) / Arturo Marquez: Ron-Do (for string quartet) Excellent set of experimental string quartet pieces by Latin American composers, performed by Cuarteto De Cuerdas Latinoamericano.

Discos PAX [no catalog number] 12" 33rpm Mexico undated David Espejo Aviles+Oscar Vargas Leal: Cromometrofonia No.1 (for Arpas Armonicas); Cometa 1973 (for Arpas Armonicas) Amazing disc presenting the microtonal compositions of 2 Julian Carrillo students who devised a scale of 400 tones and constructed new instruments, "harmonic harps," to realize their work. I won't attempt to match the eloquence of the broken english notes: "Understanding that it had to pass almost 5000 years for humanity before reaching a scale of only 12 sounds, obvious is the importance of using one scale of 400 sounds which follows the order of the scale of the harmonics: all intervals are different, from major to minor ones and with no relations with the classic tones or semitones. Purification and musical enrichment that will produce to the hearers new sensations and emotions."

[no explicit pressing info] 12" 33rpm USA ca. 1971 New Music Circles-- Morton Subotnick: Serenade No.1 (1958 for Clarinet, Mandolin, Violin, Cello, Piano) / Kenneth Gaburo: Four Motets (1962 for voices) / Robert Wykes: Transforms II (1962 for percussion and two channel magnetic tape); Transforms I (1961 for organ) / Jocy de Oliveira: Estoria (1967 for two performers and magnetic tape) / Rich O'Donnell: Micro Timbre I (1969 for amplified Tam-tam) An all around great collection of unique recordings privately released by the St. Louis New Music Circle, "an independent forum for the presentation and discussion of contemporary music" (actually still in existence and "the longest continuously operating presenter of new music in the United States" according to their web site). Includes Subotnick's first acknowledged composition (I believe this is its only existing recording), an experimental vocal workout by Gaburo, and some obscure but worthwhile electronic works. And just when you thought Stockhausen had the last word on amplified tam-tams, O'Donnell is able to obtain some fresh sounds from that setup in his performance of his own work.

Artist ALP 102 12" 33rpm Sweden 1966 Svenskt 60-Tal - Swedish music from the sixties-- Folke Rabe + Jan Bark: Bolos (for 4 trombones) / Bengt Hambraeus: Transit II (1963 for trombone, electric guitar, piano, french horn) / Bo Nilsson: Stenogram (for organ realization) / Jan W. Morthenson: Some of these (for organ realization) / Sven-Erik Back: String Quartet No.3 Radical avant garde music yielding some wonderfully extreme experimental noise from trombones, electric guitar, and organ. The back cover has strange absurdist notes in Swedish and English by each composer. Players include trombonists Folke Rabe, Jan Bark, Runo Ericksson, and Jorgen Johansson (performing as the group Kulturkvartetten), Kjell Norlen on electric guitar, Karl-Erik Welin on the organ realizations, and the string group Frydenkvartetten.

Aulos FSM 53 532 AUL 12" 33rpm Germany undated, ca. late 1970s Brass Art spielt Neue Musik Fur Posaunen-- Mauricio Kagel: Atem (1970 for wind player(s)) / Vinko Globokar: Discours II (1968 for 5 trombones) / Luca Lombardi: Proporzioni (1969 for 4 trombones) / Wolfgang Konig: KomSol (1974 for 5 trombones) Wildly experimental conceptual music for trombones performed by Die Gruppe Brass Art. Yes, some of these works can be heard elsewhere via more well-known recordings, but these are all especially worthwhile performances. Most notably, the Kagel piece is unlike other recordings of the work as it features multiple performers and was directed by the composer as "the radio play version of a scenic interpretation." This radical music theater piece features the sounds of the opening and closing of trombone cases, the dismantling and polishing of the instruments, and absurd screaming, muttering, and grumbling, in addition to actual trombone sounds, in a performance that seems to eventually involve the entire group.

Gaudeamus Foundation [no catalog number] 12" 33rpm Holland ca. 1972 International Gaudeamus Competition For Interpreters Of Contemporary Music 1972-- Mauricio Kagel: Atem (1970 for 1 wind player) / Luciano Berio: Sequenza V / Olivier Messiaen: Premiere Communion de la Vierge / Louis Andriessen: Registers / Jos Kunst: Solo Identity 1 / Theo Loovendie: Music For Bass Clarinet And Piano Delving deeper into the esoterica, here is another disc containing a unique performance of Kagel's Atem (here done on a clarinet), along with some other avant garde gems, all recorded live at the Competition and released privately in a limited edition by the Gaudeamus Foundation. The prize-winning performers are Harry Sparnaay, bass clarinet, William Dobbins, piano, Alexander Abercrombie, piano, Armin Rosin, trombone, and Polo De Haas, piano.

Radio Canada International RCI 492 12" 33rpm Canada 1978 Micheline Coulombe Saint-Marcoux: Sequences (1968 for 2 ondes Martenot and percussion) / Jose Evangelista: Carrousel (1978 for 5 ondes Martenot and vibraphone) / Richard G. Boucher: Begonia-Rex (1975 for 4 ondes Martenot) Inside this generic radio transcription cover is a disc of obscure works for Ondes Martenot (the early electronic keyboard instrument from 1928 with a design based on the Theremin), including one by the relatively underappreciated Micheline Coulombe Saint-Marcoux (who studied electroacoustic music at the INA-GRM studios under Pierre Schaeffer, Gilbert Amy, Jean-Pierre Guezec, Francois Bayle, and Guy Reibel). All pieces are performed by L'Ensemble d'ondes de Montreal.

[no explicit pressing info] 12" 33rpm USA 1968 Tricesimoprimal Music-- Henk Badings: Sonata No.2 (1963 for 2 violins in 31 tones); Contrasts, Five Songs For Mixed Choir (1952 in 31 tones) / Alan Ridout: Partita for Cello Solo (1959 in 31 tones) / Hans Kox: Four Pieces for String Quartet (1961 in 31 tones) Gorgeous microtonal music composed in the 31-notes-to-the-octave system devised by 20th century Dutch physicist and composer Adriaan Daniel Fokker (a pupil of Albert Einstein influenced by the music theory of 17th-century Dutch physicist Christiaan Huygens). With a performance of Badings' 2nd Sonata by violin microtonality experts Bouw Lemkes and Jeanne Vos. Privately released by Washington University.

Stichting Huijgens-Fokker [no catalog number] 12" 33rpm Holland 1970 Muziek in de aula van Teylers Museum-- Henk Badings: Sonata III for 2 violins in the 31-tone system (1967); Uit "Reeks Kleine Klankstukken" (1954 for 31-tone organ in selected tone systems) / Anton de Beer: Instructive Sonatina (1964 for 31-tone organ) / Hans Kox: Serenade for 2 violins in the 31-tone system (1968) / Jan Pieterszoon Sweelinck: Paduana Lachrimae (16?? for organ in aeolian tuning system) / Giovanni Battista Vitali: Sonata a tre op.2 nr.6 (1667 for 2 violins and bass accompaniment) Presenting "music in the auditorium of Teylers Museum," this gem was privately released by the Huygens-Fokker Foundation Center for Microtonal Music (check out their informative web site which includes a bunch of sample sound files), an organization that aims to support music composed in Adriaan Daniel Fokker's 31-tone system. The Teylers Museum is home to the one-of-a-kind Fokker organ, which allows the creation of custom microtonal scales and is beautifully featured on several tracks played here by Anton de Beer (Ivan Wyschnegradsky and Peter Schat also composed for the organ, built by Fokker in 1950, and in 1970 the company Neonvox created the Archiphone, an electronic instrument modeled after Fokker's organ design). Also performing are Bouw Lemkes and Jeanne Vos. In addition to the modern works, there are a pair of 17th century pieces in unusual tunings.

Philips 400 090 AE 7" 45rpm Holland 1950s Musik fur die 31-Stufige Orgel-- Henk Badings: Suite Fragmente (1954 for 31-tone organ) / Paul Christiaan van Westering: Instruktive Suite (195? for 31-tone organ) More Fokker organ freakout. Westering plays his own piece, and Anton de Beer performs the Badings (which I believe is an excerpt from a larger work, Suite van kleine klankstukken, which has never since been recorded).

IRCAM 0001 12" 33rpm France 1983 IRCAM un portrait-- Jean-Claude Risset: Songes (1979 for computer-generated tape) / Pierre Boulez: Repons (1982 for instrumental ensemble, computer-generated tape, and realtime electronic treatments) / Morton Subotnick: The Double Life of Amphibians (1981 for ensemble and live electronics) / John Chowning: Stria (1977 for tape) / Jonathan Harvey: Mortuos Plango, Vivos Voco (1980 for computer-treated concrete sounds) / Tod Machover: Soft Morning, City! (1980 for soprano, contrabass, and tape) / Mesias Maiguashca: Fmelodies (1982 for ensemble and tape) / York Holler: Resonance (1982 for chamber orchestra and computer-synthesized tape) / Examples Sonores [by various artists] Private pressing issued by l'Institut de Recherche et Coordination Acoustique/Musique as a document of their ongoing research into sound. Side 1 contains "sound examples," a beautiful montage of demonstrations of then state-of-the-art synthesis methods, sound experiments, newly invented electronic instruments, digital audio processing techniques, and psychoacoustic phenomenon; there are some extremely unusual sounds including computer-generated and digitally-processed speech and vocal noises, studies in spatial/stereo effects and microtonal scales, and mutated virtual instruments which morph different properties of multiple instruments into a single sound source. Contributors to this side include most of the other composers on this disc plus Maurice Bejart, Vinko Globokar, Roger Reynolds, Harrison Birtwistle, Jean-Baptiste Barriere, and many others. Side 2 features works by IRCAM residents (some tracks are excerpts) ranging from purely electronic works to live instrumental pieces incorporating realtime electronic processing. Performers include the Ensemble InterContemporain directed by Peter Eotvos as well as Boulez, soprano Jane Manning, and contrabassist Barry Guy.

Sounds Reasonable Inc. [no catalog number] 7" 45rpm USA undated Norman Lederman+Gary Burke: Stereofernic Orchidstra Very strange private press by unknown composers featuring what are alledged to be sounds and electronic music generated from plants. This is an interesting listen alongside the bio-feedback brainwave music of composers like Pierre Henry, Alvin Lucier, and David Rosenboom. "Side One of this record represents a non-scientific effort to record the complex electro-chemical activity of an Indian azalea, a philodendrom, a Boston fern and an amaryllis... They were recorded using a specially constructed 'plant amplifier' at the U.S. Botanical Gardens... Side Two uses the same recording; however, each of the plants' signals have been fed into a massive electronic music synthesizer. The result is presented as musique concrete. Both the human wave form musician and the plants control the synthesizer's output. We hope this record stimulates your imagination and sensitivity to the stereofernic world of plants."

Wurlitzer 27555-6 7" 33rpm USA undated Glenn Derringer: Found Sound From Outer Space Private press organ demo record featuring funky psychedelic early electronic pop made on the short-lived Orbit III Synthesizer which came with the Wurlitzer 4037 Organ. With spacy effects galore and nice use of primitive synthesized percussion, these over-the-top covers are a few hits of acid beyond the typical Moogsploitation effort even though the tracklist would seem benign enough: Aquarius; Sunny; Spinning Wheel; Love Me Or Leave Me; The Girl From Ipanema; When The Saints Go Marchin' In.

Decca 32220 7" 45rpm USA 1960s John Eaton And His Syn-Ket: Blues Machine b/w Bone Dry Woefully unheard promo single with 2 of the greatest early electronic pop songs. Apparently, at some point while John Eaton was establishing himself as an experimental electronic composer, Decca requested that he record something with more commercial potential. Eaton decided to try his hand at funky instrumentals using his favorite early synth, the Syn-Ket (a microtonal electronic multi-keyboard instrument invented in 1964 by Paulo Ketoff, generally regarded as the first live electronic performance instrument). Eaton plays psychedelic freakout Syn-Ket solos, relying heavily on strange-sounding microtonal intervals, portamento effects, filters, and synthetic overtones, over funky blues-based backbeats of drums, bass, and rhythmic electronic bleeps. On both tracks, the Syn-Ket wavers (intentionally!) in and out of tune with the backing rhythm section, sounding like a warped record or a doppler effect and highlighting microtonal relationships between the notes. The label subtitles this single as "Electronic Instrument With Rhythm Accompaniment" and credits production to Decca jazz producer Isreal (Is) Horowitz.

R. A. Moog Inc. RMD 100 10" 33rpm USA 1967 Walter Carlos: Moog 900 Series Electronic Music Systems Demonstration Record The first promotional recording produced by Moog, given out to prospective customers to demonstrate the capabilities of their amazing products. One side is a montage of Moog-sourced sound effects and short original compositions created especially for this record by Wendy Carlos, ranging widely from experimental to classical to rock and a real treat for collectors of her work. The other side is excerpts from Switched-On Bach.

Pan NRC 5018 12" 33rpm Italy 1982 Pietro Grossi: Paganini Al Computer-- I 24 Capricci Per Violino Grossi had his own unique vision for what the "switched-on" synthesized classical concept album could be, as evidenced in these noisy and insane computer-generated reimaginings of Paganini's solo violin excercises, realized at Computer Music del CNUCE - CNR di Pisa.

Classic Evolution 920.217 12" 33rpm France undated, ca. 1970? Iannis Xenakis: Anaktoria (1969 for 2 violins, cello, contrabass, alto clarinet, horn, bassoon); Morsima-Amorsima (1962 for violin, cello, contrabass, piano) Though Xenakis never fully embraced microtonality, Anaktoria is his most microtonal work, making extensive use of quarter tones and third tones. This is its first recording on vinyl, performed by (and composed for) l'Octuor de Paris.

Musique Nouvelle MN 004 12" 33rpm Belgium undated Henri Pousseur: Madrigal I (1958 for clarinet); Apostrophe Et Six Reflexions (1966 for piano); "Dicte Par..." No.2 Webern 1940 Variations (1981 for clarinet and piano); Modele Reduit (for bass clarinet and piano) Beautiful atonal works by this underrecorded Belgian experimental composer, performed by pianist Marcel Cominotto and clarinetist Jean-Pierre Peuvion. I'd love to know more about this label's other releases, copies of which seem to rarely leave Belgium; I have yet to see another Musique Nouvelle lp with my own eyes.

Ooyevaer Disk 36-31 12" 33rpm Holland 1983 Gilius van Bergeijk: Sonate 1970 (for piano, cor anglais, and electronics) / Huib Emmer: Stukken (1982 for piano) / Diderik Wagenaar: Kaleidofonen I (1969 for alto sax and piano) The highlight of this album of Dutch avant garde music released on Luc Houtkamp's label is the Bergeijk track, a live recording featuring the great Dick Raaijmakers on electronics and the composer on cor anglais. In this strange Fluxus-like performance (its premiere), audience shock can be heard as Bergeijk alternates between playing his horn and loudly destroying a large object on stage (a piece of furniture? a piano? an instrument case? the liner notes give no explanation but to mention that the concert was "scandal-causing") as Annelies Dieudonne calmly plays piano and Raaijmakers processes and filters it all in realtime.

Philips 6527 003 12" 33rpm France undated Toru Takemitsu: Cross Talk (1968 for 2 bandoneons and magnetic tape); Sky, Horse And Death (1954-8 musique concrete); Eclipse (1966 for biwa and shakuhachi); Masque (1960 for 2 flutes); The Dorian Horizon (1966 for 17 strings) Amazing recordings of experimental works by this Japanese composer, many never again released. Instrumentation ranges from the accordian-like bandoneon (more commonly used in classical tango, but given contemporary updates by Astor Piazzolla and Gordon Mumma), to Japanese traditional instruments the biwa (plucked lute) and the shakuhachi (bamboo flute), to electronics. Sky, Horse And Death was originally made for a radio play in 1954 and is, as far as I can tell, the first piece of electronic music composed in Asia; it was sourced from recordings of dripping water, prepared piano, bird songs, horses neighing, a female voice, and snapping whips.

Philips 6507 034 12" 33rpm Norway 1973 Contemporary Music From Norway-- Arne Nordheim: Five Osaka Fragments (1970 for 6 magnetic tapes) / Sigurd Berge: Moon Landscape (1971 for magnetic tape); Jew's Harp (1971 for magnetic tape); Humoresque (1971 for magnetic tape); I Harnessed My Boot (1971 for magnetic tape); Eruption (1971 for magnetic tape) / Bjorn Fongaard: The Space Concerto For Piano And Tape (1971) This small-run Norway-only lp released by the Society of Norwegian Composers (Norsk Komponistforening) consists entirely of electroacoustic works. Nordheim's piece comes from a sound installation of long overlapping tape loops he made for the EXPO 70 World Fair in Osaka, Japan, with a total playing time of 102 years. The tape part of Fongaard's composition was sourced entirely from a micro-interval guitar.

Radio Nederland 6808 481/482 2x12" 33rpm Netherlands 1976 Holland Festival Highlights 1976-- Morton Feldman: Concerto for Oboe and Orchestra (1976); Voice, violin and piano (1976) / Charles Ives: Memories, song (1897); Three Songs of War (1917-43); Holidays Symphony Parts II & IV (1904-12) / Wallingford Riegger: Dichotomy (1932 for chamber orchestra) / George Antheil: Jazz Symphony (1927-55) / Daan Manneke: Sinfonia for Strings / W.A.Mozart: Ch'io mi scordi di te? Transcription disc for radio stations containing live recordings from the 1976 Holland festival, which focused on American composers as a tribute to the U.S. Bicentennial, making for an incredible selection of modern American music. This is the only recording on vinyl of the two Feldman pieces; his Concerto for Oboe and Orchestra was commissioned for this festival. Performers include the Hilversum Radio Philharmonic Orchestra conducted by Jean Fournet and Paul Hupperts, the Amsterdam Concertgebouw Orchestra conducted by Richard Dufallo and Hans Vonk, Han de Vries on oboe, Erwin Gage and Reinbert de Leeuw on piano, sopranos Elly Ameling and Roberta Alexander, Vera Beths on violin, and the Netherlands Wind Ensemble under de Leeuw.

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Honorable Mentions: The Second Tier

The following items are not quite as ultra-rare and super-great as the above, and many are available on a cd reissue in some form or another, but these obscure original lps are still well worth tracking down.

joias musicais LP.15003 12" 33rpm Brazil 1975 Jorge Antunes: Musica Eletronica

Sistrum LPS 3002 12" 33rpm Brazil 1981 Jorge Antunes: ¡No Se Mata La Justicia!

Corona SM 30 032 12" 33rpm Germany undated Reinhold Weber

Panton 11 0364 H 12" 33rpm Czechoslovakia 1974 Alois Haba

Supraphon 10524 12" 33rpm Czechoslovakia 1964 Alois Haba

Caprice Riks Lp 7S 12" 33rpm Sweden undated Bengt Hambraeus

McGill University Records 76001 12" 33rpm Canada 1976 Bengt Hambraeus: Concrete And Synthesizer Music

Philips 6585 007 12" 33rpm Brazil 1973 Electronic 2000: Toshiro Mayuzumi / Krzysztof Penderecki / Francois Bayle / Luctor Ponse / Milan Stibilj / Bernard Parmegiani / Jos Kunst

EMI Electrola 1C 065-02 469 12" 33rpm Germany 1974 Earle Brown / John Cage / Christian Wolff

Erato STU 71010 12" 33rpm France 1977 Clavecin d'aujourd'hui: Luc Ferrari / Andre Boucourechliev / Betsy Jolas / Aldo Clementi / Krzysztof Meyer

Telefunken 6.42003 12" 33rpm Germany 1979 Oskar Sala: Elektronische Impressionen

Erato STU 70633 12" 33rpm France undated Electronique Et Stereophonie Musique Spatiale: Oskar Sala / Harald Genzmer

Telefunken 6.42529 12" 33rpm Germany 1980 Paul Hindemith + Oskar Sala

Wergo WER 60113 12" 33rpm Germany 1986 Harald Genzmer + Oskar Sala: Trautonium-Konzerte

Deutsche Grammophon Gesellchaft LPE 17 244 10" 33rpm Germany 195? Ernst Krenek / Gottfried Michael Koenig

[private pressing] E-639 12" 33rpm USA 1980 Easley Blackwood: Twelve Microtonal Etudes For Electronic Music Media

Unisono UNS 22 843 12" 33rpm Germany ca. 1982 Epochen Der Zupfmusik: Mauricio Kagel / Hans Gal / Herbert Baumann / Silvius Leopold Weiss / Niccolo Piccini / Leopold Mozart

Melodiya C60 30721 000 12" 33rpm USSR 1991 Musical Offering: Soviet Composers Perform Their Works On Synthesizer ANS: Edward Artemiev / Alfred Schnittke / Edison Denisov / Sofiya Gubaidulina / Oleg Buloshkin

[no explicit pressing info] 2x12" 33rpm USA 1984 In Celebration Of The 25th Anniversary Of The Experimental Music Studios: Herbert Brun / Antonio Barata / Paul Christian Koonce / Carla Scaletti / Michael Kosch / Brian E. Belet / Sever Tipei / Mary Ellen Childs / Nelson Mandrell / Scott A. Wyatt

Deutsche Grammophon MG 2139 12" 33rpm Japan ca. 1969 Toru Takemitsu

Point Park College Recording Series KP 101 12" 33rpm USA undated Henk Badings / Toshiro Mayuzumi / Krzysztof Penderecki

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