MUSIC FOR AMPLIFIED KEYBOARD INSTRUMENTS by DAVID BORDEN

SKU82269
ArtistDAVID BORDEN
TitleMUSIC FOR AMPLIFIED KEYBOARD INSTRUMENTS
LabelSPECTRUM SPOOLS
Catalog #SP 036LP
Tag
ReleaseW 09 - 2015
FormatVinyl - UKLP
 € 21,99 incl. VAT, excl. shipping

Tracks

  1. Esty Point, Summer 1978
    https://objectstore.true.nl/rushhourrecords:files/tracks/m/82269_music_for_amplified_keyboard_instruments/1_esty_point_summer_1978.mp3
  2. The Continuing Story Of Counterpoint, Pt 9
    https://objectstore.true.nl/rushhourrecords:files/tracks/m/82269_music_for_amplified_keyboard_instruments/2_the_continuing_story_of_counterpoint_pt_9.mp3
  3. Enfield In Winter
    https://objectstore.true.nl/rushhourrecords:files/tracks/m/82269_music_for_amplified_keyboard_instruments/3_enfield_in_winter.mp3
  4. The Continuing Story Of Counterpoint, Pt 6
    https://objectstore.true.nl/rushhourrecords:files/tracks/m/82269_music_for_amplified_keyboard_instruments/4_the_continuing_story_of_counterpoint_pt_6.mp3

Description

33 years after it's original release, and after searching the archives of Borden's private reel-to-reel tapes and recovering the one safety master known to exist, Spectrum Spools presents this reissue of Music For Amplified Keyboard Instruments !David Borden was is in the room where the pitch wheel was invented, when it happened. He was one of the first people to beta-test Bob Moog's Modular Synthesizer systems and MiniMoog instruments. His Earthquack Records imprint inspired Mimi Johnson to begin the legendary Lovely Records label with Robert Ashley. Borden formed the first all synthesizer ensemble, Mother Mallard's Portable Masterpiece Company, in 1969 after Bob Moog graciously lent out his prototype synthesizers and allowed them to be blown up and repaired repeatedly in the process of learning patching techniques. If there was ever a missing link in American Minimalism, David Borden is that link. He not only composed, innovated and performed in the peak years of this imperative movement, but did so on his own terms, with a startling lack of recognition for his revelatory contributions to contemporary musical history.

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