███ ███ █████ █████
████ ██ █████ █████████ █████████
████ ███ ██████ ███ ██████ ███ ██████
████ ████ ██████ ██ ████ ██ ████
████ █████ ██ ███ ████ ███ ████ ███
████ ████ ███ ██ ████ ████ ████ ████
█████ █████ ███ ███ ████ ████ ████ ████
█████ ██████ ██ ███ ███ ████ ███ ████
████████ ███ ███ ███ ██████ ██████
██ ████ ███ ██████████ ████ ████
███ ███ █████ ███ █████ █████
███ ███ ████ ███ ██████ ██████
███ ███ ███ ██ ███████ ███████
███ ██ ██ ██ ██ █████ ██ █████
███ ██ ███ ██ ██ ████ ██ ████
███ ██ ███ ██ ██ ███████ █████
██▒█ █▒ ██ ██
██ ██
███ connoisseurs ███
▒█████ ░░ of ░░ █████▒
░▓██████████▒ ░░ classics ░░ ▒██████████▓░
▒█████████████▒▒ ░░ ░░ ▒▒█████████████▒
█████ ** ░ ████ ▓▓▓▓▓▓▓▓ ████ ░ ** █████
████████ * *** ░ ░██████ ██████░ ░ *** * ████████
████ ██ * ████████ ████████ * ██ ████
█░ ███ █░ *** * * █▒█▒▒██████▒▒█▒█ * * *** ░█ ███ ░█
░ ███░ ███ ░ * █▓▓ ▓▓ ▓▓█ * ░ ███ ░███ ░
▒██████ ░ ▒▒ ███████▒ ████▒▒█ █▒▒████ ▒███████ ▒▒ ░ ██████▒
█████░ ▒ ██████████ ███ █ █ ███ ██████████ ▒ ░█████
█████░ ▒ ████▒ ▒ ▓█ █▒ ▒█ █▓ ▒ ▒████ ▒ ░█████
████░ ▒▒ ███████░ ░░ █ █ ░░ ░███████ ▒▒ ░████
████ ▒ ████████ ▒ █ █ ▒ ████████ ▒ ████
▒███ ▒ ███▒ ██ █ █ ██ ▒███ ▒ ███▒
██████ ▒ ███ █ █ ███ ▒ ██████
░██████░ ▒▒ ███ █ █ ███ ▒▒ ░██████░
░██ ░█▓ ▒▒ ████ █▒ ▒█ ████ ▒▒ ▓█░ ██░
▒ ░ ░█ ▒▒ ░ ███▓ ▓██ ▒ ▒ ██▓ ▓███ ░ ▒▒ █░ ░ ▒
░ ░██ ░ ▒█████░ ░█████▒ ░ ██░ ░
█░ ░ ▒ ░ ░ ▒ ░ ░█
█░ ▄▄▄▄▄▄████████████████████████████████▄▄▄▄▄▄ ░█
▓█▄▄▄████▀▀▀▀▀▀ ┌▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀┐ ▀▀▀▀▀▀████▄▄▄█▓
▄▄▄██▀▀▀▀ ▒▒▒▒▒▒▒▒│ r e l e a s e i n f o │▒▒▒▒▒▒▒▒ ▀▀▀▀██▄▄▄
█▀▀▀ ▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄└╤══════════════════════╤┘▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄ ▀▀▀█
█ █
█▒ Artist - Peter Zinovieff ▒█
█▒ Title - Electronic Calendar: The EMS Tapes (2015) ▒█
█▒ ▒█
█▒ Genre - Electronic Year - 2020 ▒█
█▒ Format - Album Time - 131:44 ▒█
█▒ Label - Space Age Recordings Source - Web Store ▒█
▀██▄▄▄ ▄▄▄██▀
▌░▀▀██▄▄▄▄ ▄▄▄▄██▀▀░▐
▌░ ▀▀▀████▄▄▄▄▄▄ ▄▄▄▄▄▄████▀▀▀ ░▐
▌░ ▀▀▀▀▀▀████████████████████████████████▀▀▀▀▀▀ ░▐
▌░ ░▐
▌░ ▄▄▄┌─────────────┐▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄ ░▐
▌░ ▒▒▒│ tracklist │▒▒▒▒▒▒▒▒▒▒▒▒▒▒▒▒▒▒▒▒▒▒▒▒▒▒▒▒▒▒▒▒▒▒▒▒▒▒▒▒▒▒▒▒ ░▐
▌░ └─────────────┘ ░▐
▌░ ░▐
▌░ 01. Peter Zinovieff & Harrison Birtwistle - 24:22 ░▐
▌░ Chronometer '71 ░▐
▌░ 02. Peter Zinovieff & Harrison Birtwistle - Birthday 1:20 ░▐
▌░ Song ░▐
▌░ 03. Peter Zinovieff & Harrison Birtwistle - Four 10:18 ░▐
▌░ Interludes For A Tragedy ░▐
▌░ 04. Peter Zinovieff & Hans Werner Henze - Glass 23:25 ░▐
▌░ Music ░▐
▌░ 05. Peter Zinovieff & Hans Werner Henze - Tristan 2:11 ░▐
▌░ (Short Section) ░▐
▌░ 06. Peter Zinovieff & Hans Werner Henze - China 9:33 ░▐
▌░ Music ░▐
▌░ 07. Peter Zinovieff & Hans Werner Henze - Tristan 7:39 ░▐
▌░ (Long Section) ░▐
▌░ 08. Peter Zinovieff & Friends - Agnus Dei (Excerpt) 5:32 ░▐
▌░ 09. Peter Zinovieff & Friends - ZASP, Pts. 1 To 3 5:11 ░▐
▌░ (Feat. Alan Sutcliffe) ░▐
▌░ 10. Peter Zinovieff & Friends - Un Known 1 1:03 ░▐
▌░ 11. Peter Zinovieff & Friends - Tarantella 3:46 ░▐
▌░ 12. Peter Zinovieff & Friends - Un Named, Pt. 1 1:42 ░▐
▌░ 13. Peter Zinovieff & Friends - January Tensions 4:45 ░▐
▌░ (Excerpt) ░▐
▌░ 14. Peter Zinovieff & Friends - June Rose 4:48 ░▐
▌░ 15. Peter Zinovieff & Friends - Un Named, Pt. 2 0:29 ░▐
▌░ 16. Peter Zinovieff & Friends - A Lollipop For Papa 6:26 ░▐
▌░ 17. Peter Zinovieff & Friends - M Piriform (Feat. 7:33 ░▐
▌░ Justin Connolly) ░▐
▌░ 18. Peter Zinovieff & Friends - March Probabilistic 4:19 ░▐
▌░ 19. Peter Zinovieff & Friends - Un Named, Pt. 3 0:52 ░▐
▌░ 20. Peter Zinovieff & Friends - Raasay Digitised 2:19 ░▐
▌░ 21. Peter Zinovieff & Friends - Now's The Time To 4:11 ░▐
▌░ Say Goodbye ░▐
▌░ ░▐
▌░ ░▐
▌░ ▄▄▄┌─────────────┐▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄ ░▐
▌░ ▒▒▒│ rip notes │▒▒▒▒▒▒▒▒▒▒▒▒▒▒▒▒▒▒▒▒▒▒▒▒▒▒▒▒▒▒▒▒▒▒▒▒▒▒▒▒▒▒▒▒ ░▐
▌░ └─────────────┘ ░▐
▌░ ░▐
▌░ First complete retrospective of one history's most enigmatic ░▐
▌░ and influential electronic music composers on a deluxe 2CD ░▐
▌░ set with extensive liner notes, exclusive photos and ░▐
▌░ Zinovieff's own diary entries compiled by Sonic Boom a.k.a. ░▐
▌░ Pete Kember (Spacemen 3). "Peter Zinovieff's innovations in ░▐
▌░ the design of electronic music instruments have left an ░▐
▌░ unquantifiable mark on the evolution of music technology ░▐
▌░ touching the music of David Bowie and Aphex Twin to name but ░▐
▌░ a few. 'The Electronic Calendar: The EMS Tapes' is the first ░▐
▌░ complete retrospective of his earliest experiments in 1965 ░▐
▌░ through to the dissolution of his studio and the bankruptcy ░▐
▌░ of his company EMS Synthesizers in 1979. ░▐
▌░ ░▐
▌░ Born in 1933 to two Russian aristocrats fleeing the Russian ░▐
▌░ Revolution, Zinovieff, a graduate of Oxford University, ░▐
▌░ worked as a Mathematician in the Air Ministry following World ░▐
▌░ War II and other "boring jobs in atomic physicsö. During his ░▐
▌░ time at Oxford he met Daphne Oram who taught him the ░▐
▌░ fundamentals of creating music from splices of tape in her ░▐
▌░ private studio prior to formation of the BBC's Radiophonic ░▐
▌░ Workshop. The frustration of working with reels of tape led ░▐
▌░ Zinovieff to ponder the idea of an electrically controlled ░▐
▌░ studio, and in 1964 he sold his wife's wedding tiara to ░▐
▌░ purchase the first computer housed on a private estate. ░▐
▌░ ░▐
▌░ Zinovieff's garden shed in Putney became the most advanced ░▐
▌░ music studio in the world, housing 384 oscillators, as well ░▐
▌░ as a collection of filters, noise generators, ring ░▐
▌░ modulators, signal analysers and amplifiers built with the ░▐
▌░ help of his college David Cockerall using ex-Army electrical ░▐
▌░ components. The centre of the studio was the computer, ░▐
▌░ running on 8k of memory priced at ú1/byte (ú8000) allowing ░▐
▌░ thousands of musical parameters to be sequenced several ░▐
▌░ thousand times a second. Throughout the 1960Æs and 70Æs ░▐
▌░ ZinovieffÆs studios housed a community of passing ░▐
▌░ intellectuals, engineers, inventors and hippies, becoming a ░▐
▌░ place of pilgrimage for musicians looking to discover ░▐
▌░ previously unheard sounds. ░▐
▌░ ░▐
▌░ Peter's daughter Sofka recalls, "IÆd be having tea in the ░▐
▌░ kitchen with my two younger brothers, when people like David ░▐
▌░ Bowie, Paul McCartney or Pink Floyd would pass by on their ░▐
▌░ way to the studio". Other visitors included Kraftwerk, Klaus ░▐
▌░ Schulze, King Crimson, Alan Sutcliffe, Hans Wener Henze and ░▐
▌░ Karlheinz Stockhausen to name but a few. During 1966-67 ░▐
▌░ Zinovieff worked closely with Delia Derbyshire and Brian ░▐
▌░ Hodgson on their post-Workshop project 'Unit Delta Plus', ░▐
▌░ together they attempted to create commercially viable sounds ░▐
▌░ for TV, film and advertising without success, although ░▐
▌░ Zinovieff admits "I didn't want to have a commercial studio, ░▐
▌░ I wanted an experimental studio where good composers could ░▐
▌░ work and not pay". ░▐
▌░ ░▐
▌░ In 1969 Zinovieff formed EMS (Electronic Music Studios Ltd.) ░▐
▌░ with Tristram Cary and David Cockerell and together they ░▐
▌░ developed the EMS VCS3, a portable analog synthesizer used on ░▐
▌░ Pink Floyd's 'On The Run' and The Who's 'Won't Get Fooled ░▐
▌░ Again' whilst becoming a staple of the studios of Brian Eno, ░▐
▌░ Jean Michel Jarre and Todd Rundgren. The VCS3 and the ░▐
▌░ subsequent Synthi 100 and Synthi series appeared with the ░▐
▌░ tag-line æEvery picnic/nun/school/band needs a SynthiÆ and ░▐
▌░ are still in use by Aphex Twin, Stereolab, Portishead and ░▐
▌░ Panda Bear, with MGMT, Spectrum and Experimental Audio ░▐
▌░ Research placing the VCS3 on several album sleeves. ░▐
▌░ ░▐
▌░ æElectronic CalendarÆ begins with æChronometer æ71Æ composed ░▐
▌░ in the form of a graphical score by Harrison Birtwistle. The ░▐
▌░ piece is comprised of recordings of Big Ben and Wells Clock ░▐
▌░ which are sequenced by ZinovieffÆs computer to a ░▐
▌░ pre-determined structure controlling tape machines and their ░▐
▌░ parameters in a system that resembles an early sampler. The ░▐
▌░ piece was created in the second iteration of ZinovieffÆs ░▐
▌░ studio in the basement of 49 Deodar Road which he called ░▐
▌░ æMusysÆ, inside this studio was the worldÆs first series of ░▐
▌░ narrow filter bands that could be used as a sound analysis ░▐
▌░ system, recording the response of each filter in relation to ░▐
▌░ the applied signal. ░▐
▌░ ░▐
▌░ Zinovieff had created the worldÆs first vocoder. The second ░▐
▌░ CD opens with ZinovieffÆs interpretation of the Christian ░▐
▌░ song of mass æAgnus DeiÆ, followed by æZASPÆ, a collaboration ░▐
▌░ with Alan Sutcliffe. In 1967 æZASPÆ won second prize at IFIP ░▐
▌░ (International Federation for Information Processing) ░▐
▌░ Congress, a society dedicated to computer arts, missing out ░▐
▌░ on first place to Iannis Xenakis. The CD closes with the last ░▐
▌░ piece of music recorded in the EMS studio before it was ░▐
▌░ destroyed by a flood in LondonÆs National Theatre in 1979. ░▐
▌░ The piece is aptly titled æNow Is The Time To Say GoodbyeÆ ░▐
▌░ and features interview fragments of Zinovieff fading in and ░▐
▌░ out of view. ░▐
▌░ ░▐
▌░ After a 35 year gap, Zinovieff has re-emerged following a ░▐
▌░ commission from Russell Haswell, he continues to experiment ░▐
▌░ with computer music theorising future innovations while ░▐
▌░ proclaiming ôcomputer music is only at the beginningö. ░▐
▌░ æElectronic CalendarÆ therefore serves as an essential ░▐
▌░ preface to the history of electronic music from one of its ░▐
▌░ most influential pioneers. ░▐
▌░ ░▐
▌░ ░▐
▌░ ▄▄▄┌─────────────┐▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄ ░▐
▌░ ▒▒▒│ marr │▒▒▒▒▒▒▒▒▒▒▒▒▒▒▒▒▒▒▒▒▒▒▒▒▒▒▒▒▒▒▒▒▒▒▒▒▒▒▒▒▒▒▒▒ ░▐
▌░ └─────────────┘ ░▐
▌░ ░▐
▌░ indie . pop . rock . shoegaze . dream . jangle . twee ░▐
▌░ chamber . noise . c-86 . college . goth . post . kraut ░▐
▌░ darkwave . alternative . lo-fi . country . americana ░▐
▌░ folk . folk/rock . psychedelic . progressive . metal ░▐
▌░ heavy . hair . math . grunge . classic . southern . aor ░▐
▌░ west coast . punk . garage . avantgarde . classical ░▐
▌░ electronic . ambient ░▐
▌░ ░▐
▌░ ░▐
░▌░ ░ █ █ ░ ░▐░
▌░ ▓▓█ █▓▓ ░▐
▌░ ░█ █░ ░▐
▌░ █ ░ ▒ ░ ░ ▒ ░ █ ░▐
░ ▌░██ ░ ▒█████░ ░█████▒ ░ ██░▐ ░
▒ ░ ▌░█ ░ ███▓ ▓██ ▒ ▒ ██▓ ▓███ ░ █░▐ ░ ▒
░██ ▌█▓ ████ █▒ ▒█ ████ ▓░▐ ██░
░██████░ ███ █ █ ███ ░██████░
██████ ███ █ █ ███ ██████
▒███ ███▒ ██ █ █ ██ ▒███ ███▒
████ ████████ ▒ █ █ ▒ ████████ ████
████░ ███████░ ░░ █ █ ░░ ░███████ ░████
█████░ ████▒ ▒ ▓█ █▒ ▒█ █▓ ▒ ▒████ ░█████
█████░ ██████████ ███ █ █ ███ ██████████ ░█████
▒██████ ░ ███████▒ ████▒▒█ █▒▒████ ▒███████ ░ ██████▒
░ ███░ ███ ░ * █▓▓ ▓▓ ▓▓█ * ░ ███ ░███ ░
█░ ███ █░ *** * * █▒█▒▒██████▒▒█▒█ * * *** ░█ ███ ░█
████ ██ * ████████ ████████ * ██ ████
████████ * *** ░ ░██████ ██████░ ░ *** * ████████
█████ ** ░ ████ ▓▓▓▓▓▓▓▓ ████ ░ ** █████
▒█████████████▒▒ ░░ ░░ ▒▒█████████████▒
░▓██████████▒ ░░ ░░ ▒██████████▓░
▒█████ ░░ ░░ █████▒
███ ███
██ ██
▒█ █▒
https://play.google.com/store/music/album?id=B7zlbbvzv63amf2qcdgfbogeh3u