LAURIE SPIEGEL
The Expanding Universe
Boomkat Product Review:
We might be drowning in a sea of re-issues right now (not least ones from long-forgotten synthesizer pioneers) but ever so often something comes along that’s really very special indeed.
Laurie Spiegel’s ‘The Expanding Universe’ is hardly a forgotten or lost gem, but this new re-issue is without a doubt one of the finest things we’ve heard (and no doubt will hear) this year. The album managed to supplant itself in the subconscious of electronic music ever since its release in 1980, and in recent years it has gone from strength to strength forming the building blocks that gave us Emeralds, Oneohtrix Point Never, Rene Hell and so much more. Spiegel’s use of the interactive compositional software GROOVE formed the backbone of her works, and little did she know at the time that the fusion of live and software would become the norm in 2012.
That’s enough history though, the extensive liner notes should be able to reveal plenty to satiate that appetite, the fact of the matter is that it’s Spiegel’s music itself that has stood the test of time. Not quite as reckless and ominious as the blippy sci-fi of the BBC’s Radiophonic Workshop pioneers and far more exact and economical than the oft-compared Terry Riley, Spiegel produced electronic music that was both fun to listen to and incredibly deep. It’s no surprise that Bach is mentioned on the record cover as an influence, as while the tracks are electronically composed and performed there is a clear backbone of traditional classical composition that gives her music the power to get the hairs on the back of your neck standing on end.
On top of the original tracks that formed the 1980 release, Unseen Worlds have done an incredible job of scouring the archives to provide a veritable treasure trove of additional material. So often the bundled tracks with reissues are simply a collection of crap demos and live performances, but not so here – there’s almost too much to go through and every single little bit is worthy of as much praise as the original record itself.
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Boomkat Product Review:
We might be drowning in a sea of re-issues right now (not least ones from long-forgotten synthesizer pioneers) but ever so often something comes along that’s really very special indeed.
Laurie Spiegel’s ‘The Expanding Universe’ is hardly a forgotten or lost gem, but this new re-issue is without a doubt one of the finest things we’ve heard (and no doubt will hear) this year. The album managed to supplant itself in the subconscious of electronic music ever since its release in 1980, and in recent years it has gone from strength to strength forming the building blocks that gave us Emeralds, Oneohtrix Point Never, Rene Hell and so much more. Spiegel’s use of the interactive compositional software GROOVE formed the backbone of her works, and little did she know at the time that the fusion of live and software would become the norm in 2012.
That’s enough history though, the extensive liner notes should be able to reveal plenty to satiate that appetite, the fact of the matter is that it’s Spiegel’s music itself that has stood the test of time. Not quite as reckless and ominious as the blippy sci-fi of the BBC’s Radiophonic Workshop pioneers and far more exact and economical than the oft-compared Terry Riley, Spiegel produced electronic music that was both fun to listen to and incredibly deep. It’s no surprise that Bach is mentioned on the record cover as an influence, as while the tracks are electronically composed and performed there is a clear backbone of traditional classical composition that gives her music the power to get the hairs on the back of your neck standing on end.
On top of the original tracks that formed the 1980 release, Unseen Worlds have done an incredible job of scouring the archives to provide a veritable treasure trove of additional material. So often the bundled tracks with reissues are simply a collection of crap demos and live performances, but not so here – there’s almost too much to go through and every single little bit is worthy of as much praise as the original record itself.
Boomkat Product Review:
We might be drowning in a sea of re-issues right now (not least ones from long-forgotten synthesizer pioneers) but ever so often something comes along that’s really very special indeed.
Laurie Spiegel’s ‘The Expanding Universe’ is hardly a forgotten or lost gem, but this new re-issue is without a doubt one of the finest things we’ve heard (and no doubt will hear) this year. The album managed to supplant itself in the subconscious of electronic music ever since its release in 1980, and in recent years it has gone from strength to strength forming the building blocks that gave us Emeralds, Oneohtrix Point Never, Rene Hell and so much more. Spiegel’s use of the interactive compositional software GROOVE formed the backbone of her works, and little did she know at the time that the fusion of live and software would become the norm in 2012.
That’s enough history though, the extensive liner notes should be able to reveal plenty to satiate that appetite, the fact of the matter is that it’s Spiegel’s music itself that has stood the test of time. Not quite as reckless and ominious as the blippy sci-fi of the BBC’s Radiophonic Workshop pioneers and far more exact and economical than the oft-compared Terry Riley, Spiegel produced electronic music that was both fun to listen to and incredibly deep. It’s no surprise that Bach is mentioned on the record cover as an influence, as while the tracks are electronically composed and performed there is a clear backbone of traditional classical composition that gives her music the power to get the hairs on the back of your neck standing on end.
On top of the original tracks that formed the 1980 release, Unseen Worlds have done an incredible job of scouring the archives to provide a veritable treasure trove of additional material. So often the bundled tracks with reissues are simply a collection of crap demos and live performances, but not so here – there’s almost too much to go through and every single little bit is worthy of as much praise as the original record itself.
Boomkat Product Review:
We might be drowning in a sea of re-issues right now (not least ones from long-forgotten synthesizer pioneers) but ever so often something comes along that’s really very special indeed.
Laurie Spiegel’s ‘The Expanding Universe’ is hardly a forgotten or lost gem, but this new re-issue is without a doubt one of the finest things we’ve heard (and no doubt will hear) this year. The album managed to supplant itself in the subconscious of electronic music ever since its release in 1980, and in recent years it has gone from strength to strength forming the building blocks that gave us Emeralds, Oneohtrix Point Never, Rene Hell and so much more. Spiegel’s use of the interactive compositional software GROOVE formed the backbone of her works, and little did she know at the time that the fusion of live and software would become the norm in 2012.
That’s enough history though, the extensive liner notes should be able to reveal plenty to satiate that appetite, the fact of the matter is that it’s Spiegel’s music itself that has stood the test of time. Not quite as reckless and ominious as the blippy sci-fi of the BBC’s Radiophonic Workshop pioneers and far more exact and economical than the oft-compared Terry Riley, Spiegel produced electronic music that was both fun to listen to and incredibly deep. It’s no surprise that Bach is mentioned on the record cover as an influence, as while the tracks are electronically composed and performed there is a clear backbone of traditional classical composition that gives her music the power to get the hairs on the back of your neck standing on end.
On top of the original tracks that formed the 1980 release, Unseen Worlds have done an incredible job of scouring the archives to provide a veritable treasure trove of additional material. So often the bundled tracks with reissues are simply a collection of crap demos and live performances, but not so here – there’s almost too much to go through and every single little bit is worthy of as much praise as the original record itself.
2018 Reissue - 19 track expanded edition.
Out of Stock
Boomkat Product Review:
We might be drowning in a sea of re-issues right now (not least ones from long-forgotten synthesizer pioneers) but ever so often something comes along that’s really very special indeed.
Laurie Spiegel’s ‘The Expanding Universe’ is hardly a forgotten or lost gem, but this new re-issue is without a doubt one of the finest things we’ve heard (and no doubt will hear) this year. The album managed to supplant itself in the subconscious of electronic music ever since its release in 1980, and in recent years it has gone from strength to strength forming the building blocks that gave us Emeralds, Oneohtrix Point Never, Rene Hell and so much more. Spiegel’s use of the interactive compositional software GROOVE formed the backbone of her works, and little did she know at the time that the fusion of live and software would become the norm in 2012.
That’s enough history though, the extensive liner notes should be able to reveal plenty to satiate that appetite, the fact of the matter is that it’s Spiegel’s music itself that has stood the test of time. Not quite as reckless and ominious as the blippy sci-fi of the BBC’s Radiophonic Workshop pioneers and far more exact and economical than the oft-compared Terry Riley, Spiegel produced electronic music that was both fun to listen to and incredibly deep. It’s no surprise that Bach is mentioned on the record cover as an influence, as while the tracks are electronically composed and performed there is a clear backbone of traditional classical composition that gives her music the power to get the hairs on the back of your neck standing on end.
On top of the original tracks that formed the 1980 release, Unseen Worlds have done an incredible job of scouring the archives to provide a veritable treasure trove of additional material. So often the bundled tracks with reissues are simply a collection of crap demos and live performances, but not so here – there’s almost too much to go through and every single little bit is worthy of as much praise as the original record itself.
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