Jean-Jacques Perrey

Recording both being a single artist and in collaboration with Gershon Kingsley, Jean-Jacques Perrey helped popularize electronic music with some albums in the 1960s which used Moog synthesizers, the Ondioline, and magnetic tape. His function was never designed to participate the avant-garde, as Perrey himself cheerfully announced in his liner records. His objective was to popularize digital music by deploying it in content, simple music and arrangements. That is why his music falls considerably nearer to easy hearing/space age group pop than any kind of leading edge — which is also why his music noises even more cheesily nostalgic than futuristic. In the first ’50s, Perrey became fascinated with the Ondioline, a key pad instrument that expected the synthesizer using its emulation of various other instruments. He fell away from medical school to become product sales representative for the Ondioline, and by the first ’60s he previously transferred to the U.S. to operate in tv, radio, as well as the documenting studio room. His ’60s albums for Vanguard, both like a single act and 1 / 2 of Perrey-Kingsley, had been his most broadly circulated, providing Perrey an opportunity to show his arsenal of digital instruments, remedies, and tape manipulations. The particular results had been bouncy and childish, maybe betraying even more of Perrey’s substantial history in radio/Television jingles than might have been meant. Treated even more as novelties than improvements, they returned into vogue when Perrey was profiled in RE/SEARCH’s Extremely Strange Music publication within the 1990s. Perrey came back to France in 1970, where he continuing to operate in radio, Television, soundtracks, along with other musical tasks. From the ’90s he previously begun documenting again, first inside a cooperation with People from france electronica duo Air flow, after that with an recording of his personal, Eclektronics. Extra albums adopted, including 2008’s Destination Space, that your 80-year-old Perrey made up of help from fellow composer Dana Countryman. Commensurate with the music artists’ experimental character, the album presented artificial, computer-generated vocals rather than sounds given by human being vocalists. Perrey passed away in November 2016 at age 87.