{"id":1711,"date":"2007-11-23T00:00:38","date_gmt":"2007-11-23T08:00:38","guid":{"rendered":"http:\/\/josephaleo.com\/blog\/?p=1711"},"modified":"2018-12-24T16:10:42","modified_gmt":"2018-12-25T00:10:42","slug":"solipsistic-nation-no-65-mad-scientist","status":"publish","type":"post","link":"http:\/\/josephaleo.com\/blog\/solipsistic-nation-no-65-mad-scientist\/","title":{"rendered":"solipsistic NATION No. 65: Mad Scientist"},"content":{"rendered":"

Electronic music has become so common place that no one bats an eye when you hear
\nit. Nearly all of Madonna<\/a>\u2018s music, for example, is electronic, but she\u2019s about as mainstream
\nas you can get. But electronic music wasn\u2019t always that way. Long before the early days
\nof hip hop and long before the day\u2019s of Kraftwerk<\/a>, electronic music was the
\ndomain of avant-garde composers such as Edgard
\nVar\u00e8se<\/a>.<\/p>\n

With Po\u00e8me \u00c9lectronique\u201d<\/a>, Var\u00e8se experimented with
\nelectronic sounds, natural instrumentation and recorded sounds. But even Var\u00e8se
\nowes a debt to the Dadaism<\/a>, Surrealism<\/a> and Futurism<\/a>, all of which were trying to go beyond the constraints of what
\nmusic was supposed to be. And in time, these experimental approaches were incorporated
\nand adopted into the mainstream.<\/p>\n

On today\u2019s show, we\u2019re going to pay homage to the trailblazers in sound. I hope you
\nenjoy the journey.<\/p>\n

Photo credit: TrailofTerror<\/a><\/i><\/p>\n