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The Electric Lucifer

by

Bruce Haack

 
The Electric Lucifer
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Famed children's songwriter makes his grown-up album — with self-modified instruments.

  • We Say...

    Canadian Bruce Haack (1931-1988) was one of electronic rock's unacknowledged pioneers. Although he had no formal training in electronics, he built his own modified synthesisers and gave them names such as the “People-odion” and the “Dermatron.” As he says in a radio interview accompanying this album, he was inspired by Raymond Scott, the American electronic composer who wrote commercial jingles using customised electronic instruments and musique concrète techniques. Made in 1970, Electric Lucifer sits unwittingly alongside White Noise's An Electric Storm and Faust's first album, made around the same time, two other albums which offer fascinating, rough blueprints for an electronic future that wasn't quite to be.

    Unlike Kraftwerk, Haack doesn't reconfigure the very nature of the pop song — the likes of “Electric Turn to Me” and “National Anthem to the Moon” are traditional in format but with a fuzzy coating of analogue devices. There's an “Age Of Aquarius” feel to tracks like “Chant of the Unborn” and “Requiem,” sanguine, rather than terrified by the man-machine '70s to come (“Power love is what we are”). But it's the naivety, the bristling, electro-static, wide-eyed optimism, the technical curiosity of Electric Lucifer which make it so infectious and inspiring to listen to in the 21st century we actually ended up in, evoking a nostalgic pang for lost tomorrows.

  • They Say...

    After hearing late-'60s rock & roll from his friend Chris Kachulis, Bruce Haack added acid rock to his already diverse sonic palette. The result was 1970s Electric Lucifer, a psychedelic, anti-war song cycle about the battle between heaven and hell. The underlying concept of this concept album is "Powerlove," a divine force that not only unites humanity but forgives Lucifer his transgressions as well. But though this album extols the healing powers of peace and love, Electric Lucifer uses often menacing music and lyrics to get its point across. "War" depicts the battle royale between good and evil with a martial beat and salvos from dueling synthesizers; a child's voice murmurs "I don't want to play anymore, " and a funereal synth melody replaces the electronic battle march. Haack's marriage of rock rhythms and his unique electronics creates a sound unlike either his previous work or the era's psychedelic rock, but songs like "Incantation" and "Word Game," with their percolating beats, buzzing synths and vocoders, are much trippier than most acid rock. The strangely forlorn "Song of the Death Machine" sounds a bit like a short-circuiting HAL singing "My Darling Clementine," while "Word Game" features cool, dark electro-rock and brain-teasing lyrics like "Ray of sun/Reason/Knowledge/No legends." Kachulis sings on both of these tracks, and his deadpan vocals complement the weirdness going on around him nicely. His involvement with Electric Lucifer also includes aiding the album's release on Columbia Records; though it was Haack's only major-label release, Electric Lucifer remains musically innovative and subversive. [The 2007 Omni Recording Corp reissue includes bonus tracks.]

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