The Electronic Spirit of Erik Satie : Mystically Inspired Stereo 8 Music

Early-to-mid 1970s “moog exploitation” albums – such as the one pictured above (and below) – continue to fill record bins across North America. The kitsch factor associated with moog-infused LPs and 8-track cartridges is such that their market value is often higher than their actual musical worth. This is certainly the case with the album featured here.

The Electronic Spirit of Erik Satie is an odd artifact born out of the encounter between a moog synthesizer and the Camarata Contemporary Chamber Orchestra. The ghost of Satie’s genius hovers above the music but this does not make the French “phonometrician” an accomplice in this partial desecration of the early avant-garde – that is despite claims that Satie’s spirit oversaw production of this Deram release (see liner notes below).

Do not, however, completely dismiss The Electronic Spirit of Erik Satie. This 1972 release has all the necessary attributes to become your soundtrack to the coming holiday season. Listen to the excerpts below and decide for yourself whether or not it is worth taking a trip to your local record store.

“the electronic spirit of erik satie (excerpts)”

Below: Liner notes omitted from the Stereo 8 version of The Electronic Spirit of Erik Satie

Satie was convinced that he was a spirit working under the direct guidance of some medieval cleric whose fanatical piety he had inherited from beyond the grave.

This producer is convinced that he is also a spirit working under the direct guidance of Erik Satie, whose eccentricities and mysticisms have guided him throughout the making of this LP.

Further Proof:

A) The arranger felt the actual presence of Satie in the room with him while he was scoring. (Erik’s spirit would hover around the room and, at times, reach over his shoulder and guide his pencil along the score page, shouting directions in his ear “B flat not B natural, you dummy!”). His worst moment was when he added bars to Satie’s barless music… (the arranger in this case cannot recall having scored any of the pieces in the LP.)

B) The presence and guidance of Satie’s spirit was never more felt than in the programming and playing of the Moog synthesizer. All the wave forms, modulation mixes, oscillations and permutations have never been duplicated since, and the Moog player, who was entirely unfamiliar with the instrument at the time, has no recollection of having done the album whatsoever!!!!!!!