What was that story about Charlemagne Palestine’s cognac-fuelled trances, heavenly upper partials, huge carillons and summoning of teddy-bear spirits? If you’re looking for more of the above, steer clear of these pieces from the late 60s, snapshots of uneven creativity far removed from the oscillator-induced hypnosis that opens and closes the masterpiece Four Manifestations On Six Elements, recently reissued by this same imprint. The first of the two studies, both realized with filtered white noise and sine-tones sourced from Buchla systems, is a sample of fast-paced anarchy endowed with an exhilarating pulse which allows the work to maintain a structural definition despite the thousands of globules, bubbles and shooting stars produced by the electronic jumble. The second is somewhat more restrained and limited to certain regions of the sonic spectrum, giving a little break (so to speak) to the brain until the final section, in which still-nervous particles generate successions of merciless accelerations and instant returns to the initial stage. It’s certainly rewarding music, extremely fresh-sounding and exciting to this day, gobbling up for breakfast the pastiches of improperly hyped “icons” fiddling about in similar territory decades later.