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Pioneering Scottish-Canadian animator Norman McLaren (1914-1987) – creator of seminal short films Dots, Neighbours, Synchromy and many more – is remembered in first ever release of soundtrack works, self-composed from the 1940’s to 1970’s and forecasting the following half-century of electronic music.
Norman McLaren was once described by composer, music theorist, and mathematician Milton Babbitt as “the first electronic musician.” In addition to his pioneering work in animation, the electronic soundtracks McLaren created for his own films employ astonishing foresight and a characteristically precise methodology. They also crystallise boundless creativity, wit and whimsy, and illuminative brilliance into a unique insight to his remarkable mind, with or without visual accompaniment.
“Rythmetic: The Compositions of Norman McLaren” marks the first time his soundtracks have been released on record, carefully curated from his most important film works, hours of archival tapes, and multiple versions of the same key compositions. It represents an essential overview of McLaren as a composer, in neat dovetail with McLaren the filmmaker. Both are crucial figures in the respective developments of their fields, opening doors to a future that might not have existed without McLaren.
We Are Busy Bodies/Phantom Limb
We Are Busy Bodies/Phantom Limb
Pioneering Scottish-Canadian animator Norman McLaren (1914-1987) – creator of seminal short films Dots, Neighbours, Synchromy and many more – is remembered in first ever release of soundtrack works, self-composed from the 1940’s to 1970’s and forecasting the following half-century of electronic music.
Norman McLaren was once described by composer, music theorist, and mathematician Milton Babbitt as “the first electronic musician.” In addition to his pioneering work in animation, the electronic soundtracks McLaren created for his own films employ astonishing foresight and a characteristically precise methodology. They also crystallise boundless creativity, wit and whimsy, and illuminative brilliance into a unique insight to his remarkable mind, with or without visual accompaniment.
“Rythmetic: The Compositions of Norman McLaren” marks the first time his soundtracks have been released on record, carefully curated from his most important film works, hours of archival tapes, and multiple versions of the same key compositions. It represents an essential overview of McLaren as a composer, in neat dovetail with McLaren the filmmaker. Both are crucial figures in the respective developments of their fields, opening doors to a future that might not have existed without McLaren.
