'Bruce Haack is perhaps best known for his innovative and engaging (and extremely hard to find) electronic records for children made from the mid/late 60's through the 70's and even into the 80's. Yet amidst echoey reverb and haunting drones, Haack himself manages to create something primal and human, not necessarily conflating human and electronic but posing them as compatible partners.'Ģ001 release, repressed. Touching on the lush, pysch-electronic grooves of the Electric Lucifer period and extending to his more abstract, angular works, this compilation highlights his use of the Farad, one of the first musical vocoders invented at the time. Farad Bruce Haack serves as a glowing primer of Haack's work throughout his career. Similar to friend Raymond Scott (who J-Dilla sampled for 'Lightworks'), Haack's facility to create new electronic soundscapes has turned his work into a virtual music library, one whose samples have already been culled by the likes of Cut Chemist. Adding to his musical pastiches, Haack used home-made modular synthesizers, proto-vocoders, and the heat-touch sensitive Dermatron to expand his music into the technological realm of creativity. Haack released material off his own label Dimension 5 Records in 1962, which allowed him to mix kinetic energy, infuse psychedelic philosophy, and pluck sounds from various genres across the board. In order to further explore this dynamic, Haack dropped out of Juilliard to pursue a more experimental course in, surprisingly, educational children's music. 'Haack's music is rooted in the idea that humans and electronic machines share a reciprocal relationship that manifests itself through sounds.

The Bruce Haack Songbook by Bruce Haack