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Electronic - Released January 1, 1967 | Universal Music Division Decca Records France

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Though it's perhaps Henry's best-known work, Messe Pour le Temps Présent isn't the best display of the powers of musique concrète. Similar to the glut of crossover Moog rock albums around the same time, Henry's occasional bursts of searing computer static are accompanied by a faux '60s go-go beat. It's an intriguing release, but works better for novelty fans and beginners who would rather have a gradual immersion into musique concrète. It earns its stars, however, for its reissue on a French CD that also includes several of Henry's other compositions, including "Variations Pour une Porte et un Soupir." © John Bush /TiVo
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Classical - Released January 1, 1969 | Universal Music Division Decca Records France

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Electronic - Released March 19, 2021 | Universal Music Division Decca Records France

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Classical - Released April 3, 2020 | harmonia mundi

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Classical - Released September 25, 2000 | Universal Music Division Decca Records France

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Classical - Released November 24, 2017 | Universal Music Division Decca Records France

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Electronic - Released January 4, 1998 | Universal Music Division Decca Records France

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Experimental - Released November 29, 2013 | SINETONE AMR

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Classical - Released January 1, 2003 | Universal Music Division Decca Records France

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Classical - Released January 1, 2005 | Universal Music Division Decca Records France

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Classical - Released January 1, 2000 | Universal Music Division Decca Records France

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Classical - Released January 1, 2002 | Universal Music Division Decca Records France

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World - Released October 4, 2010 | Cherry Red Records

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Classical - Released January 1, 1997 | Universal Music Division Decca Records France

One of the originators of musique concrète gets his material remixed by some late-'90s inheritors of his experimentation. Among the cast are contributions from Coldcut, DJ Vadim, William Orbit, Fatboy Slim, and Funki Porcini, all of whom rework Henry compositions into what is an obviously more danceable context. Despite Henry's many statements about the new electronica as little more than a new generation of pop music, the collisions work surprisingly well (though far more for fans of the remixers than of Henry's work). © John Bush /TiVo
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Classical - Released January 1, 2007 | Universal Music Division Decca Records France

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Classical - Released January 1, 2001 | Universal Music Division Decca Records France

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Classical - Released January 1, 2000 | Universal Music Division Decca Records France

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Classical - Released January 1, 2002 | Universal Music Division Decca Records France

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Classical - Released January 1, 2008 | Universal Music Division Decca Records France

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Classical - Released January 1, 2007 | Universal Music Division Decca Records France

It's fair to say that Ceremony: An Electric Mass is unlike any other release by an English band normally rooted in the blues. Think of it as Spooky Tooth's version of Concerto for Group and Orchestra by Deep Purple, in which, after two or three promising blues-based rock releases, one member of the band somehow convinces the others to go for a wildly ambitious, experimental concept album. Jon Lord persuaded Deep Purple to dive into the deep end, and Gary Wright convinced Spooky Tooth to welcome acclaimed French composer and musique concrète pioneer Pierre Henry for this electronic mass. Henry's atonal arrangements don't fare too badly against Spooky Tooth's piercing guitars and bluesy wail, although Wright left the band after Ceremony (just as Lord never had the same influence on Purple again, leaving Ritchie Blackmore to lead them on to heavy metal glory). © Mark Allan /TiVo