Exposé Online banner

Syrinx — Tumblers from the Vault (1970-1972)
(RVNG Intl. ReRVNG08, 1972/2016, 2CD)

by Jon Davis, Published 2016-10-14

Tumblers from the Vault (1970-1972) Cover art

If anyone had any doubts that the late 60s and early 70s were a time of broad innovation and experimentation, this collection provides ample evidence that even outside the cultural centers of New York, London, San Francisco, and Los Angeles, musicians were creating new sounds. Syrinx was a Canadian group formed by keyboard player John Mills-Cockell, saxophonist Doug Pringle, and percussionist Alan Wells, and far from operating within the realm of psychedelic rock or jazz, they produced a wildly original blend of (then) cutting-edge electronics and avant-garde music. The closest comparison might be Silver Apples, though Syrinx is informed much more by classical chamber music than by rock or pop. After recording two albums, the members went their separate ways and their music faded into obscurity. With this collection, RVNG brings together all the previously released material along with some unreleased tracks. It starts off will all of the tracks from Long Lost Relatives, the group’s 1971 second album, followed by the self-titled debut from 1970; the second CD (third LP) contains all of the bonus material. The liner notes are extensive and informative, giving a thorough history of the music at hand.

Long Lost Relatives is the more consistently engaging of the original albums, so starting with it gets things off to a good start. For a modern listener coming to this music, many comparisons come to mind, frequently Cluster & Eno (1977), with its calm sense of melodicism. The percussion is often absent or quite understated, and functions more like orchestral percussion than anything else. “December’s Angel” is a lovely highlight, starting with a meditative Satie-esque keyboard and some electronic noises, then gradually adding a string section and a hint of Vivaldi crossed with Philip Glass. The saxophone comes in finally to emphasize the melody, bringing it to a beautiful close. Throughout the album, it’s clear that Mills-Cockell was not part of any of the electronic streams of the time: not using the synthesizers to imitate conventional instruments (as in Switched-On Bach), not abstract noises (along the lines of Forbidden Planet), and not simply sound effects added to more conventional music for a sense of exoticism or futurism (as in any number of recordings from the time). The music is consistently tonal and doesn’t venture much into dissonance, though many of the synthesizer parts are non-tonal or white-noisy, but the melodicism never comes off as simple-minded or nostalgic.

Syrinx, by contrast, has less in the way of instrumentation, relying on the core trio for all the sounds. Mills-Cockell plays piano, organ, and synthesizers; Pringle’s sax handles some of the melodies; and Wells sticks to gongs and hand percussion. This album started as a set of solo recordings by Mills-Cockell; the sax and percussion were added later, along with reworking some of the original recordings, but it all sounds natural enough that you wouldn’t know how it was created without reading the liner notes. Again, the music anticipates developments nearly ten years in its future. The compositions are deceptively simple, though they feature lush, complex harmonies and masterful use of texture. The sound quality is stellar, and without foreknowledge that it dates from 1969-70, a listener would never guess that it was anywhere near that old.

The highlight of the bonus material is the “Stringspace” suite, recorded live with a chamber orchestra. The four individual sections of the suite all appeared on the studio albums in different forms. This music was commissioned for the Toronto Repertory Ensemble and recorded for a television broadcast. It is testament to Mill-Cockell’s skills and studies in composition that the expanded versions work so well. Aside from the addition of the strings, Wells’ percussion gets a somewhat more prominent role in these versions, and Pringle’s sax work is more assertive. While the fidelity of these live tracks is not up to the standards of the studio albums, they are certainly listenable, and both a glimpse into another side of the band and a taste of what could have been if they had carried on. A particularly interesting bonus track is an alternate version of “Melina’s Torch,” which was the lead-off track of the debut album. There it was less than three minutes long, a pleasant tune with a few intertwining synthesizer parts, subtle bongos, and a sax melody that comes in halfway through. The “solo” version is (I think) the original Mills-Cockell tape. It is nearly ten minutes of fairly sparse synthesizer work, very interesting and experimental. Various bits of it were edited together, and the other musicians added their parts to create the album version. Perhaps less successful — but interesting nonetheless — is the vocal version of “Better Deaf and Dumb from the First,” which was an instrumental track on Long Lost Relatives.

All in all, this is an extraordinary collection, an important side-alley in the history of electronic music. Not only that, but it is eminently listenable, with artistic value in addition to its historical worth. RVNG has done this one right, providing an excellent package for music which deserves attention and respect.


Filed under: Archives, 2016 releases, 1972 recordings

Related artist(s): Syrinx

Latest news

2019-04-10
The Pineapple Thief to Tour North America – November and December of 2019 will see The Pineapple Thief bringing their music to Canada, Mexico, and the US, and famed drummer Gavin Harrison will be on board. The band has been touring extensively in Europe, but North America will be new territory for them. » Read more

2019-03-25
Scott Walker RIP – Noel Scott Engel, better known as Scott Walker, was one of the most intriguing and enigmatic musical figures in the second half of the 20th Century. His strange career started with The Walker Brothers, an American pop group that featured no one named Walker and no brothers. After moving to England in 1965, they had a series of hit singles. Scott's solo work started with Scott in 1967. Starting in the 80s, his work took an increasingly avant-garde turn. » Read more

2019-03-20
Freedom to Spend Unearths June Chikuma's Archives – Jun (June) Chikuma is well known for her video game and anime soundtracks, but she also released an album of experimental electronic music back in 1986 called Divertimento where she indulged the kind of spontaneity that wouldn't work in a soundtrack. RVNG Int'l label Freedom to Spend is bringing this overlooked item to broader attention with a deluxe reissue. » Read more

2019-03-03
Seaprog 2019 Lineup Almost Complete – The Seaprog festival in Seattle is scheduled for June 7-9 this year, and they've announced their lineup of performers. The revitalized Trettioåriga Kriget will cap Friday night, perennial favorites Marbin are on Saturday, and District 97 will finish off the fest on Sunday night. In support, they've booked a stellar variety of artists from the Northwest and around the world, including EchoTest, Markus Reuter and Trey Gunn, and the live debut of the amazing Troot project. » Read more

2019-02-21
You Can Be Part of an Ambient Electronic Project – The Gesture of History is a new electronic project put together by Sam Rosenthal of Black Tape for a Blue Girl, Steve Roach, and violist Sam Shadow. The music started as an instrumental track Rosenthal was working on for a Black Tape album, but took on a life of its own and demanded further enhancements. The majority of the funds raised will go to manufacturing costs for LP and CD editions, as well as other items as detailed on the Kickstarter page. » Read more


Previously in Exposé...

Il Berlione - Il Berlione – No, this is not another lost 70s Italian reissue, but instead a powerful new Japanese quintet featureing guitar, bass, saxes, keys, and drums. Their sound could best be described as a Canterbury / RIO...  (1993) » Read more



Listen & discover



Print issues