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In the mid-'60s, Frenchman <a href="spotify:artist:09x9KmiHgFJgWySzkMRNGx">Jean-Jacques Perrey</a> -- an electronic musician who had helped popularize the Ondioline, a keyboard which produced sounds similar to the violin and the flute -- teamed up with American composer and arranger <a href="spotify:artist:2rM1qNABE6tqficAyyZ0l9">Gershon Kingsley</a> for a couple albums of then-futuristic electronic pop. Using tape recorders, scissors, and splicing tape, they recorded variations on pop motifs that, while kitschy from a latter-day perspective, represented the state-of-the-art in electronic sounds at the time. Two LPs, The In Sound from Way Out! and Kaleidoscopic Vibrations, were released by Vanguard in the late '60s. <a href="spotify:artist:09x9KmiHgFJgWySzkMRNGx">Perrey</a> also recorded several albums of Moog music as a solo artist, and came back into vogue in the 1990s with a feature in the book Incredibly Strange Music. Everyone from <a href="spotify:artist:3Rj0tDHoX7C5NFq5DKIpHt">Stereolab</a> and <a href="spotify:artist:7AiamoV760pPGGM5PbOC6X">µ-Ziq</a> to <a href="spotify:artist:03r4iKL2g2442PT9n2UKsx">the Beastie Boys</a> and hip-hop super-producer <a href="spotify:artist:5Y5TRrQiqgUO4S36tzjIRZ">Timbaland</a> featured ideas borrowed from Perrey-Kingsley prominently on tracks of their own, while <a href="spotify:artist:09x9KmiHgFJgWySzkMRNGx">Perrey</a> began recording again, both on his own and with fellow Frenchmen <a href="spotify:artist:1P6U1dCeHxPui5pIrGmndZ">Air</a>. ~ Richie Unterberger, Rovi
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