Bruno Spoerri


Disposable Music
LP£17.99Add to basket


Age Of Cannons 1 (1977)
This was originally used for the start sequence of a PR film for a big industrial company in Zurich, showing the busy crowd around the entrance of the premises. The main instrument was the EMS Synthi 100 with the digital 256-note sequencer.

Age Cf Cannons 2 (1977)
From the same film, the end theme.

Automation 1 (1972)
Originally created for a presentation of (at that time) advanced office automation products, with a lot of praise for the newest Triumph/Adler business computer. It is a slightly changed version of Johann Sebastian Bach’s Fuga XV out of the second book of the well-tempered clavier, played in high speed with the Synthi 100 and its digital sequencer.

Automation 2 (1972)

Another part of this presentation.Background Rhythm 1 (1978)
Track for a never realized LP of background music. I used the Synthi 100 and my new Roland CR-78 drum machine, a unit, that I loved and used for many years (e.g. for Toy Planet with Irmin Schmidt).Lilith – Singing In The Closet (1978)
Another track that appeared in the experimental film Lilith (an evening of astriptease dancer) by Swiss filmmaker Kurt Aeschbacher. The singer is Barbara Fuchs.Background Rhythm 2 (1978)
See track fivePannie’s Afternoon (1973)
This piece was originally made as introduction to a ballet performance of Apres-midi d’un faune (Claude Debussy) using an ARP Odyssey and the Synthi 100. .Lilith – Prepare For The Show (1978)
See track six.  Here I used some noise loops, that I recorded in the streets of Zurich.Bicycle Ride (1980)
Originally made for a TV spot for a bicycle, made with the Roland Rhythm Box, the Synthi 100 and the Bode frequency shifter.Background Rhythm 4 (1978)
See track fiveWalkers (1972)
A track originally used for the short experimental film Passez Pietons by Ngo Van Da, who was studying then in Zurich.Lilith – Going To Work (1978)
See track sixBackground Rhythm 5 (1978)
See track fiveRoll On (1976)
Track originally composed for a PR disc for an iron foundry. The main problem here was the synchronization of the rhythm loops – there was no sampling at that time.