The Electric Lucifer Art
A children’s music artist and the inventor of the Dermatron, a synthesizer activated by the heat of skin, Haack released “The Electric Lucifer” on Columbia Records in 1970 and a follow-up. Bruce Haack's THE ELECTRIC LUCIFER is rightly considered one of the masterworks of 20th century electronic music. Originally recorded in 1968-69, it's an eminently listenable work where Pop-psychedelia and Moog/musique-concrete sounds coalesce.
ReleasedMay 1970Recorded1968–1969,Professional ratingsReview scoresSourceRatingThe Electric Lucifer is an album by noted for its originality and innovative use of and electronic sounds. Describes it as 'a psychedelic, anti-war about the battle between heaven and hell.' Haack used a and his own home-built electronics, including an early prototype. It was originally released on LP in 1970 and has been re-mastered and re-released on CD several times. The 2007 Omni Records CD release included a radio interview from 1970 and an alternate version of 'Electric To Me Turn' as a bonus track. 'Song of the Death Machine' and 'Word Game' both feature vocals by Chris Kachulis. The lyrics mention concepts such as 'powerlove' — a force so strong and good that it will not only save mankind but Lucifer himself.
It remains Haack's only album to debut on a major label and was featured heavily in the 2004 documentary. Track listing A SideNo.TitleLength1.' Electric to Me Turn'1:502.' The Word (Narration)'0:303.'
Cherubic Hymn'2:204.' Program Me'4:395.' National Anthem to the Moon'2:387.' Chant of the Unborn'1:22B SideNo.TitleLength1.'
Angel Child'1:013.' Word Game'3:484.' Song of the Death Machine'3:005.' Super Nova'5:226.' Requiem'3:21References.
Electric LuciferandJanuary 9-13A scene of creation and curiosity launches Electric Lucifer, but this particular scene is not found anywhere in Genesis or Milton. No, this scene comes from a much more recent source: none other than “Mister Rogers’ Neighborhood.” In a projected video clip, we see Fred Rogers making a visit to the studio of Bruce Haack, the electronic music pioneer whose 1970 concept album “The Electric Lucifer” inspired director Jim Findlay to create this production.
The Electric Lucifer Artist
Haack demonstrates a homemade synthesizer (or “musical computer,” as Mr. Rogers refers to it); the pleasure he derives from the machine is evident. What can this creation do? What happens if we mess with it a little?These questions find an echo in the story of Lucifer, notorious fallen angel and tempter of humankind, including Jesus himself. Electric Lucifer is roughly structured around these two figures, using Haack’s songs and electronic compositions (newly adapted and with additional original music by Philip White) to re-envision the key moments of their stories, such as Lucifer’s fall from heaven, Jesus’s birth, and the crucifixion.
Lucifer Painting
The Electric Lucifer Article
As Lucifer and Jesus, downtown veterans Okwui Okpokwasili and Robert M. Johanson bring all their considerable charisma to bear, commanding the stage like the electronic rock gods we always secretly knew they were.
Okpokwasili in particular is magnetic; steely-eyed and angular, she summons Grace Jones and David Bowie as she swaggers and struts, Lucifer as genderless cyborg deity.Where is the line between humanity and something more? Man and machine, human and angel, god and robot—Findlay, Haack, and Lucifer are all curious experimenters in this realm. These experiments can produce electric moments, as in a surreal conversation between Lucifer and Jesus, both wearing animal masks, their dialogue electronically warped so as to be unintelligible.
Impassive and unknowable, technology and divinity stare blankly back at our all-too-human curiosity.Photo: Paula Court.