condition (record/cover): VG+ (some surface noise) / EX- (minimal sticker removal residue on front)

Bruynèl has exceptional ability to unify electronic tape sounds with acoustic instrumentation. Rather than just layering sounds, he blends them into a cohesive, atmospheric whole. Translucent II (1977-78): Scored for orchestra and tape, this piece is praised for its sonic imagination. It was recorded in 1978 by the Utrecht Symphony Orchestra, with the electronic components realized in Bruynèl's private studio. It  possesses a dreamy, out-of-this-world poetic quality. Phases: This work continues his trademark style of using reprocessed sounds to create textures that feel more structured and coherent than the earlier, more random assemblies found in French pioneers like Pierre Schaeffer. Soft Song (1974): Scored for oboe and soundtracks, this piece is praised for its organic integration. The oboe doesn't just play over a tape, it breathes within a textured electronic environment that mimics and extends its natural timbre. Toccare (1979): Written for piano and soundtracks, this is a standout for its twanging chords and free rhythmic patterns. The electronic component was created by vibrating wires of different metals, resulting in a metallic, layered landscape that the pianist navigates through tremolos and repetitive notes. Serène (1978): For flute, this work highlights Bruynèl’s interest in spatial soundscapes. It has an ethereal, almost atmospheric quality, where the flute's breathy character is mirrored by the electronic textures.