These ‘Two Electronic Sonorities’ are both products of his influential and personal Golden Research period in the 1960s, and with hindsight now confirm how advanced his approach to sound was for that time. The incredible ‘Crown Chan’ was first created for a dance by Gus Solomon in 1970 and Palestine clearly relished the opportunity to challenge the dancers with his experimental electronic manipulations. A finely manhandled maelstrom of layered drones with a dense, buzzing core of energy occasionally punctuated with drop-outs whose unpredictable integers make for an utterly compelling and elemental piece of work. Equally, that tactile, omnipotent touch is applied to ‘Continuous Sound’, again using an  mixture of filtered white noise and simple sine tone generators to create an amorphous, mysterious sound/gas structure seemingly suspended in mid air.