Alvin Lucier (b. 1931) is best known for his pioneering work in the mid-sixties in the exploration of sonic environments, particularly sounds that we would never perceive under ordinary circumstances. Vespers and Other Early Works restores to the catalog several of his key works from that time. In ’Vespers’ (1969) performers with Sondols (sonar-dolphin), hand-held pulse wave oscillators, explore the acoustic characteristics of given indoor or outdoor spaces by monitoring the echoes of the pulse waves off the walls, floors and ceilings, as well as any objects or obstacles in range of the sound waves. Over time, the listener receives an acoustic signature of the room. In ’Chambers’ (1968), battery-operated radios, tape recorders, and electronically powered toys of various kinds are hidden in paper bags, shoes, kettles, and small suitcases and other small resonant environments. As performers carry these small ’rooms’ into larger ones, such as concert halls, football stadiums and underground cisterns, the sounds, already altered by the acoustics of the small environments, are altered a second time by the acoustics of the larger ones. This version was recorded in 2002. ’North American Time Capsule’ (1967), for voices and vocoder, is described metaphorically by Lucier as a message to listeners who don’t know about us. ’(Middletown) Memory Space’ (1970) is a reenactment of the composition called ’(Hartford) Memory Space’, for any number of instrumental players with recordings of environmental sounds. ’Elegy for Albert Anastasia’ (1961-1963) is described as composed ’for electromagnetic tape using very low sounds most of which are below human audibility.”