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Theremin
The theremin is probably the only instrument you play without ever touching it. Just wave your hands near two antennas, and you’re making music—no strings, keys, or buttons required. The Beach Boys used this ghostly device in their 1966 smash “Good Vibrations,” creating that unforgettable, shivering melody line that feels straight out of a vintage sci-fi movie. Invented by Léon Theremin in 1920, this instrument became a symbol of the strange and futuristic, often showing up in horror and science fiction soundtracks. But it wasn’t just for movies; it’s been adopted by experimental musicians, electronic acts, and even rock bands that wanted something truly different. Its sound is haunting, a little unsettling, and instantly recognizable. Today, the theremin’s influence can be found in genres from ambient to indie rock, reminding us that music doesn’t always need to be made by plucking or striking. If anything, the theremin proves that the weirdest ideas sometimes make the biggest impact.
Mellotron
The mellotron is a keyboard that sounds like an orchestra in a suitcase, using strips of magnetic tape to play real recordings of strings, choirs, or anything else the creator could think to record. The Beatles made it famous in “Strawberry Fields Forever,” with its swirling flutes and dreamy textures that feel almost hallucinogenic. This was sampling before anyone used the word “sampler,” and it gave bands the power to sound like a symphony on stage or in the studio. Progressive rock bands like King Crimson and Genesis made the mellotron their secret weapon, layering its lush, analog timbres over complex arrangements. Despite its weight and tendency to break down, musicians kept coming back to it for that unmistakable, slightly wobbly sound. Even today, artists sample or digitally recreate the mellotron’s unique flavor, proving that this oddball from the 1960s is timeless. While technology has moved on, nothing quite matches the character of the original mellotron.
Didgeridoo
The didgeridoo is one of the oldest instruments in the world, developed by Indigenous Australians thousands of years ago. Its deep, droning sound is created by vibrating the lips and using circular breathing—something that takes real practice to master. While it’s rooted in tradition, the didgeridoo has made surprising appearances in modern pop and electronic music. One standout example is in Real Life’s “Send Me an Angel” (live and remix versions), where its earthy buzz cuts through the glossy 1980s production. The didgeridoo’s rhythmic pulse can turn any song into an immersive, hypnotic experience. It’s also popped up in ambient, trance, and world music tracks, adding a sense of the primal and the spiritual. More than just a sound effect, it’s a bridge between ancient culture and contemporary experimentation. The didgeridoo’s journey from the Australian Outback to international hit records shows how music can travel across time and space.
Musical Saw
Few instruments are as visually bizarre or sonically arresting as the musical saw. Played with a violin bow, it looks like something out of a magician’s workshop and sounds like a theremin’s ghostly cousin. Lynsey de Paul used it to haunting effect in her 1972 hit “Sugar Me,” giving the song an ethereal shimmer that set it apart from anything else on the radio. The saw’s flexible metal allows the musician to bend the pitch, creating glissandos that float and waver in midair. It’s a favorite among experimental musicians and film composers, especially when they want to evoke nostalgia, mystery, or even a touch of the supernatural. Although it started as a novelty, the musical saw has earned respect for its expressiveness and unique timbre. Some virtuosos can coax melodies from it that rival the human voice in their emotion and nuance. Its sound lingers long after the music stops.
Waterphone
The waterphone looks like something invented for a mad scientist’s laboratory: a stainless steel bowl with rods of different lengths sticking up and a bit of water inside. When struck or bowed, it produces an unearthly blend of metallic and watery sounds. The waterphone is best known for its use in horror films like “Poltergeist” and “Let Me In,” but it’s also found a place in experimental music and even Nine Inch Nails tracks. The shifting water inside alters the instrument’s pitch, making every performance a little different and always a little unsettling. Its sound can be both beautiful and terrifying, like whale songs echoing from another dimension. Composers love it for creating tension and atmosphere, and it’s increasingly common in sound design for games and television. In the hands of an inventive musician, the waterphone transforms music into pure, liquid suspense. There’s nothing else quite like it.
Glass Harmonica
The glass harmonica could pass for a scientific curiosity from a Victorian parlor, but its sound is pure magic. Invented by Benjamin Franklin, it’s made of spinning glass bowls that you play by touching them with wet fingers—sort of like playing wine glasses at a dinner party, but far more refined. The Beatles were so enchanted by its ethereal tone that they channeled its sound in the intro of “Lucy in the Sky with Diamonds.” The glass harmonica produces tones that shimmer and hover, as if the notes themselves are made of light. Though it was nearly forgotten for decades, contemporary musicians and composers have rediscovered its unique charm, using it in everything from chamber music to experimental pop. Its delicacy makes it tricky to play and even harder to transport, but for those who love it, nothing else comes close. Its sound is the definition of hauntingly beautiful.
Stylophone
The stylophone is a tiny analog synthesizer that looks a bit like a child’s toy but has a surprisingly big impact. Played with a metal stylus, it creates a buzzy, lo-fi sound that’s instantly recognizable. David Bowie famously used the stylophone on “Space Oddity,” giving the song its quirky, futuristic edge. First marketed as a fun gadget in the late 1960s, the stylophone found favor with musicians who liked its simplicity and its ability to cut through a dense mix. It’s cheap, portable, and has a kind of retro charm that’s hard to resist. Bands from Kraftwerk to Pulp have used it to add a splash of the unexpected. Despite its humble origins, the stylophone’s sound has become iconic, proving that sometimes the weirdest tools can make the most memorable music.
Kazoo
The kazoo is so simple it’s almost a joke: hum into it, and you get a buzzing, nasally sound that’s instantly goofy. But in the hands of a genius like Jimi Hendrix, it becomes something else entirely. On “Crosstown Traffic,” Hendrix used a comb and tissue paper to mimic the kazoo, adding a cheeky, playful layer to one of his funkier tracks. The kazoo’s appeal is its accessibility—anyone can play it, and it instantly lightens the mood of any song. While it’s often relegated to novelty status, it’s shown up in everything from blues and folk to rock and hip hop. Its unmistakable sound can be both silly and strangely effective, cutting through the noise and making people smile. The kazoo reminds us that not all instruments need to be serious to make a serious impact.
Chapman Stick
The Chapman Stick is a marvel of modern musical engineering—a long fretboard that’s played by tapping rather than plucking or strumming. It’s like a guitar, bass, and piano all rolled into one, allowing the player to create bass lines, chords, and melodies simultaneously. Tony Levin brought it to prominence in King Crimson’s progressive rock, but it’s also found fans in jazz, funk, and even ambient music. The Chapman Stick can sound like a deep bass, a shimmering harp, or anything in between, depending on how it’s played and processed. Its design encourages experimentation, making it popular with musicians who want to push the boundaries of what a stringed instrument can do. The learning curve is steep, but the rewards are huge for those who stick with it. The Chapman Stick is proof that new ideas can revolutionize old sounds.
Toy Piano
The toy piano looks like it belongs in a nursery, but its sound has enchanted serious musicians for decades. The Beach Boys used it in “In My Room,” giving the song a delicate, childlike quality that tugs at the heartstrings. Bands like Radiohead and artists like Fiona Apple have also embraced its plinky, slightly out-of-tune notes to add a sense of innocence or nostalgia to their music. The toy piano’s charm is its imperfection—every note is a little bit off, and that’s exactly what makes it special. It’s affordable, accessible, and instantly recognizable, which makes it a favorite for musicians looking to evoke a simpler time. Despite its size, it can pack a surprising emotional punch, reminding listeners of childhood memories or dreams. The toy piano turns the ordinary into something extraordinary.
Zither
The zither is a plucked string instrument that looks like a cross between a harp and a lap guitar. Anton Karas made it world-famous with “The Third Man Theme,” a song so captivating that it became the centerpiece of the classic film. The zither’s sound is rich and exotic, with a shimmer that sets it apart from guitars or pianos. It’s been used in folk and classical music for centuries, but its leap into pop culture gave it a new lease on life. Musicians love its expressive possibilities, from gentle arpeggios to complex, cascading runs. The zither’s unique timbre can evoke everything from romance to suspense, depending on how it’s played. Its global journey from folk roots to Hollywood hits shows the power of a distinctive sound.
Bassoon
The bassoon isn’t the first instrument you’d picture in a disco hit, but that’s exactly where it landed in Walter Murphy’s “A Fifth of Beethoven.” The bassoon’s reedy, woody sound is usually confined to orchestras and classical ensembles, but its cameo in this 1976 track gave it new cachet. The song, which topped charts and appeared on the “Saturday Night Fever” soundtrack, blended classical and disco elements in a way that was both cheeky and groundbreaking. The bassoon’s deep, expressive tone added depth and a hint of sophistication to the dance floor. Since then, other pop and jazz musicians have experimented with the bassoon as well, using it to add unexpected flavor to their arrangements. It’s a reminder that even the most traditional instruments can find new life in surprising places.
Banjolele (Banjo Ukulele)
The banjolele is what happens when a banjo and a ukulele join forces. With its perky, twangy sound, it was a mainstay of vaudeville and early pop, but it found a modern audience with “Tonight You Belong to Me” by Patience and Prudence. The song’s sweet, nostalgic vibe owes much to the banjolele’s quirky character. It’s small, lightweight, and easy to play, making it a favorite for singalongs and quirky old-timey hits. The banjolele’s cheerful strum has been used in everything from indie pop to children’s music, and it always brings a smile. Its hybrid sound is both familiar and novel, bridging the gap between banjo’s grit and ukulele’s innocence. For musicians, it’s a way to channel the past while sounding fresh and fun.
Hurdy-Gurdy
The hurdy-gurdy is one of those instruments that looks as strange as it sounds—a medieval contraption with a crank, keys, and strings that drone and sing. Arcade Fire and Dead Can Dance have both used the hurdy-gurdy to add a rustic, haunting quality to their music. It works by turning a wheel against the strings, producing both melody and a constant drone. The sound is part bagpipe, part violin, and all mysterious. Its hypnotic rhythms and buzzing overtones make it a staple in folk and world music, but it’s also cropped up in modern rock and experimental recordings. Playing the hurdy-gurdy takes real skill, as the musician must coordinate both hands and sometimes feet. Its presence on hit records is a testament to the power of ancient sounds in new contexts.
Jaw Harp (or Jew’s Harp)
The jaw harp is one of the oldest and simplest instruments out there—a small piece of metal or bamboo that you pluck while holding it in your mouth. The result is a distinctive “boing” sound that can be both rhythmic and melodic. The Who used it in “Join Together,” giving the song a quirky, twangy groove. The jaw harp’s sound is instantly recognizable and can cut through even the densest mix. It’s been used in folk, blues, and even rock music for its unique ability to add both rhythm and color. Playing it requires a mix of breath control and mouth shape, making it more challenging than it looks. Its history spans continents, and its sound is both timeless and surprisingly modern.
Clavioline
The clavioline is an early electronic keyboard that paved the way for the synthesizers we know today. Del Shannon’s 1961 hit “Runaway” features the clavioline’s soaring, high-pitched solo—a sound that helped define the song’s unforgettable hook. The instrument works by generating electrical tones that can be shaped and modulated, creating everything from eerie warbles to piercing leads. The clavioline was a favorite of 1950s and 1960s pop and rock musicians looking for futuristic or unusual textures. Its compact size made it easy to incorporate into live shows, and its expressive range set it apart from traditional keyboards. Though newer synths have taken its place, the clavioline’s legacy lives on in every song that wants a taste of electronic nostalgia.
Gamelan Instruments
Gamelan music from Indonesia features a whole orchestra of metallophones, gongs, and drums, creating hypnotic, interlocking rhythms. While not always played live on pop records, their unique sounds have inspired and been sampled by artists like Radiohead in “Morning Bell.” The shimmering, bell-like tones of gamelan instruments have made their way into everything from experimental rock to electronic dance music. Musicians are drawn to their complex tuning systems and the sense of ritual they bring to a song. Even when emulated with synthesizers, gamelan patterns add a mysterious, swirling energy that’s hard to reproduce with Western instruments. Their influence is a reminder that the world’s musical palette is vast—and sometimes the most unexpected flavors make the strongest impression.
Stroh Violin
The Stroh violin is a violin with a brass horn attached, invented before microphones to help the instrument project its sound. It looks more like an old-fashioned gramophone than a violin, and its sound is sharper and more metallic than its wooden cousin. Early 20th-century recordings often featured the Stroh violin, but it’s recently been revived by indie bands and experimental musicians looking for a vintage edge. The Stroh’s honking, brassy timbre adds a sense of nostalgia or even surrealism to a track. It’s tricky to play, and its design makes it a conversation starter at any gig. The Stroh violin proves that sometimes, old solutions to technical problems can become new sources of inspiration.
Omnichord
The omnichord is a quirky electronic instrument that looks like a cross between a toy piano and an autoharp. Saint Etienne’s cover of “Only Love Can Break Your Heart” features the omnichord’s signature strummed chords and dreamy, lo-fi shimmer. Released in the 1980s, the omnichord was marketed as an easy-to-play instrument for beginners, but it quickly found a cult following among indie and electronic musicians. Its touch-sensitive pads and built-in rhythm box make it ideal for songwriting, and its kitschy sound has a nostalgic, almost bittersweet quality. The omnichord is often used to evoke a sense of longing or innocence, and its distinct tone stands out in any mix. It’s proof that sometimes, all you need is a little weirdness to create something unforgettable.
Glass Bottles / Found Percussion
Sometimes, the best instruments aren’t instruments at all—they’re just things you find lying around. Paul Simon’s “You Can Call Me Al” features glass bottles used as percussion, giving the song its unmistakable, playful groove. This approach—known as found percussion—has been used by countless artists, from The Beatles to Stomp, to add unique rhythms and textures. Anything can become an instrument: trash cans, pots and pans, even car parts. The appeal is both sonic and symbolic; using everyday objects blurs the line between music and the sounds of daily life. Found percussion brings a sense of spontaneity and fun to a track, reminding us that music is everywhere if we just listen a little differently. It’s a celebration of creativity and resourcefulness, turning the ordinary into the extraordinary.
Christian Wiedeck, all the way from Germany, loves music festivals, especially in the USA. His articles bring the excitement of these events to readers worldwide.
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