Prokofiev’s awkward First provides fodder for insipid remixes.
The open minded will set aside Voudouris’ opaque titles and impenetrable notes and discover four works whose concrète techniques confound associations.
As a sometime electroacoustic practitioner, I listened to this set as other than as critic. While all composers are critics, the obverse is not necessarily true — a discussion for another day.
Wind and water provide the background for Lotis’ dreams. Most of the music operates in the treble range and uses precisely positioned pitched sounds, rarely with noise or distortion.
Antagonismes IV hides in Mix 03, the third brick of Universal’s Pierre Henry collection. Fifteen movements span 1:03:35 of pure poetry.
Reflecting his keen mind and spirit, Gould’s five radio documentaries marshal texts, interviews, ambient sounds and music. The “Solitude Trilogy” considers three once-isolated Canadian populations.
An Anthology of Noise & Electronic Music will emerge as the hands-down arbiter of things electroacoustic.
The middle release in a Sub Rosa trio contains three Ferrari works defying simple explanation.
From the mid-1960s onward, Lilburn’s output was predominantly electro-acoustic. He became fascinated with the medium, characterizing his work with it as akin to painting.
In our post-everything era, we seem to be awash in historical electroacoustic music in large measure created in pre-digital days, with and without instruments, and again in large measure, reflecting chaos and sweat.