| $10.44
new to stock as of
june 2nd, 2006
threads:
1970s-electronic
analogue-synth
musique-concrète
australia
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| | | creel pone (australia) #creelp melbourne cd “electronic music university of melbourne” compact disc recordable - impulse gary wright (2.34)
- conversations 1 chris wyatt (7.53)
- panels v paul turner (4.06)
- dedicated to a perceptive experience greg ridell (8.36)
- mirrors ken guntar (7.34)
- three mobiles peter tahourdin (14.15)
| remarkably consistent collection of pieces composed/executed between 1973 and 1979 by students at the university of melbourne on the megabeast of modulars: the ems synthi 100 (now residing, unplugged and finally at peace, at the percy grainger museum)... why is the synthi 100 so impressive? simply put, volume :
would you look at that thing! daunting... i can only imagine the amount of headaches and brain-stem rot that went on went on whilst uni students tried to get their head around the twin patch-matrices...
the 6 composers on this disc all put in fine efforts making sense of the intricacies of this then-new technology, with all turning in excellent pieces ranging from the tick-tock krautrock of gary wright’s “impulse” to the kosugi/c. spencer-yeh-ish violin-noise/synthi freakout of chris wyatt’s “conversations” to... however the hell one would describe/compare the dense/freaked-out analogue mess of ken guntar’s “three mobiles” (okay; ill try... douglas leedy’s ghost bathed in balvenie 17 year “very old”, imbibed by akos rozmann - is that esoteric enough for you?)
just dripping vintage-era electronic soul out of every orifice... behemoth. |
| | creel pone press release... |
| this creel pone edition includes:
1 x crystal-clear resealable polypropylene cd sleeve with a black / silver foil stamp affixed to the exterior
1 x single-sided six-color inkjet-printed hand-cut glossy-photo-stock booklet
1 x four-color inkjet-printed compact disc recordable in a high-density round-bottom cd sleeve
...
side 1
1 impulse gary wright (2.34)
2 conversations 1 chris wyatt (7.53)
3 panels v paul turner (4.06)
4 dedicated to a perceptive experience greg riddell (8.36)
side 2
1 mirrors ken guntar (7.34)
2 three mobiles peter tahourdin (14.15)
the electronic music studio of the university of melbourne was established in its present form in 1973 with the aid of a grant from the gulbenkian foundation. at its heart is a synthi100 analogue synthesizer, made by ems of london, linked to a pdp 11/10 computer. the studio serves as a workshop for composers, as well as providing a teaching facility for the university's faculty of music; in addition, research is undertaken into analogue, hybrid and direct sound synthesis. the works on this record are representative of the output from the studio between 1973 and 1979.
[] gary wright, born in montreal, canada, in 1956, settled in australia in 1975. he is a trumpet player of considerable ability as well as a composer. impulse (1978) captures the sound of several late night garden sprinklers running simultaneously. five independent tracks of filtered white noise are mixed together to produce the effect of syncopation and interaction.
[] chris wyatt was born in melbourne in 1955. conversations 1 (1976) is an expression of the composer's interest in the manipulation of acoustic material through audio synthesis. in this work the material was derived from the violin and from the human voice, manipulated by means of filtering and ring modulation, then further treated through the use of tape delay techniques.
[] paul turner was born in 1948 and grew up in the country in gippsland, victoria. in all there are six pieces to which the composer has given the general title panels. panels iv and v are both electronic and both were composed in 1975. though the two works explore the device of using static sound material juxtaposed and overlapping in various ways, they are markedly different in effect. panels v is the more lighthearted of the two. the choice of the talk back radio excerpt was fortuitous: an extract from a parliamentary debate, an advertising jingle, or the voice of a disc-jockey wou id have served equally well.
[] greg riddell was born in melbourne in 1957. his interest in composition was stimulated through his studies at the university of melbourne between 1974 and 1978. whilst there he helped to form an ensemble known as the composers collective, which is concerned with the presentation of music by its members within the musical environment of melbourne. dedicated to a perceptive experience (1978) sprang from a year of experimentation in electronic music and, as the title indicates, is a direct outcome of that experience.
[] ken guntar was born in 1951 in greta, new south wales, of austrian and italian parents. he is largely self-taught as a composer and his musical interests include works for the theatre and for dance, as well as for fil m and video presentation. mirrors (1979) grew from the idea of reflected mirror images. in this case the images translate into sounds that in turn reflect a period of growth and change in a person's life. however, a mirror may reflect not only an overall image, but also smaller, fleeting reflections. there is a distortion, too, in that a mirror turns left into right and right into left, though not top to bottom.
[] peter tahourdin was born in england in 1928. he is currently a senior lecturer in composition at the university of melbourne. of his three mobiles the composer writes: "the work was composed during the latter part of 1973 and early 1974, soon after i came to melbourne; it was a means of getting to know the newly acquired synthi100 - all the sounds were produced and treated electronically on the synthesizer. the original tape is in four channels and has been condensed to two for this record. the title and the concept sprang from the visual image of a sculptured mobile suspended in space, turning through the movement of air around it, and so presenting different facets of itself as it revolves; sometimes the transition is abrupt, sometimes gradual. each of the three mobiles has its own individual character, but each adheres to that principle for the presentation and evolution of the musical materials from which it is made." |
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