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new to stock as of
april 3rd, 2007

threads:
1970s-electronic
electro-acoustic-composition
musique-concrète
analogue-synth

pogus (usa) #p 21044 cd

felix werder “the tempest - electronic music” compact disc

  • banker (21:30) 1973
  • the tempest (28:27) 1974
  • oscussion (17:51) 1971
  • v/line (10:51) 1992
click the play button to hear an excerpt of "the tempest (1974)"
april 2007 release covering a suite of early 70s (and one early 90s) electronic compositions by german-australian composer felix werder. awesome, extended ems vcs3 freakouts & some rather lovely subdued concrète. i’ve never even seen a copy of the two greg young productions-label lps this music originally appeared on... fans of the creel pone series take note.
pogus press release...
felix werder
the tempest - electronic music

felix werder was born in berlin in 1922. possessed of an omnivorous musical curiosity, over the course of his career, he has explored many of the issues of concern in contemporary music, from serialism and aleatoric techniques, through opera, improvisation, graphic notation and electronics, always through the lens of his intense expressionist aesthetic. his father was boaz bischofswerder, one of the leading cantors and jewish liturgical composers in berlin, and a member of schoenberg’s circle. at 8 years old, he started copying his father’s scores, and considerable musical experience ensued. all this came to an end in 1934, when the family emigrated to england to escape the nazis. for 6 years, they lived in england, and felix began to study music, fine arts and architecture in a series of english institutions. at the outbreak of world war ii, the family, along with almost all the other german-jewish refugees in england, were declared enemy aliens, and offered a chance to emigrate to canada, where they would work for the war effort. for some reason, the ship, the dunera, headed for australia instead, where felix and his father, and 2000 other german-jewish refugees were placed in internment camps, and held prisoner for the rest of the war. it was under these circumstances that he wrote his first symphony, in 1943. on his release from the prison camp, he worked for a while as a jazz bassist in sydney, before moving to melbourne and beginning his musical career. in the 1950s, along with fellow composers margaret sutherland, dorian le gallienne, and later, keith humble, they formed the core of melbourne’s small, but active new music scene. from 1955, felix taught music and art history at the melbourne council of adult education, as well as privately teaching many generations of australian composers, and he was music critic for the age newspaper from 1960 until 1977. he became involved with radio in the mid 1970s, producing new music programs for the australian broadcasting corporation in the 1970s, and community radio in the 1980s and early 1990s. for 20 years, his performance group, australia felix, gave concerts of new australian music both in australia and in europe.

werder was introduced to the use of electronics in the late 1960s by his friend bruce clarke, whose jingle workshop was the first commercial electronic music studio in australia. he shortly thereafter acquired an ems vcs3 analog synthesizer, and incorporated electronics into his performances. his group gave some of the earliest live electronic performances in australia, two of which, "banker" and "oscussion", are recorded on this cd. in 1974, he worked with the ems synthi 100, a large digitally controlled analog synthesizer in the studio at the university of melbourne, where he produced his electronic masterpiece, “the tempest” - after giorgione’s "tempesta". by the late 1970s, however, he had largely stopped working with electronics, as he devoted himself more and more to composing chamber works for his ensemble (and others) to perform. in the early 90s, with my urging and assistance, he made one foray into the world of computer music, with the contrapuntal fantasy "v/line." he has not returned to the medium since then. his electronic work, then, forms a small but unique part of his output.

- from the liner notes by warren burt.

...

please note: "banker," "oscussion" and "the tempest" were all released on lp in the early 1970s. the master tapes of these pieces were all lost in the ensuing years. and the pressing of "banker", unfortunately, was substandard. with considerable work the pieces were able to be recovered from their lp recordings. in the case of "banker", a degree of surface noise, and pressing distortion remain. this is also true, but to a much, lesser extent, with "oscussion" and "the tempest".

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new to stock as of
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threads:
musique-concrète
field-recordings
electro-acoustic-composition
sound-installation

pogus (usa) #p 21041 cd

“montreal sound matter / montréal matières sonore” compact disc

  • hélène prévost - la voix dans le sac / the voice in the bag (8:06)
  • steve heimbecker - sunday msm (8:02)
  • louis dufort - materio_ (8:00)
  • tomas phillips - white.gray (7:57)
  • chantal dumas - s/t w/t (7:00)
  • a_dontigny - in memoriam jane jacobs (4:49)
  • francisco lópez - untitled #188 [excerpt] (7:28)
  • mathieu lévesque - nouvelle maternite (5:32)
click the play button to hear an excerpt of "hélène prévost - la voix dans le sa"
compilation of sound installation pieces & musique concrète based around a workshop given in montréal by francisco lópez.
pogus press release...
montreal sound matter / montréal matières sonore

works by francisco lópez / louis dufort / steve heimbecker / hélène prévost / mathieu lévesque / a_dontigny / chantal dumas / tomas phillips

montreal sound matter / montréal matières sonore brings together eight canadian and international sound artists. the project began with a workshop on environmental sound collecting by francisco lópez and led to the development of a collective sound project including an album, a sound installation, and a concert. this is the recording.

the artists create an immersive sound installation made up of fragments of montreal, which propose a reflection and a questioning on the city. far from being a postcard, these sound portraits suggest an abstract view of montreal made up of fragments modeled or transformed to the liking of the artists. through these places turned non-places and thus more or less unrecognizable, the pieces present an interesting variety of aesthetics, constructions and creative processes. - esther bourdages

...

“yet it is not about the city as a conglomerate of soundmarks or stereotyped symbolic elements--it does not aim at making a sound portrait or a representational creation. my proposal to all the participating artists involved in the project was to foresee the city --both outdoors and indoors, both the public and the private spaces-- as a constantly-changing generator of sound matter. the original source environmental recordings were carried out by the participating artists in montreal during april 2006, and we all shared the common pool of sound matter thus generated to create the individual pieces. i believe this is an interesting way of setting up a challenging situation in which we are dealing with a limited and intentionally restricted universe of sonic extractions of reality, and also -and more importantly-a straightforward way of proceeding to reveal the creative individual substance of each one of us.” - francisco lópez

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threads:
playback-music
experimental-instruments

pogus (usa) #p 21039 cd

crawling with tarts “ochre land, blue blue skies/ grand surface noise opera nr. 7: the decadent opera (rococo)” compact disc

  • ochre land, blue blue skies (33:52) 1996-7
  • grand surface noise opera nr. 7: the decadent opera (rococo) (35:02) 1994
pogus press release...
ochre land, blue blue skies/ grand surface noise opera nr. 7 - crawling with tarts

long overdue, long promised release. this may be the last tarts track (and opera) and one of the first solo composed gendreau recordings. or i could be making that all up. anyway, wonderful music and sounds - it is a crawling with tarts opera and olbbs is a killer.

a musician since age 6, gendreau went along to work with several group organizations, culminating in crawling with tarts (1983-1998), and using this group as a medium (along with the various uses made of it by co-founder suzanne dycus) for work in elementalism, attention to temporal and environmental persistence, and eventually, applications of parataxis.

these final studies included the use of small motors and turntable mechanisms, mostly performing with one-off transcription discs cast by others in the middle of the last century, or cut in gendreau's studio using a decrepit lathe. more recently, in composition and performance, gendreau has sought to enlarge these later studies, adding physical parameters of performance spaces (as a point of reference, based on studies in physics completed in 1989 and current work as an acoustician-primarily working on low-vibration design in buildings and noise impact to optical research apparatus in the infrasonic to audible frequency range) as a language within the paratactic structures that form his compositions.

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new to stock as of
april 3rd, 2007

threads:
electro-acoustic-composition

pogus (usa) #p 21038 cd

al margolis / if, bwana “rex xhu ping” compact disc

  • natraj (9:02)
  • frog field (12:04)
  • tattooed love muffins (10:56)
  • oy vey, angie (12:53)
  • cicada #5: version bohman (10:02)
  • quaderni (10:19)
pogus press release...
rex xhu ping - if, bwana

new al margolis release features margolis’s compositions for tapes, electronics, voice, drones. rex xhu ping (pronounced rex shoe ping) features margolis (tapes, electronics, clarinet, and sundries), laura biagi (vocals), dan andreana (speaker, tapes), detta andreana (tapes, bowed cymbals), and orchestre de fou.

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$18.01

new to stock as of
april 3rd, 2007

threads:
modern-composition

pogus (usa) #p 21036 cd

“d.i.y. canons” double compact disc set

  • kyoko kobayashi - cat canon (3:12)
  • bruno ruviaro - entrei pelo canon 1a (2:46)
  • mike swinchoski - canon no 1a (3:12)
  • mike swinchoski - transmissions (3:12)
  • mike swinchoski - freez dried canon (6:24)
  • mike winter - filter iv - p.i.x.l. study no 1 (7:55)
  • ross craig - barbie's phone canon (1:53)
  • giulano lombardo - 00 (1:38)
  • giulano lombardo - 01 (2:39)
  • giulano lombardo - 02 (0:48)
  • giulano lombardo - 03 (0:33)
  • giulano lombardo - 04 (2:26)
  • giulano lombardo - 05 (5:33)
  • simon wickham-smith - kullankeltaiset päivät (larry-iie) (11:15)

  • steven m. miller - twin canon (9:43)
  • steven m. miller - pulse canon (3:20)
  • masaki kubo (2) - pizzicato canon (1:35)
  • drew krause - canon for lp (10:35)
  • george zelenz - thermohaline (6:01)
  • stefan tomic - ringtone canon (3:55)
  • bo bell - metrocard canon (1:41)
  • philip corner / mike winter - mens 5/4 (7:03)
  • philip corner / mike winter - mens 9/8 (7:03)
pogus press release...
diy canons - simon wickham-smith, curator

okay. really cool, kind of fun, double cd compilation based on a work of larry polansky's. pieces are constructed from the sounds of cats, screams, midi instruments, computer, barbie phone, samples, wooden flutes, piano, bass clarinet, ringtones, metro cards, contrabass, and more. i have some of my favorites - which keep changing each time i listen to the discs. perhaps you will too. read on too get a "real" description from the curator of this project.

"the pieces on this cd are all based on the ideas in larry polansky's four voice canons, a series of pieces he began in 1975. these canons are usually "mensuration canons," which means that the tempi of successive voices is proportional to their start times, so that the voices end together. they also use simple ideas of moving through a list of permutations, and applying the elements of those permutations to various musical parameters. a set of polansky's canons was produced on cold blue records as four voice canons (cb0011).

polansky described these ideas in four voice canon #13 ("diy canon"), a kind of open-source meta-canon score. he distributed this at talks and on the web as an open invitation to others who wanted to make four voice canons of their own. composers responded with a wide variety of variations on the basic idea; a selection of these works is presented here." - simon wickham-smith, curator

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threads:
field-recordings
electro-acoustic-composition
modern-composition

pogus (usa) #p 21034 cd

chris brown “talking drum” compact disc

  • rumba quinto, havana, cuba (3:15)
  • invention #3, headlands, sausalito, california (2:25)
  • cremation procession, bali (3:26)
  • tennis court, cnmat (5:39)
  • hammering, hagia sophia, istanbul, turkey (0:53)
  • honda bay, palawan, philippines (2:40)
  • invention #2, iear/rpi, troy, new york (1:41)
  • rumba kata, havana, cuba (1:31)
  • invention #5, headlands, sausalito, california (5:55)
  • quiapo market district, manila, philippines (6:29)
  • invention #2, calarts, valencia, california (1:41)
  • mariwo chant, havana, cuba (3:54)
  • talking drum, beanbender's, berkeley, california (2:35)
  • cremation procession downbeat, bali (6:51)
  • invention #1, headlands, sausalito, california (2:57)
  • talking drum, groningen, netherlands (0:44)
  • chango, havana, cuba (1:24)
  • fireworks, ilolio, philippines (0:39)
  • hawaii bird park, hawaii (1:14)
  • frogs in irrigation canals, champuan, bali (3:36)
  • vultures and muezzin, istanbul, turkey (1:15)
  • rooster, boracay, philippines (0:13)
  • mouth full of fire, market st., san francisco, california (1:18)
  • talking drum, isea '95, montreal, canada (1:39)
  • invention #4, univ. of illnois, champaign-urbana (2:54)
  • invention #4, headlands, sausalito, california (3:25)
  • cremation flame, bali (2:18)
pogus press release...
chris brown - talking drum

binaural motion recordings composed as a dialogue of distances. live recordings of music for electronic network music ensemble juxtaposed with location recordings of traditional music and environmental soundscapes. made in bali, the philippines, turkey, europe, cuba and america 1991-99.

this compilation/composition documents nearly a decade of work that began with the recording of dense sonic environments, both 'natural' and urban. talking drum is an interactive installation made with four networked laptop computers programmed to explore cyclical polyrhythms in large acoustic spaces. while the performance of the entire system is synchronized by one computer, each computer station generates independent results using genetic-programming algorithms which are affected by acoustic musicians' performances. each station in the space "grows" its own rhythmic response to the situation, like similar plants growing differently in adjustment to their locations in an environment. the musicians improvise with the rhythms, interacting with the response of the computers they play next to, and the whole is a quartet of these human-machine duets.

this recording compiles moments from these performances, and the recordings that inspired their creation, into one continuous piece. electronic music is normally thought of as a medium emphasizing unlimited access to timbre - i think this is often over-emphasized, and that, at its best, it changes our experience of space. the traditional african talking drums are played held under the arms so that their laces can be squeezed to change the pitch of the drum-head as rhythms are played. the changing pitches and rhythms imitate patterns of the tonal languages of west africa, and can be used like musical telephony to communicate over long distances. this recording follows this design, creating conversations between different places, environments, people, rituals, and parties on a global scale.

...

chris brown (b. 1953), composer, pianist, and electronic musician, creates music for acoustic instruments with interactive electronics, for computer networks, and for improvising ensembles. born and raised in chicago, he moved to california to study electronic music with gordon mumma and composition with william brooks at univ. of california/santa cruz, and with david rosenboom at mills college. he was active early in his career as an inventor and builder of electroacoustic instruments; he has also performed widely as an improvisor and pianist with such groups as "room" and the "glenn spearman double trio". in 1986 he co-founded the pioneering computer network music ensemble "the hub". he is also known for his recorded performances of music by henry cowell, luc ferrari, and john zorn. he has received commissions from the berkeley symphony, the rova saxophone quartet, the abel-steinberg-winant trio, the gerbode foundation, the phonos foundation and the creative work fund. his recent music includes the poly-rhythm installation "talking drum", the "inventions" series for computers and interactive performers, and the radio performance "transmissions" series, with composer guillermo galindo. his 1992 epic electroacoustic work "lava", for brass, percussion, and electronics is also available on tzadik. he teaches composition and electronic music at mills college in oakland, where he is co-director of the center for contemporary music (ccm).

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threads:
sound-poetry
analogue-synth
electro-acoustic-improvisation

pogus (usa) #p 21029 cd

tom hamilton / mike silverton / al margolis “analogue smoque” double compact disc set

  • a rift in the ceiling (6:30)
  • a keyhole for peeking (3:16)
  • laundering butt floss (3:47)
  • asbestos abatement, that closer to health (4:59)
  • fire and ice and a reliable chronometer (3:05)
  • the enchanted kielbasa (9:45)
  • yanking anchors, shoulder dislocations (11:17)
  • exchanging anvils
  • broken toes (6:38)

  • the clouds, to whom do they belong? (7:53)
  • he can't take you with him (6:47)
  • a cozy place by the crevasse (4:56)
  • if a tree falls on a conscript... (8:16)
  • five, alive and thriving (4:35)
  • but absent a spleen (12:05)
  • terminal euphoria (7:47)
pogus press release...
analogue smoque - tom hamilton, mike silverton, al margolis

tom hamilton - sounds, assemblage
mike silverton - text, voice
al margolis - sounds

"analogue smoque's deportment owes much to dada, which positions it some 85 years late for lunch. the work's disjunct, shard-like character looks in significant measure to the manner in which it came together as a pastiche of youthful bits." -- mike silverton

a surreal stew of story and sounds, analogue smoque joins poet and la folia honcho mike silverton's non-transactional prose with music, electronic and otherwise, by tom hamilton and al margolis. sounds combine with, highlight and ignore silverton's ramble, which in turn ignores the rational world.

...

tom hamilton has composed and performed electronic music for over 30 years. rather than addressing traditional modes of presentation and observation, hamilton prefers to explore interaction and simultaneity as aspects of "present-time listening" on both the performers' and listeners' parts.

mike silverton will only say that "at first blush, the alert listener detects a link between analogue smoque and madam blavatsky. the magi demur. rather, they say, the text reveals its author's interest in cryptorchidistics, i.e., states of non-descent."

al margolis has been working with electronics/sounds since new year's day 1984. his work can best be described as "sound fingerpainting."

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threads:
minimalism-drones
modern-composition

pogus (usa) #p 21028 cd

warren burt “harmonic color fields” compact disc

  • portrait of erv wilson (13:10)
  • portrait of john chalmers (10:25)
  • adjacencies (a drone on breaking my kneecap) (13:00)
  • 11:21:23 (a drone on mom and felix's birthdays) (16:10)
  • 48=>53; 53=>48 (15:30)
pogus press release...
warren burt - harmonic colour fields

"harmonic colour fields is a set of five computer pieces which explore static microtonal harmonic fields. this means that once a piece begins, harmonically, it's going to stay pretty much the same for it's entire duration. the pieces are descended from the 1970s "drone" pieces of such composers as la monte young, charlemagne palestine, hal budd, and myself, but they make greater use of slow harmonic progressions to make more varied musical surfaces.

i wanted to make pieces where the quality of the harmony was the primary focus, and so used very simple rhythms, plain electronic timbres, and a minimum of melodic structuring. in fact, in these pieces, any sense of melody is simply the result of how the harmonic material is articulated. that is, change in harmony, and not construction of melody was my aim in making these pieces. the title refers to the "colour field" minimalist painters of the 60s and 70s. i thought of these pieces as analogous to those paintings, in that the explore the varieties and shades of one particular harmonic musical colour."

warren burt attended the state university of new york, albany (ba, 1971) and the university of california, san diego (ma, 1975) before moving to australia in 1975. in australia he has worked in academia (la trobe university, nsw conservatorium, victorian college of the arts, australian national university), education, and radio (freelance and commissioned productions for abc and pbaa), and as a composer, film maker, video artist, and community arts organizer.

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threads:
1960s-electronic
electro-acoustic-composition
analogue-synth
musique-concrète

pogus (usa) #p 21027 cd

jorge antunes “savage songs: musica electroacustica periodo do pioneirismo (1961-1970)” compact disc

  • pequena peça para mi bequadro e harmônicos (3:54) 1961
  • valsa sideral (3:12) 1962
  • música para varreduras de freqüências (2:30) 1963
  • fluxo luminoso para sons brancos i (2:37) 1964
  • contrapunctos contra contrapuntus (4:23) 1965
  • três estudos cromofônicos: i estudo para verdes e vermelhos (2:56) 1966
  • três estudos cromofônicos: i estudo para azuis e laranjas (3:32) 1966
  • três estudos cromofônicos: i estudo para amarelos e violetas (1:48) 1966
  • canto selvagem (3:00) 1967
  • movimento browniano (4:06) 1968
  • canto do pedteiro (4:17) 1968
  • cinta cita (4:58) 1969
  • auto-retrato sobre paisaje porteño (14:47) 1969/1970
  • historia de un pueblo por nacer or carta abierta a vassili vasilikos y a todos los pesimistas (16:34) 1970
2003 disc of pieces by the brazilian composer jorge antunes... the only things i’d heard prior to this were a series of lps and 3” cds on the composer’s own sistrum label, of which there is little overlap here.

the liners would claim that young jorge was inspired to create such racket after witnessing a david tudor performance of ‘kontakte’ in 1961. not a bad cue...
pogus press release...
jorge antunes - savage songs (works from 1961-1970)

jorge antunes (b. 1942, rio de janeiro) studied violin, composition and conducting at the university of rio de janeiro, as well as studying physics at the same institution. he further studied composition with alberto ginastera and luis de pablo.

from 1970-71 he attended the university of utrecht (gotfried m. koenig). from 1972-73 he worked with groupe de recherches musicales (grm) in paris. in 1962 he began his research in electronic music thus becoming a pioneer in the development of this field in brazil. he is the director of the electronic music laboratory and the conductor of orquestra da universidade de brasilia.

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threads:
1960s-electronic
electro-acoustic-composition
musique-concrète
analogue-synth

pogus (usa) #p 21023 cd

pauline oliveros “no mo” compact disc

  • no mo (17:51) 1966
  • something else (13:51) 1966
  • bog road (33:11) 1967
pogus press release...
pauline oliveros - no mo

"in the summer of 1966 i worked in the classical electronic music studio at the university of toronto for six weeks. the system i used to create no mo and something else consisted of layfette tone generators, noise source and tape delay.

in the fall of 1966 i was the newly appointed director of the mills tape music center formerly the san francisco tape music center and now the center for contemporary music at mills college.

bog road was created at the mills tape music center in the summer of 1967 with the buchla series 100 box. the studio overlooked a pond where frogs were singing a chorus that inspired a series of bog pieces."

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threads:
experimental-instruments
minimalism-drones

pogus (usa) #p 21017 cd

robert rutman “1939” compact disc

  • tabla and buzz chime (8:55)
  • steel cello and bow chime (7:42)
  • chant bow chime and horn (4:59)
  • three bow chimes (16:37)
  • song of the steel cello (20:02)
pogus press release...
robert rutman - 1939

this release reissues robert rutman's pogus lp (p201-1) and includes an additional track.

rutman (b. 1930) has been building and performing on his homemade metallic instruments for many years. this recording features his buzz chime, steel cello, and bow chime, along with tabla, tibetan horn, and rutman's vocal chants.

rutman caresses the metal, drawing out eerie drones and overtones that buzz and trumpet. the music in turn can be as fragile as glass or reach the depths of resonance, as if one has just come upon singing whales at sea.

beautiful music and long overdue on cd.

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threads:
1960s-electronic
electro-acoustic-composition
musique-concrète

pogus (usa) #p 21014 cd

rune lindblad “objekt 2 - electronic & concrète music (1962-1988)” compact disc

  • objekt 2 (op. 25) (9:28) 1962
  • plasibenpius (op. 30) (8:15) 1968-69
  • hälften av någonting (op. 38) (6:39) 1970
  • frage (op. 59) (6:25) 1972
  • tora (op. 67) (5:43) 1972-73
  • maskinlandskap (op. 122) (7:30) 1975
  • innan konsert (op. 190) (11:49) 1985
  • lagun i uppror (op. 197) (9:02) 1987
  • dimstråk (op. 203) (3:23) 1987-88
second disc of rune lindblad’s electronic music, composed from the early 1960s through the late 1980s & released for the first time in 1988 on c.m. von hausswolff’s radium 226.05 label.
pogus press release...
“musique concrete was scratched, scraped, howled and pounded last night in the community building. the audience consisted of about forty people, amongst which a few visitors voluntarily payed their admission… the ”works of art” then underwent a structural analysis by mr epstein. he addressed interesting phenomenon in the noise, according to different ways of acting woodpecker on sheet iron.”

”two youngsters were officially pronunced composers. a few whistles and scrapings were percieved as interferences in the tapemachine, but it actually was the first composition, with the literary title ”essay”… of course it is embarrasing to recommend a visit to gotaverken (a ship-yard in gothenburg), but such a visit would greatly simplify the preparatory work of the noise process”.

those were citations from two reviews; the first by ake engfeldt in goteborgs-tidningen, and the second by bjorn johansson in goteborgs handels- och sjofartstidning (main newspapers in southwestern sweden). they were published on 15 february 1957, as a reaction to the first concert in sweden with concrete and electronic music, which took place the night before in gothenburg. the composers presented were bruno epstein and rune lindblad (1923 – 1991).

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$12.01

new to stock as of
april 3rd, 2007

threads:
1950s-electronic
1960s-electronic
electro-acoustic-composition
musique-concrète

pogus (usa) #p 21011 cd

rune lindblad “death of the moon - electronic & concrète music 1953-1960” compact disc

  • party (op. 1) (9:33) 1953
  • månens död (death of the moon) (op. 2) (8:30) 1954-55
  • fragment 0 (op. 3) (9:10) 1955
  • fragment 1 (op. 4) (11:33) 1955
  • fragment 2 (op. 5) (9:56) 1956
  • evening (op. 7) (8:11) 1956
  • nocturne (op. 10) (6:19) 1958
  • optica 1 (op. 16) (10:13) 1959-60
click the play button to hear an excerpt of "optica 1 (op. 16) 1959-60"
essential collection of 1950’s musique concrète and electro-acoustic pieces by the swedish composer rune lindblad.

crude, lo-fi, and quite noisy; the best of all possible worlds. this should be in your collection right next to discs by other early iconoclasts such as tod dockstader, jørgen plaetner, and erkki kurenniemi.
pogus press release...
rune linblad - death of the moon

this disc is a reissue of lps on pogus and radium.

rune lindblad (1923-1991) was an early pioneer in electronic and concrète music. lindblad did not see these genres as mutually exclusive. important and wonderful works by a composer who represented no institutionalized school of thought. at a concert in 1957, the critics called his music "pure torture." with a recommendation like that, what are you waiting for?

...

rune lindblad, who was an engineer and a painter, and also a single father with a son in the late 1950:s, started his sounding experiments as early as the first years of the 1950’s, without prior knowledge of similar experiments being conducted in france and germany.

he kept on composing against the wind all the years up to his premature death in 1991. he also served as a teacher of electronic composition, and some of the most renowned swedish composers of electroacoustics have had him as their primary teacher and guru.

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$12.01

new to stock as of
april 3rd, 2007

threads:
plunder-phonic

pogus (usa) #p 21005 cd

big city orchestra “greatest hits and test tones” compact disc

  • arms and legs
  • go (mixed by john duncan)
  • have you seen me
  • the door must be stuck (mixed by brook hinton)
  • middle class
  • strange experience (mixed by monte cazazza)
  • pedestrian beat
  • hearing mud dry (mixed by gx jupitter-larsen)
  • fiend
  • master freak

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click the play button to hear an excerpt of "coffe beans"
pogus press release...
big city orchestra - greatest hits and test tones

five of bco's greatest performed by das, robo, daevid allen, brook hinton, mic gendreau.

four test tones specially mixed by john duncan, monte cazazza, g. x. jupitter-larsen.

previous record label:
 pnl 		...and that's everything on pogus in stock.
(why not take a look at the previous and next labels?)		next record label:
 polyfusia 
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