brainwashed

  • Increase font size
  • Default font size
  • Decrease font size

Douglas Lilburn, "Complete Electro-Acoustic Works"

Douglas Lilburn was already an award-winning composer when he turned from conventional music to focus on electronic music, founding New Zealand’s first electronic music studio at Victoria University of Wellington in the late 1960s. The three CDs and the DVD comprising this collection contain many valuable pieces that highlight Lilburn’s contributions to the electronic form.

 

Atoll

Lilburn was particularly interested in evoking New Zealand’s natural environment, which he does through meditative drones. Using electronics to replicate concrete elements like ocean waves and birds, he also adds conceptual touches like the stretched tones mimicking bird flight in “Sounds and Distances.” Although he doesn’t often use voices in his work, when he does they are among his better pieces. One of the best tracks is “The Return,” which uses a Maori woman’s voice as a compositional element before turning to a man’s recitation of Alistair Campbell’s poem of the same name.

In addition to his more formal works, included here are his studies documenting his experimentation with singular ideas or techniques, such as the two separate groups each collectively entitled “Five Toronto Pieces,” which were recorded six years apart, as well as a soundtrack for a dance sequence. The DVD contains a few all-too-short excerpts from films that find Lilburn demonstrating his techniques and talking about his ideas, two songs reproduced in four channels as he originally intended, and an illuminating audio interview.

One commonality among these different musical projects is the meticulousness with which they were created. Lilburn struggled with the primitive equipment he had at his disposal and his poise and patience are evidenced in every recording. Rather than settling for unpredictable effects, he took the time to study the technology in depth and harness it to his own end. There are a few places in the collection that hit an introspective plateau and lose some momentum, but for the most part each disc is arranged non-chronologically in a way that balances the different dynamic levels found in Lilburn’s works. I found the third disc to be the most consistently rewarding, yet the other two discs hit peaks just as high.

samples:


 

The Eye: Video of the Day

Andreas Martin

YouTube Video


read more >>>

Review of the Day

Biosphere, "Autour de la Lune"
Touch
Geir Jenssen lives in a different world. From his Artic Circle perch the man called Biosphere is building a body of work as iconoclastic as Aphex Twin, with as much eerie remove and accidental influence. Albums like Patashnik and Substrata are landmarks in ambient music not because they spawned a million rip-offs but because they work within a recognizable stylistic blueprint to create absolutely alien music, threatening total immersion to even the most cautious of "background" listeners. Jenssen's last, 2002's Shenzhou found him treading further towards alienating extremes, something like a pitch-black homage to Debussy, with orchestra samples stretched thin and opaque across an ocean of icy, crevice-filled ambience (in other words, what we all wished Drukqs had been). Autour, commissioned by French radio last year, not only rejects anything close to a wide "radio" audience, but it is by far the most trying Biosphere release thus far, with Jenssen moving past the beat-less transparencies begun with Substrata and into a harsh meditation on deep-space, a 74-minute confined drift that begins well into the air-less upper regions and does not conclude until positioned hopelessly within a dimensionless dump-off on the darker side of some heavenly body. Occupying a third of the disc's length, the opening "Translation" acts like the final kiss-off to Earth and the earthen sounds that often find a place in Biosphere music. A rebus of plastic tones, entwined with enough care to erase all human touch, becomes a sky-like ceiling with which groaning engine sounds and whining drones struggle in a pitiless slipping, past the threshold and into the heart of Autour. Apart from a track or two based around a few distorted samples from a 60s radio dramatization of Jules Verne's De la Terre à la Lune (the "focus" of the 2003 commission) and actual recordings of MIR astronauts, the majority of the disc develops a vacuous, unsettling atmosphere made up of seriously subsonic bass frequencies and shrill, synthetic tones dividing and encasing the deliberate arcs and hidden textures of each of the nine "movements." By the sixth track, "Circulaire," the trip has arrived at a false ending of sorts, an off-putting climax where the piece grounds out to two dissenting sounds, one a near-inaudible below-bass pulse and the other the sinister calm of a solid flatline. From this remote place, more Onkyo than Eno, Jenssen really has nowhere to drift except slowly back towards the beginning, to the lush plasticities of "Trombant," almost coming full circle on the opening track but stopping short, allowing melody and lush texture enough footing only to remind us of what has been left behind. Melodies emerge, like the aimless cosmonaut voice samples, as if beamed from a great distance, light years into the black, like ghosts of a human presence long since abandoned. Autour is not easy listening, and if it doesn't stand as the most returnable place in the Biosphere catalog, it's only because Jenssen has never sounded so remote and thoroughly haunting.

samples:


read more >>>

Login Form



http://soundcloud.combrainwashedcom


Donate towards our web hosting bill!
Shop
		at the iTunes store