DIEM (Dutch Institute of Electronic Music): 25 Years
Twenty-five years of Danish electronic music
View record and artist detailsRecord and Artist Details
Composer or Director: Per Nørgård, Birgitte Alsted, Michael Nyvang, Fuzzy, Wayne Siegel, Daniel Rothman
Genre:
Chamber
Label: Dacapo
Magazine Review Date: AW/2012
Media Format: CD or Download
Media Runtime: 138
Mastering:
Stereo
DDD
Catalogue Number: 8 226559/60
Tracks:
Composition | Artist Credit |
---|---|
Oktav III |
Anker Fjeld Simonsen
Anker Fjeld Simonsen, Composer Anker Fjeld Simonsen, Musician, Electronics Anker Fjeld Simonsen, Musician, Electronics |
802 |
Jonas R Kirkegaard
Jonas R Kirkegaard, Musician, Electronics Jonas R Kirkegaard, Composer |
Southwest Sky |
Daniel Rothman, Composer
Daniel Rothman, Composer Daniel Rothman, Composer |
Hyper Motel |
Band Ane
Band Ane, Musician, Electronics Band Ane, Composer |
Omdrejninger II |
Carl Bergstrøm-Nielsen
Carl Bergstrøm-Nielsen, Composer Carl Bergstrøm-Nielsen, Musician, Electronics |
Prim x |
Jonas Olesen
Jonas Olesen, Musician, Electronics Jonas Olesen, Composer Morten Riis, Musician, Electronics |
Electric Gardens and Their Surroundings |
Fuzzy, Composer
Fuzzy, Composer Fuzzy, Composer |
Mad Bonce |
_ Puzzleweasel
_ Puzzleweasel, Musician, Electronics _ Puzzleweasel, Composer Richard Devine, Musician, Electronics |
Årsfrise-91 |
Per Nørgård, Composer
Per Nørgård, Musician, Electronics Per Nørgård, Composer |
Intro (Team Trash) |
Halfdan E
Dan Turéll, Musician, Electronics Halfdan E, Musician, Electronics Halfdan E, Composer |
Tunnel Vision |
Wayne Siegel, Composer
Wayne Siegel, Musician, Computer Wayne Siegel, Composer |
7 cirkler i 1 matrix |
Bjørn Svin
Bjørn Svin, Composer Bjørn Svin, Musician, Electronics |
Collage IV, Corona |
Michael Nyvang, Composer
Michael Nyvang, Composer Michael Nyvang, Composer |
AC-3 |
. Vectral
. Vectral, Composer |
Lauria |
Line Tjørnhøj-Thomsen
Line Tjørnhøj-Thomsen, Composer Line Tjørnhøj-Thomsen, Musician, Electronics Line Tjørnhøj-Thomsen, Musician, Electronics |
Passaics Monumenter |
Hans Hansen
Hans Hansen, Musician, Electronics Hans Hansen, Composer |
Sparklings |
Jørgen Teller
Jørgen Teller, Musician, Electronics Jørgen Teller, Composer |
Zu versuchen, die Fragen |
Birgitte Alsted, Composer
Birgitte Alsted, Composer Birgitte Alsted, Composer |
Homework |
Sofus Forsberg
Sofus Forsberg, Composer Sofus Forsberg, Musician, Electronics |
On Learning How to Kill |
Rasmus Lunding
Rasmus Lunding, Musician, Electronics Rasmus Lunding, Composer |
Author: Philip_Clark
This new set is prefaced with a proto-Rumsfeldian quote from Dan Quayle: ‘The question is whether we’re going forward to tomorrow or whether we’re going to go past to the – to the back!’
That is indeed the question creative musicians face during these troubled times for our art, these recent pieces offering up a reminder of what remains an integral problem of electronic music culture. Until recently, when suddenly anyone could carry an electronic music studio inside their Mac, being an electronic composer meant tying yourself to a studio, which meant institutionalisation and, for many, creative death.
Is it revealing that Per Nørgård’s Årsfrise-91 (1991), its stew of microtonally smudged vocal lines nicely on the boil alongside environmental sounds, makes other pieces here sound like drab patterning? Only in that Nørgård is a composer first who, in this instance, happens to be expressing himself via electronics. Jonas R Kirkegaard’s geeky programme-note is a love letter to the Yamaha DX synth, the problem being that his note is considerably more charming than his piece, 802 (2012), with its tired rehash of club beats. Vectral’s (the performing persona of Søren Lyngsø Knudsen) AC-3 (2008) resorts to that old anthemic voices-plus-electronic gloss trick: it flops.
Line Tjørnhøj-Thomsen’s Lauria (1998) uses electronics to take us far inside the contours of her throaty vocal chords; an unexpectedly voyeuristic intimate voyage. Introducing her Hyper Motel (2011), Band Ane proves that obsessing over equipment might well be a boy thing. As workaday triadic sequences slide and morph into new shapes, melting like ice cream, she says ‘How the work is made is not that important’. Another high point is Daniel Rothman (the only non-Dane here: he was artist-in-residence in 1998) whose Southwest Sky, inspired by the flatness of the Danish landscape, carves a flat but rounded, still but busy soundscape from the overtones of an oboe. Like Nørgård’s piece, an intelligently conceived musical idea is served by technology.
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