Wintertime Super-Fun-Pak! NZ Electroacoustic on CD -- Part Three

Seaswell: The Music of John Rimmer (1992)

A stunning compilation of works dating from 1972 - 1987, four out of the six works on this collection are electroacoustic pieces, including one from the 'Composition #' series, 'No. 4 (for flute and electronic sounds)'. On this blog we've documented Numbers 2, 4, 5, 6 & 9. Composition 3 is available on the New Zealand Electronic Music compilation (re-released by Creel Pone a while back) and Compositions 1, 7, 8 & 10 have never been released on commercial albums. You can listen to a performance of Composition 7 recorded for NZ National Radio here, and the scores (and sometimes links to recordings of the electronic sound accompaniment) can be found here. 

These works swish in and wash out, one to the next, on the slosh of waves; through the field recordings of 'Tides' and 'Projections at Dawn', or by the evocation of segmented legs skittering in tide pools, iodine-scented trickles dripping from overhanging weeds at low tide and breakers bruising corroded old volcanic stones where green-lipped mussels are most content. 

Forgot the Cry of Gulls

New Zealand Composer Edition: Hamilton/Harris/Blake/Pruden (1989)

This compilation includes only one short electroacoustic work, but it's by a Switched Out favourite: Ross Harris. The piece, 'Echo', was written by Harris on the occasion of his father's death, and is played on Trumpet and Tape Delay System. That delay snaps snippets and repeats them, panning in stereo from off in the distance (Harris stipulates that in performance the speakers for the tape delay should be placed outside the performance space). A bittersweet work, mournful and triumphant, and a companion piece and coda to the other brass and delay pieces featured on this blog, such as Brent Carlsson's 'Gaga Who?' and John Rimmer's 'Soundweb'. 

Incidentally, 'Echo' was performed by Mary Robbie both on this collection and at the festival from which the New Directions in New Zealand Music LP was produced. This recording may in fact be from that performance. Also listed in that festival's programme is a work by John Rimmer titled 'Extro-Intro', performed in that instance by David Cox on French Horn and Ross Harris on Tape Manipulation. I have included another performance of that work as a bonus track here, performed by James MacDonald from his 1978 LP Pieces for Solo Horn. 

Elsewhere, Christopher Blake's 'Sounds' for Wind Quintet is a historical landscape painting of Queen Charlotte Sound, David Hamilton evokes the grandeur of the eponymous Martian mountain in 'Nix Olympica', and Larry Pruden is represented by his early 'String Trio'.  

Technology of Solitude

Visions (1980) & Prisms (1985)

A couple more contemporary classical records, each of which has at least one electroacoustic piece. Well, Prisms actually just has a (seriously gorgeous) Ross Harris choral piece with synthesizer drone (and I don't think that really counts), but to make up for it, I've included a bonus Jack Body piece from another record, which is full-on electroacoustic. John Rimmer does the choir with electronic tape thing. Gillian Whitehead and Jenny McLeod represent the two polar opposites of seriousness. Full disclosure, these are all choral music. But by New Zealand composers! And they are gooooood.

I was going to include the New Zealand Composer Edition Vol. 3 - Choral Works -- mainly because it has the pink version of that funky cover, but also because it has works by Jack Body, Gillian Whitehead and more -- but was disappointed by how kind of ye olde fashionde it seemed. But if that one was less than impressive, the record that I lifted the Jack Body bonus track from was appalling, proving that electroacoustic music is a format which gets little respect. This live concert record by the National Youth Choir of New Zealand (which is imaginatively titled 'The National Youth Choir of New Zealand In Concert') features the premier of Jack Body's 'Vox Populi', which was written for the National Youth Choir. As if embarrassed for having performed this gorgeous mixture of choir, electronic and bird sounds, the concert -- and the album -- close with The Rainbow Connection.

These two LPs pop ('Visions' in more way than one: it's a wee bit scratchety at times but not too bad); they do some amazing things with harmonisin' on the inside o' mah brain.

Stoned he was with stones great

O let the fire burn, Hotter the better

Music Players 70 (1971)

Two percussionists, two pianists; called '70' but recorded in '71.

Bartók's 'Sonata for Two Pianos and Percussion' is a later-period, three-movement composition, and one of the composer's most performed works.

New Zealand composer Edwin Carr re-scored and paraphrased his 1955 ballet, 'Elektra', for the Music Players 70 ensemble, presented here in four short parts.

John Rimmer's 'Composition 5 for Percussion and Electronic Sounds' was written for and is performed by solo percussionist Gary Brain, with electronic tape.


Contemporary Classics for Contemporary People!

New Zealand Composer Edition - Chamber Works Vols. 1 & 2 (1972)

Starting off this set, the first track of Vol. 1 is my man John Rimmer, carrying the electroacoustic torch on his 'Composition 2 for Wind Quintet and Electronic Sounds'. When the first quardle oodle ardle wardle doodle barges in from the antique analogues, the cleverly clunky clash belies an eventual merging, which becomes so subtle that I'm sure even the players aren't sure who's making which sound.

David Farquhar is so restlessly inventive, and relentlessly inviting. He skims along the outer guard, never fully abandoning tunefulness. From the liner notes: "Although he does not appear to have been involved to a great extent with electronic music, ... David Farquhar [is] the most versatile of the composers represented on this record..." Here he experiments with a bit of extended technique on the 'Three Pieces' on Vol. 1, and has written new settings of traditional Scots ballads for voice and piano on Vol. 2 (see below, "Lilburn").

Jack Body's 'Turtle Time' is a dramatic, breathless, electroacoustic freak-o-delic mindblower.

'Capriccio for Four Saxophones' by Robert Burch carries a bit of the spirit of New York's Lounge Lizards in parts, and reminds us -- no matter that this is a contemporary classical work -- the history of Jazz is inseparable from the tuning, timbre and physical structure of the saxophone.

Lilburn. My enjoyment of much classical music stalls when it comes to vocal works involving the mannered, affected, clenched-throated warbling of classically trained -- usually male -- soloists. Listening head-tilted, trying hard, with a forced grin, to Lilburn's settings of three poems by JK Baxter, RAK Mason, and Ursula Bethell, my philistine ears can at least hold on to some exciting string-work. Mercifully, on Vol. 2, piano-champ Margaret Nielsen plays on both the extraordinary and deservedly recognisable Sonata for Violin and Piano, and the equally gorgeous Sonatina 2 for Piano.


And First He Played the Notes of Annoy

And Then He Played the Notes of Joy

Springtime Super-Fun-Pak! NZ Electroacoustic on CD

It's Springtime for Electroacoustic Nerds in New Zealand! And there is no better soundtrack for that garden party, barbecue, or kegger than the classic period of NZ academic electroacoustic. These four albums are from a series of six or seven CDs released in 1993 by CD Manu. All feature gorgeous cover photography from Theo Schoon, the Java-born Nederlander whose appropriation of Māori artistic techniques and ham-fisted destruction of historic rock art have left a complicated and controversial impact on the New Zealand visual art world. 

Jack Body - Suara: Environmental Music From Java (1978-1990)

Jack Body was often considered the most accomplished of late 20th century NZ composers, in terms of his national and international standing. His work has remained experimental from the beginning, though not relentlessly intimidating to the public, as shown by his most enduring composition: the theme song to the soap opera 'Close to Home.'  His work never seems to stray from celebrating the beautiful in  sound. Like John Cousins, many of his compositions involve manipulated field recordings and human voice, but rather than devising from these an unsettling alien soundtrack, Body finds lyricism and musicality in his sources.

Balloon Squeaker


John Rimmer - Fleeting Images (1979-1991)

Of the artists in this post, Rimmer was most devoted during this early time period to the integration of electronic and traditional musical instruments. His 'Compositions' series include works for wind quintet and electronic sounds, percussion and electronic sounds, piano and electronic sounds. On this CD of entirely electroacoustic compositions, Rimmer employs analog, digital, and computer synthesis, short-wave radio, percussion, guitar, field recordings and voice. This is a rich and thought-provoking set of experiments by a composer driven by the leading edge of synthesis technology.

Religion Without Science


John Cousins - Sleep Exposure (1979-1986)

John Cousins' work consistently stupefies me. His main instrument is the oldest of all -- the human voice -- but he employs it in a way which is utterly jarring. With a dictaphone, a delay, some filtering and panning, and maybe a few other toys, he creates unsettling non-linear narratives which are almost more like dance or theatre than sound art or music. Funny, frustrating, and plain old f'ed up, these tracks are as fossilic and foreign as this other f-word: fremd. Highly recommended, difficult stuff.

Don't Stop The Tape, Don't Stop The Tape!

Ross Harris - Inner Worlds (1978-1990)

Ross Harris' practice is aligned with Jack Body's in his pursuit of beauty, and through the use of non-Western instrumentation combined with electronic techniques. This CD comes closest of this group to approaching the dreaded designator, 'New Age', but it retains enough tension and complexity to completely disallow for a lazy chill-out. His 1978 track 'Syndrum', included here, deserves to be sampled by a knowing NZ electro producer.

Twilight Fleeting

Flame Tree - New Zealand Composer Edition (1979)

Much of the language of classical music is a mystery to me, so I approach this material perhaps backwardly, through my love of experimental, improvised, and electroacoustic music.

This LP is a sort of brother to the previous posting, Horizons. Firstly, it has the second of John Rimmer's literal companion pieces 'Where Sea Meets Sky' parts 1 & 2, but it is also a showcase for the more traditionally instrumented works by two of his fellow prime movers of New Zealand's classic period of electroacoustic music, John Cousins and Ross Harris.

The works of Cousins with which I am familiar are fascinating constructions of dictaphone-style voice recordings, carefully copy-edited and minimally filtered and delayed, sitting somewhere between Alvin Lucier's heavily self-ornamented 'I Am Sitting In A Room' and A Handful of Dust's 'Masonic Inborn (Parts I & II)'. Here he offers a completely different exploration of the human voice, with mezzo-soprano Anthea Moller's vocals set amongst spare piano direction.

Harris's work is the most richly evocative. It suggests a bush walk, with synthesizer-simulating birds themselves mimicked, koauau-like, by the flute; while harp and viola construct knobby tracks beneath deep blue-green canopies, letting in occasional tendrils of sunlight amongst irregular patterings from heavy moisture.

One of NZ's undefeated champions of the genre, Rimmer unravels his acoustic chamber ensemble, squeezing an impressive amount of electroacoustic timbres and tropes from them.

This collection is also favoured by a rare (for this time period) contribution by then-expatriate Gillian Whitehead, a sometimes turbulent but sensuous piano piece in which the listener is thrown about in parallel with the pianist's motions, while it paints traces of gesture across the open ear.



Or Between Earth & Sky

Horizons - New Zealand Electronic Music (1977)

The arts in New Zealand's late-arriving modernism were unusually cross-disciplinary. In any minuscule regional arts scene, the best ideas came from sharing across specialties. The pairing of painting and poetry is the most visible (for instance, in the works of McCahon/Caselberg and Hotere/Manhire) but poets also worked with musicians (e.g. Sam Hunt and Mammal), and musicians with painters. 'Horizons' features the grand-daddy of all New Zealand electroacoustic music, Douglas Lilburn, whose lifelong conversation with painter Rita Angus fired his practice, and whose collaboration with poet Alistair Campbell birthed the first major electroacoustic work in New Zealand music history ('The Return', 1965). 

On this LP, John Rimmer's piece 'Where Sea Meets Sky 1' is "a musical image of... Ian Wedde's poem 'Those Others'", and Ross Harris's 'Horizons' was commissioned by synaesthete painter Michael Smither (who also provided the cover painting for Human Instinct's 'Stoned Guitar' LP). 

Jack Body takes it to the (Indonesian) street with 'Musik Dari Jalan', a transportative wedge of ethnomusique concrete. However, it is Rimmer and Harris who are probably the most comfortable with electroacoustic music as their primary medium; the sounds are complex, alien, metal-organic frameworks of crystalline compounds. Lilburn's work here is much more based in classical traditions; 'Carousel,' is lyrical and narrative even amongst its jarring timbres. As proof of his status amongst his peers, 'Musik Dari Jalan' and 'Where Sea Meets Sky 1' are both dedicated to Douglas Lilburn.

There is only a small handful of electroacoustic music available on LP from the 'classic' period of New Zealand's electroacoustic development (1965 - 1985): the 3xLP box set 'New Zealand Electronic Music', the solo LPs 'Soundscape' by Douglas Lilburn, and 'Soundweb' by John Rimmer (if anyone has this one, please let me know), and this compilation. 

So, I'm making a bit of a sharp left turn for awhile here. In future, I will be posting LPs (and the occasional out-of-print CD) of New Zealand modern classical and avant-garde music (some of these records include electroacoustic works amongst works scored for more traditional instrumentation), and possibly New Zealand poetry. This blog has always been about digitising my own collection of NZ vinyl -- if it's not already available digitally, and so that I can have more opportunity to listen to it myself -- and promoting and preserving artefacts of New Zealand's cultural history which do not deserve to remain obscure. 

They Kiss Only In Our Minds