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[CP 217 CD] Suomalaista Elektroakustista Musiikkia, Finnish Electro-Acoustic Music

Creel Pone

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Reproduction of this superb 1978 pressing, realized at the Finnivox-studio & issued on their in-house Fennica Nova imprint, covering early- to late-70s work by a coterie of composers working largely in & around various public & private studios in Helsinki, including Yleisradion Kokeilustudio (Finnish Radio's Experimental Studio), Helsingin Yliopiston Musiikkitieteen Laitoksen Studio (The Electronic Music Studio at Helsinki University Music Department), Osmo Lindeman Kotistudio (Osmo Lindeman's private studio), as well as EMS in Tieto-Konemusiikinstudio Tukholmassa (aka the EMS Computer Music Studio in Stockholm).

Starting with Osmo Lindeman's "Ritual" - merging dark, cascading synthesis & mumble-vox reminiscent of Max Keller's "Sicher Sein", erupting into a fine fury of keening burble - and carrying on with Antero Honkanen's excellent "Herääminen (Awakening)" - quiet, proto-new-age synth droning segueing via thunderclap into dissonant, pulsing electronics - things are off to a good start! The first side closes with Paavo Heininen's piano cut-up / work-out "Maiandros", which continues in the vein laid out by Dick Raaijmakers' "Piano-Forté", albeit with more of a laser-tight sensibility that, literally, blows in the closing minutes.

My personal favorite piece on this collection comes at the start of the second side; Jarmo Sermilä's wide-ranging "Electrocomposition" merges early Computer-Music sensibilites with some great stacked-static-interval wandering, giving way into a fine section of hand-played, Eastern-leaning S&H filter movement, upending several of the classic Terry Riley modes. Jukka Ruohomäki's "Pisces" works a series of oceanic Concrète themes - heavy on the phase-effects - into a climax worthy of any number of "Sub-Aquatic" library sessions; "Nocturne" by Otto Romanowski is the most diffuse piece here, allowing stray feedback arcs to slowly ascend in dynamic & recede naturally, until a spaced-out bleep section rises to a peak. Finally, Herman Rechberger's "Cordamix" is a classic pan-cultural collage, semi-reminiscent of Parmegiani's "De Natura Sonorum", with a bit of Edward Zajda thrown in. 

A wide assortment of bleep, ranging from pure abstraction to more reined-in, almost motorik passages; you really can't ask for much more from a regional survey, one that had eluded litrerally all of the die-hard C.P. cabal members until now.