A collection of previously unreleased works by Argentine electronic musician BEATRIZ FERREYRA, who began working at the legendary "GRM" in 1963 and dedicated herself to revitalizing musique concrète! All three tracks on this collection are wonderful, but the 1987 computer piece *Souffle D'Un Petit Dieu Distrait*—which the liner notes describe as “worth the price just for the opening track”—is simply breathtaking. It’s almost microscopic in scale—a three-dimensional universe of electronic sounds emerging through subtle dynamics; you’ll be captivated by the countless sounds with their glass-like texture. Highly recommended.
This is the fourth installment in the series of compilations of past works and unreleased tracks by LAWRENCE ENGLISH’s label “ROOM40” (following *Echos+*, *Canto+*, and *UFO Forest+*). It features a 1987 computer piece, a 1976 experimental work for violin and tape, and a 2006 short piece. In particular, *Souffle D’Un Petit Dieu Distrait* (sample 1)—which the label is actively promoting—is a real treat: it features a 13-minute universe of computer music that generates undulating sounds and intense collisions by controlling only the dynamics of electronically processed sounds that have been chewed up and transformed to the point where their pitch and timbre are unrecognizable—a 13-minute universe of computer music where only dynamics are controlled, generating undulating waves and violent collisions of sound. It pushes the physical limits of the equipment available at the time. Every release in this series is absolutely, utterly brilliant, and this one is no exception—it’s top-notch. You absolutely must check it out.
(Original Japanese text by Akie)
This is the fourth installment in the series of compilations of past works and unreleased tracks by LAWRENCE ENGLISH’s label “ROOM40” (following *Echos+*, *Canto+*, and *UFO Forest+*). It features a 1987 computer piece, a 1976 experimental work for violin and tape, and a 2006 short piece. In particular, *Souffle D’Un Petit Dieu Distrait* (sample 1)—which the label is actively promoting—is a real treat: it features a 13-minute universe of computer music that generates undulating sounds and intense collisions by controlling only the dynamics of electronically processed sounds that have been chewed up and transformed to the point where their pitch and timbre are unrecognizable—a 13-minute universe of computer music where only dynamics are controlled, generating undulating waves and violent collisions of sound. It pushes the physical limits of the equipment available at the time. Every release in this series is absolutely, utterly brilliant, and this one is no exception—it’s top-notch. You absolutely must check it out. (Original Japanese text by Akie)