Monday, 9 April 2018

U Potrazi Za Novim Zvukom 1956-1984 - Croatian Electroacoustic Music (2016 compi)

An authoritative, and engrossing two-and-a-half-hour immersion in electroacoustic music by Croatian composers.  The criteria for inclusion on this 2CD set was that the pieces represented were either significant in the history of Croatian electroacoustic music, or the composers first work in the medium, or both.  This gives 21 tracks by 14 composers to wrap your ears around, all the way from the tape & generators heyday of the mid 50s through to 80s computer music.

The first disc covers the years 1956-1973, and fans old-school tape music will find much to love here, right from the two Ivo Malec tracks (from '56 and '61) that open the compilation.  Highlights of CD1 for me were the later Malec track Lumina, by which time that composer had hit on a stunning synthesis of orchestral and tape music; the more electronic focus of Silvio Foretić's pieces; and the chance to hear a couple of early works by Dubravko Detoni, who in 1967-8 was using vocal, percussive and piano sounds to create Phonomorphia 1 & 2.

The second disc, spanning 1969-1984, is even better.  First up is Igor Kuljerić's Impulses I (1969-70) for string quartet and tape, which could almost be an early Avram/Dumitrescu, and further highlights for me were Zlatko Pibernik's voice-warping Etida (1975) with its atmospheric backing; the epic 18 minutes of Davorin Kempf's Interferencije (1977-80) for organ and tons of electronics; and an actual appearance by Acezantez (see Detoni link above), featured on Zlatko Tanodi's eerily pulsing Echolalia (1979-80).  All in all, this compilation definitely hits the spot if you're 'in search of a new sound' as per the Croatian title.  A highly recommended mix of some wonderfully out-there music.

Disc 1 mega / Disc 1 zippy
Disc 2 mega / Disc 2 zippy

3 comments:

  1. jeez looeez - many thanks for this great share; have been checking out east european avant gear from the '50s onwards and am often blown away by the quality and originality of it, maybe it has to do with building an audio culture largely parallel to that of the "west" due to isolation. whatever, it is worth investigating. currently am digging stefan niculescu a lot. ps: love the blog

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    1. yep, I think you've hit on exactly the same reason (one of them, anyway) that I enjoy experimental stuff from Eastern Europe/former Soviet states so much.

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