electrocd

Track listing detail

Power Tools

Adrian Moore

  • Year of composition: 2004
  • Duration: 14:25
  • Instrumentation: stereo fixed medium
  • Publisher(s): Ymx média
  • Commission: IMEB
  • ISWC: T0111953377

Stereo

ISRC CAD500620430

Many years ago, I asked my friend Jo Hyde about a certain sound in one of his works. He told me he’d used power tools. For a second I thought he was talking about some fancy piece of software but in actual fact he just meant the sound of engineering tools such as a drill.

Since then, I have been listening to and recording noisy sounds, many of which I originally thought would be extremely difficult to use, let alone listen to. Many of my earlier pieces (especially works like Junky) rely upon stable drones so I knew that working with noisier sounds would be difficult. Power Tools draws upon sounds such as that of a lawn mower, a hedge trimmer and a recording of a steel factory from Sheffield, the town where I live and work.

Like many of my other works, Power Tools is sectional but not due to the kinds of sounds or processes used. Quite simply, there are passages which are really quite noisy and when they subside, we move towards sounds that are less prominent, less ’real life.’

[ix-06]


Power Tools was realized in 2004 at the composer’s studio and mixed in the Studio Circé of the Institut de musique expérimentale de Bourges (IMEB) in February 2004 and premiered on June 4, 2004 at Palais Jacques-Cœur during the Synthèse Festival (Bourges, France). The piece was commissioned by the IMEB.

Premiere

  • June 4, 2004, Synthèse 2004: Concert, Palais Jacques-Cœur, Bourges (Cher, France)

Composition

Mixing

La vie mécanique

Åke Parmerud

  • Year of composition: 2004
  • Duration: 12:52
  • Instrumentation: 5.1-channel fixed medium
  • Publisher(s): Ymx média
  • Commission: IMEB
  • ISWC: T2050131160

Stereo

La vie mécanique is an acousmatic composition dedicated to the world of sounds emanating from mechanical machines and tools. Living in a modern Western society today means that you are more or less constantly exposed to sounds that are the result of human inventions. It seems that for every little thing meant to make our lives more comfortable there is yet another noise added to the acoustic environment in which we live. In a sense, composing this work was a way of exorcising the madness of the sound pollution surrounding us everyday.

La vie mécanique is also a sonic comment on the idea of living matter as an “organic machine.” The body (so far unsuccessfully) viewed as a structure that may be deconstructed into increasingly smaller units and finally explained as a very sophisticated robot. The piece is built, using only sounds from various kinds of machinery (mechanical, electrical, etc.), as a kind of storyline describing the birth, death and rebirth of a mechanical life structure. The piece also, in a sense, alludes to the birth and death of aesthetic values connected to the use of machines as tools for making music.

Starting off in a style of electroacoustics, building through the increasing use of repetition and rhythm, ending in a style reminiscent of electronica or techno, this piece marks a kind of “rite of passage,” at least for me personally as a composer raised in the modernistic tradition.

[iv-15]


La vie mécanique [The Mechanical Life] was realized in 2004 at the Charybde studio of the Institut international de musique électroacoustique de Bourges (IMEB, France) and premiered on June 10, 2005 during the Synthèse festival (Bourges, France). The piece was commissioned by the IMEB. La vie mécanique was awarded one of the Special Prizes at the Giga-Hertz-Preis 2008 (Karlsruhe, Germany).

Premiere

  • June 10, 2005, Synthèse 2005: Concert, Bourges (Cher, France)

Awards

Composition

Kotmun (A Gate of Flowers)

Suk-Jun Kim

  • Year of composition: 2005
  • Duration: 8:56
  • Instrumentation: fixed medium
  • Commission: IMEB

Stereo

In Korea, ornaments on doors with drawings or wood sculpture of flowers are not just an act of decoration; it is also one common way to bring good spirits to the house and to the people who live there. Many people pass or peek through these doors — an act of desire to get to another space. Sometimes however, one just gazes at the doors, their beautiful flowers and colors. One forgets why she or he was looking at them in the first place or what they wanted to seek beyond them. They stay on the border in-between, enchanted by their exquisite beauty. With Kotmun, the composer intends to auralize this moment of awareness. With the help of the poetic elements of the recorded sounds and the thematic structures of the compositions, the composer aims at creating the uneasiness and yet, spell-bounding experience of this border. Kotmun was commissioned by IMEB (Institut international de musique électroacoustique de Bourges), France.


Awards