Vol. 7 in the Russian label Electroshock's electro-acoustic music series is a double-CD affair. It gathers contributions from European, Israeli, and North and South American composers. The music covers a wide field of interests, from academic electro-acoustics down to '70s-like analog electronics. Like any other such compilation (i.e., lacking a central theme), there are hits and misses, but the former overrun the latter. The strongest contribution on disc one comes from Claire Laronde, an artist already featured on a previous volume. Her 13-minute "Les Particules de la Perception" does not redefine the genre, but it is a captivating electro-acoustic work nonetheless. Roderik De Man's "Air to Air, Pt. I" and Robin Julian Heifetz's "Flashpoint," each using an acoustic instrument (bass clarinet and cello, respectively) as the main sound source, constitute the other highlights. Disc two begins with a whopping 36 minutes of music (split over two works, both highly poetic) from the underrated Brazilian composer Jorge Antunes. Argentina's Jose Mataloni completes the South American touch with his "Tiempo Dos." In the "misses" department is Michal Bukowski's "Sen Paranoika 28," a Tangerine Dream-like tune that sounds very outdated in this collection. Arie Shapira's deconstructive DJ set "Gustl in Theresienstadt" fails to convince, while Oöphoi's "Dissolving in the Void" doesn't reach the strength of the material on his own album Bardo, released by Electroshock at the same time of this volume. Electro-acoustic music lovers will find Electroshock Presents Electroacoustic Music, Vol. 7 a worthy item, if only for the pieces by Laronde and Antunes.
Share this page