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FY 1026CD
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"A lone thumb piano, a singing woman, children at play, howling and crackling electricity, chirping birds, tones from a toy organ, sounds of traffic -- Dan Fröberg's remarkable compositions are intersections of shapes, environments, times, places and wildly disparate contexts. As a listener you may recognize individual sonic fragments and create pictures and scenarios through private associations -- like an inner movie running parallel to the works -- but still the sound environments appear so curious and raise so many questions in our minds. What are these shapes, milieus and tales that Dan Fröberg illustrates for us, and what do they want to convey? Travelling Dan Fröberg's soundscapes renders you the feeling of a cloud passing freely between various geographical, temporal and cultural settings and contexts. Occasionally a dream appears. A folk music ensemble commences to play nearby, some giggling children run by, an orchestra of traffic looms large, and rustling leaves fall. The cloud hovers on, through walls, mountains and a brook, suddenly appearing in another time, in another place, where other figures tell their stories. In the world of Dan Fröberg everything is inspired: people, animals, places, sound, shadows, memories. Even though the sounds appear crystal clear in their purity, they convey many remarkable stories, while simultaneously leaving the field open for the listener's fantasy. Dan Fröberg's compositions and sound recordings are as clean as can be. No post-production processing of the sounds has been applied. Dan Fröberg works with a kind of sound magic. Nothing is left to arbitrary randomness. Each sound is chosen with care. When Dan Fröberg composes his pieces, each small detail of the soundscape is rendered vitality and with significance. The significations are gradually transformed and new tales emerge as the different sound worlds are confronted with each other. As a listener you are transferred somewhere else just as your questions have began to formulate themselves -- into a new world, quite familiar, albeit with something completely new and alien to tell. The properties of time and space are always shifting in these pieces where figures, occurrences and reflections approach, materialize, convey something only to drift by or dissolve -- as something novel appears, something else through the journey. Dan Fröberg prefers to brand his acoustic works folk music, rather than musique concrète, field recordings, sound art or something else that would be convenient. The compositions on this CD, or the journeys, if you like, take shape through 15 songs, wherein the shapes, environments and events constitute the voices that sing and establish this folk music that sounds like nothing else, in the borderland between here and now."
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FY 1023CD
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2005 CD release, reissuing the previous LP from 1977, with bonus tracks. "Lars-Gunnar Bodin, Swedish composer and graphic artist, was one of those who during the first half of the '60s tried to integrate elements of different fields of art in his works: instrumental music, tapes, texts, actions, projections etc. In Clouds (1972-76) he developed an advanced form of musical drama involving electronic music in 8 channels, singers, dancers and slide and film projections on five screens. The music on this record is a shortened version of Clouds, especially created for this medium. This CD re-issue also includes Lars-Gunnar Bodin's both pieces 'For Jon II' and 'Syner (Visions).'"
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FY 1021CD
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2003 release. "This release is the debut album of the 31 year-old composer and sound artist, Mattias Petersson, based in Stockholm, Sweden. He works mostly in the area of experimental electronic music, but he has also been involved in more pop-like projects as arranger, composer, producer and musician. The music on this CD is based on field recordings made inside the defunct iron mine Mimer, in Norberg, Sweden, during the summer of 2001. Mimer consists of seventeen tracks that cross reference each other in various ways. Each track is based on one of the nine loops that were selected from these original recordings and then treated with different processing techniques. One basic idea was to recreate some of the original sound environment from the days when the mine was running, and also to capture the decay and corrosion of the once very powerful, but now silent and abandoned, machines, containers and silos in the closed mine."
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