Ed Herrmann
Still Life in Concrete
LabelCreel PoneGenreExperimental
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After a fruitful think-tank session (during which a selection of the european faction of the C.P. cognoscenti met in one of Berlin’s seedier bars to brainstorm new “candidates” for inclusion in the series, now in its 8th year) a couple of great titles were unearthed, the first of which is this fine outing, originally issued by the Columbia, MO -based Garuda label in the mid-80s consisting of a selection of “Imaginary Electroacoustics” by the composer Ed Herrmann, primarily composed utilizing the elusive E-Mu & Serge modular systems (keeping things defiantly analogue in those gradually creeping digital times.)
Featuring cover art & some fine clarinet playing by the Hon. Rev. Dwight Frizzell (whose mythical “Beyond the Black Crack” LP - issued privately in 1976 by Cavern Custom, later reissued by Paradigm - remains one the holy grails of the early / midwest outsider-electronic spec) this set prob. has the most sympathetic resonance in the Creel Pone canon w/ the Roy Sablosky / Gregory Jones “No Imagination” set (in that there’s a similar trend towards utilizing high-grade instruments designed for precise timbral quality to produce, essentially, proto-harsh-noise blasts & forms) ; it’s a wild & woolly ride, culminating in a side-length suite of churning, pulsing figures & drones.
Format
The music on this record represents five years of work in electroacoustic music in the areas of studio compositions and live electronics. The primary instruments used - Serge and Emu synthesizers - are of the analog modular generation. Since the foundation of these instruments is the interaction of voltage controlled modules, the resulting performance techniques encourage experimentation and improvisation. Whereas the virtue of digital instruments could be described as the ease with which programming, editing and repetition are accomplished; the virtues of the analog instruments are those of an open system: flexible, interactive, non-repeatable. This record may be heard as a celebration of the spontaneous and unpredictable nature of analog electronics.
(From the Liner Notes)
Release notes
The music on this record represents five years of work in electroacoustic music in the areas of studio compositions and live electronics. The primary instruments used - Serge and Emu synthesizers - are of the analog modular generation. Since the foundation of these instruments is the interaction of voltage controlled modules, the resulting performance techniques encourage experimentation and improvisation. Whereas the virtue of digital instruments could be described as the ease with which…
| 1 | Power Of Speech | 3:03 | |
| 2 | Wrathful Eyelids | 4:24 | |
| 3 | When Myth Shreds Rise | 9:26 | |
| 4 | A Call To Charms | 2:02 | |
| 5 | Still Life In Concrete | 22:32 |
- Dwight Frizzell
- Artwork
- Ed Herrmann
- Composed By, Producer, Recorded By
- Stanley Miller
- Layout
- David Austin
- Photography By
- Mike Robertson
- Typography [Typesetting]
