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Boomkat Product Review:
Prime, unreleased bounty of concrète experiments by Belgian autodidact Joris De Laet, recalling the unleashed AI imagineering of Roland Kayn and action from the legendary IPEM Studio.
Born in 1947 in Belgium, Joris De Laet is a self-taught practitioner of avant-garde electronic music, or what he terms ‘Parametric music’. After interning with IPEM (Institute poor Psychoakoestiek en Elektronishe Muziek) in the early ‘70s under likes of Karel Goeyvaerts and Lucien Goethals, he set up the SEM Ensemble for performances of experimental music and live electronics in 1973. His work with SEM Ensemble was highlighted on an ace compilation released by Timo Van Luijk and co’s Metaphon in 2014, and now ‘Experimental & Parametric Music 1976-2017’ forms the 2nd in-depth survey of his work at the peripheries of concrète music, which ranges from ‘70s work typical of the sheer abstraction from the Euro avant garden back then, and thru to engaging contemporary works made in this century, all of which appear remarkably future-proofed by his playfully expressive touch and dynamic.
With SEM Ensemble De Laet travelled Europe and Canada performing live electronics in a tradition started by Cage and Stockhausen and carried on by likes of David Behrman and Paul Demarinis. In that vein, De Laet generates a remarkable disarray of haphazard, frazzled electronics that lead listeners into Ur electronic spaces. The CD’s accompanying 20-page text will give you a more thorough technical breakdown to his conception and definition of ‘Parametric Electronics’, and we direct you to highlights in the the buckled, jagged rhythms of ’Signalisations’ (1976) and the wildly unpredictable ‘Madmatics’ (2002) for a good indication of what you’re getting into.