Obra Electroacústica 1969-1981
Eduardo Polonio
Obra Electroacústica 1969-1981
Boomkat Product Review:
Lima's unstoppable Buh Records showcases the work of pioneering Spanish electroacoustic composer Eduardo Polonio on 'Obra electroacústica 1969-1981', tracking his innovations with minimalist guitar experiments, proto-ambient prophecies, free jazz/psych workouts and dizzying flamenco inversions.
Known as one of Spain's most significant 20th century musical innovators, Polonio's long overdue his revival, and this meticulously curated anthology is the perfect entry point into his vast canon. 'Obra electroacústica' catches up with the composer in 1969, when he joined Madrid's Alea Laboratory and co-founded Alea Música Electrónica Libre, Spain's first live electroacoustic outfit. At this point he was already experienced, having studied composition and counterpoint at home before being drawn towards more revolutionary techniques in Darmstatd and Ghent (at the Institute for Psychoacoustics and Electronic Music). And some of his earliest electroacoustic investigations are included here. 1969's 'Rabelaisiennes', which was selected for Amsterdam's Gaudeamus festival, is astonishingly forward thinking, pre-empting decades of prepared guitar experimentation with gamelan-like gong chimes that ring into the tape saturation, and 'Oficio' from the same year is completely distinct, a real-time improvisation that Polonio made using LFOs and a modified guitar amp, turning feedback into quivering synth drones.
A year later Polonio shifts his attention once more, using reverberating guitar and bass phrases on 'Continuo' to foreshadow Popol Vuh's later 'Hosianna Mantra' shades, while on 1971's 'El reclinatorio en el tejado de la lejana abadía' he reconstructs a Medieval suite using rudimentary oscillator vamps. The Krautrock/kosmische connection is strengthened on 1976's galvanic Cluster-like 'Me voy a tomar el Orient Express', and the anthology pulls into the '80s with two of Polonio's most mind-expanding compositions: 1981's minimalist flamenco cycle 'Valverde', and 'Flautas, voces, animales, pájaros...', a long-form splatter of GRM-strengths blips and rasps that finds Polonio mirroring natural sounds with his machines. He'd go on to do much more after this, taking the presidency of the Spanish Electroacoustic Music Association in 1988 and joining Bourges International Academy of Electroacoustic Music while continuing to push the boundaries of the genre, but 'Obra electroacústica' catches Polonio at a critical phase in his journey, when the possibilities seemed endless. As usual, it's a lavish production from Buh, with audio remastered from the original tapes and extensive liner notes written by Víctor Aguado and Ramón del Buey.
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Boomkat Product Review:
Lima's unstoppable Buh Records showcases the work of pioneering Spanish electroacoustic composer Eduardo Polonio on 'Obra electroacústica 1969-1981', tracking his innovations with minimalist guitar experiments, proto-ambient prophecies, free jazz/psych workouts and dizzying flamenco inversions.
Known as one of Spain's most significant 20th century musical innovators, Polonio's long overdue his revival, and this meticulously curated anthology is the perfect entry point into his vast canon. 'Obra electroacústica' catches up with the composer in 1969, when he joined Madrid's Alea Laboratory and co-founded Alea Música Electrónica Libre, Spain's first live electroacoustic outfit. At this point he was already experienced, having studied composition and counterpoint at home before being drawn towards more revolutionary techniques in Darmstatd and Ghent (at the Institute for Psychoacoustics and Electronic Music). And some of his earliest electroacoustic investigations are included here. 1969's 'Rabelaisiennes', which was selected for Amsterdam's Gaudeamus festival, is astonishingly forward thinking, pre-empting decades of prepared guitar experimentation with gamelan-like gong chimes that ring into the tape saturation, and 'Oficio' from the same year is completely distinct, a real-time improvisation that Polonio made using LFOs and a modified guitar amp, turning feedback into quivering synth drones.
A year later Polonio shifts his attention once more, using reverberating guitar and bass phrases on 'Continuo' to foreshadow Popol Vuh's later 'Hosianna Mantra' shades, while on 1971's 'El reclinatorio en el tejado de la lejana abadía' he reconstructs a Medieval suite using rudimentary oscillator vamps. The Krautrock/kosmische connection is strengthened on 1976's galvanic Cluster-like 'Me voy a tomar el Orient Express', and the anthology pulls into the '80s with two of Polonio's most mind-expanding compositions: 1981's minimalist flamenco cycle 'Valverde', and 'Flautas, voces, animales, pájaros...', a long-form splatter of GRM-strengths blips and rasps that finds Polonio mirroring natural sounds with his machines. He'd go on to do much more after this, taking the presidency of the Spanish Electroacoustic Music Association in 1988 and joining Bourges International Academy of Electroacoustic Music while continuing to push the boundaries of the genre, but 'Obra electroacústica' catches Polonio at a critical phase in his journey, when the possibilities seemed endless. As usual, it's a lavish production from Buh, with audio remastered from the original tapes and extensive liner notes written by Víctor Aguado and Ramón del Buey.
Boomkat Product Review:
Lima's unstoppable Buh Records showcases the work of pioneering Spanish electroacoustic composer Eduardo Polonio on 'Obra electroacústica 1969-1981', tracking his innovations with minimalist guitar experiments, proto-ambient prophecies, free jazz/psych workouts and dizzying flamenco inversions.
Known as one of Spain's most significant 20th century musical innovators, Polonio's long overdue his revival, and this meticulously curated anthology is the perfect entry point into his vast canon. 'Obra electroacústica' catches up with the composer in 1969, when he joined Madrid's Alea Laboratory and co-founded Alea Música Electrónica Libre, Spain's first live electroacoustic outfit. At this point he was already experienced, having studied composition and counterpoint at home before being drawn towards more revolutionary techniques in Darmstatd and Ghent (at the Institute for Psychoacoustics and Electronic Music). And some of his earliest electroacoustic investigations are included here. 1969's 'Rabelaisiennes', which was selected for Amsterdam's Gaudeamus festival, is astonishingly forward thinking, pre-empting decades of prepared guitar experimentation with gamelan-like gong chimes that ring into the tape saturation, and 'Oficio' from the same year is completely distinct, a real-time improvisation that Polonio made using LFOs and a modified guitar amp, turning feedback into quivering synth drones.
A year later Polonio shifts his attention once more, using reverberating guitar and bass phrases on 'Continuo' to foreshadow Popol Vuh's later 'Hosianna Mantra' shades, while on 1971's 'El reclinatorio en el tejado de la lejana abadía' he reconstructs a Medieval suite using rudimentary oscillator vamps. The Krautrock/kosmische connection is strengthened on 1976's galvanic Cluster-like 'Me voy a tomar el Orient Express', and the anthology pulls into the '80s with two of Polonio's most mind-expanding compositions: 1981's minimalist flamenco cycle 'Valverde', and 'Flautas, voces, animales, pájaros...', a long-form splatter of GRM-strengths blips and rasps that finds Polonio mirroring natural sounds with his machines. He'd go on to do much more after this, taking the presidency of the Spanish Electroacoustic Music Association in 1988 and joining Bourges International Academy of Electroacoustic Music while continuing to push the boundaries of the genre, but 'Obra electroacústica' catches Polonio at a critical phase in his journey, when the possibilities seemed endless. As usual, it's a lavish production from Buh, with audio remastered from the original tapes and extensive liner notes written by Víctor Aguado and Ramón del Buey.
Boomkat Product Review:
Lima's unstoppable Buh Records showcases the work of pioneering Spanish electroacoustic composer Eduardo Polonio on 'Obra electroacústica 1969-1981', tracking his innovations with minimalist guitar experiments, proto-ambient prophecies, free jazz/psych workouts and dizzying flamenco inversions.
Known as one of Spain's most significant 20th century musical innovators, Polonio's long overdue his revival, and this meticulously curated anthology is the perfect entry point into his vast canon. 'Obra electroacústica' catches up with the composer in 1969, when he joined Madrid's Alea Laboratory and co-founded Alea Música Electrónica Libre, Spain's first live electroacoustic outfit. At this point he was already experienced, having studied composition and counterpoint at home before being drawn towards more revolutionary techniques in Darmstatd and Ghent (at the Institute for Psychoacoustics and Electronic Music). And some of his earliest electroacoustic investigations are included here. 1969's 'Rabelaisiennes', which was selected for Amsterdam's Gaudeamus festival, is astonishingly forward thinking, pre-empting decades of prepared guitar experimentation with gamelan-like gong chimes that ring into the tape saturation, and 'Oficio' from the same year is completely distinct, a real-time improvisation that Polonio made using LFOs and a modified guitar amp, turning feedback into quivering synth drones.
A year later Polonio shifts his attention once more, using reverberating guitar and bass phrases on 'Continuo' to foreshadow Popol Vuh's later 'Hosianna Mantra' shades, while on 1971's 'El reclinatorio en el tejado de la lejana abadía' he reconstructs a Medieval suite using rudimentary oscillator vamps. The Krautrock/kosmische connection is strengthened on 1976's galvanic Cluster-like 'Me voy a tomar el Orient Express', and the anthology pulls into the '80s with two of Polonio's most mind-expanding compositions: 1981's minimalist flamenco cycle 'Valverde', and 'Flautas, voces, animales, pájaros...', a long-form splatter of GRM-strengths blips and rasps that finds Polonio mirroring natural sounds with his machines. He'd go on to do much more after this, taking the presidency of the Spanish Electroacoustic Music Association in 1988 and joining Bourges International Academy of Electroacoustic Music while continuing to push the boundaries of the genre, but 'Obra electroacústica' catches Polonio at a critical phase in his journey, when the possibilities seemed endless. As usual, it's a lavish production from Buh, with audio remastered from the original tapes and extensive liner notes written by Víctor Aguado and Ramón del Buey.
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Boomkat Product Review:
Lima's unstoppable Buh Records showcases the work of pioneering Spanish electroacoustic composer Eduardo Polonio on 'Obra electroacústica 1969-1981', tracking his innovations with minimalist guitar experiments, proto-ambient prophecies, free jazz/psych workouts and dizzying flamenco inversions.
Known as one of Spain's most significant 20th century musical innovators, Polonio's long overdue his revival, and this meticulously curated anthology is the perfect entry point into his vast canon. 'Obra electroacústica' catches up with the composer in 1969, when he joined Madrid's Alea Laboratory and co-founded Alea Música Electrónica Libre, Spain's first live electroacoustic outfit. At this point he was already experienced, having studied composition and counterpoint at home before being drawn towards more revolutionary techniques in Darmstatd and Ghent (at the Institute for Psychoacoustics and Electronic Music). And some of his earliest electroacoustic investigations are included here. 1969's 'Rabelaisiennes', which was selected for Amsterdam's Gaudeamus festival, is astonishingly forward thinking, pre-empting decades of prepared guitar experimentation with gamelan-like gong chimes that ring into the tape saturation, and 'Oficio' from the same year is completely distinct, a real-time improvisation that Polonio made using LFOs and a modified guitar amp, turning feedback into quivering synth drones.
A year later Polonio shifts his attention once more, using reverberating guitar and bass phrases on 'Continuo' to foreshadow Popol Vuh's later 'Hosianna Mantra' shades, while on 1971's 'El reclinatorio en el tejado de la lejana abadía' he reconstructs a Medieval suite using rudimentary oscillator vamps. The Krautrock/kosmische connection is strengthened on 1976's galvanic Cluster-like 'Me voy a tomar el Orient Express', and the anthology pulls into the '80s with two of Polonio's most mind-expanding compositions: 1981's minimalist flamenco cycle 'Valverde', and 'Flautas, voces, animales, pájaros...', a long-form splatter of GRM-strengths blips and rasps that finds Polonio mirroring natural sounds with his machines. He'd go on to do much more after this, taking the presidency of the Spanish Electroacoustic Music Association in 1988 and joining Bourges International Academy of Electroacoustic Music while continuing to push the boundaries of the genre, but 'Obra electroacústica' catches Polonio at a critical phase in his journey, when the possibilities seemed endless. As usual, it's a lavish production from Buh, with audio remastered from the original tapes and extensive liner notes written by Víctor Aguado and Ramón del Buey.
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