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STONE, CARL - Electronic Music from the Eighties and Nineties

Unseen Worlds

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Electronic Music from the Eighties and Nineties presents the soothing, hallucinatory side of Stones slow-evolving, time-bending composition. While we cant always identify the source, we can hear that his sounds come from somewhere, and that there is a �correct� or �complete� version of them in theory; and so we can hear when they are being changed. What drives Stones music is the flow that he draws out of those differences: the way an Indonesian gamelan morphs into a chorus built from one female vocalist over the course of �Mae Yao�s twenty-three minutes, the surprise emergence of a Mozart chorus out of the synths and skip-glitches of �Sonali,� or the slow, ambient evolution of �Banteay Srey�. �Woo Lae Oak,� issued in a single side edit for the first time, is an exception. Its samples � a tremolo string and a bottle being blown across the top like a flute - are simple in the extreme. Yet the Stone hallmark is clearly present, he locates the inherent emotional properties of the sounds � the tingling anticipation of the string and the calm nobility of the wind � and takes them into unexpected expressive territory. - Unseen Worlds.

"In recent years, the Unseen Worlds label has performed an essential service by reissuing significant (and too little heard) works of Minimalism and electronic composition. This month, that hot streak continues with �Electronic Music from the Eighties and Nineties,� the labels second collection of pieces culled from the catalog of sampling maven Carl Stone. In some earlier works, Mr. Stone relied a Buchla synthesizer. He also tended to favor a disorienting approach to looping and layering. This new compilation shows the composer steadily embracing new technologies as they became available � and exploring some new moods. In notes for �Banteay Srey,� created in 1993, Mr. Stone wrote that �a Burundi childs song is stretched and recontextualized with an original musical bed,� courtesy of MIDI, a then-new �personal computer,� a sampler and a synthesizer. The end product is far less manic than some of his prior experiments, but no less gripping." - Seth Colter Walls, The New York Times.

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