Fuzzy; Blau (2)

Описание: from "Electronic Music Produced In Aarhus" (1974), Odeon #MOAK 30011

Creel Pone #029

"There’s not much in the way of documentation on the Early Danish Electronic Music scene other than the Else-Marie Pade, Jørgen Plaetner, and Gunner-Möller Pedersen discs on DaCapo - all fantastic sets full of wonder, but mired in a certain air of government-funded academia (i.e. Men / Women in lab-coats working in sterile studios; having to demonstrate their yield / progress in regular / weekly iterations to secure further funding; being afraid to take it finally and fully out).

This item should prove that something truly odd was in fact bubbling in the waters in and around Aarhus in the late 60s - for one, the B-side of the LP being reproduced here is by a gentleman named Fuzzy - not Jens-Wilhelm Fuzzy, or Rune Ragnar Fuzzy - just Fuzzy. Second; the Svend Christiansen pieces that make up the first half of the release are bizarre and just-plain great blats of distant analogue synth, copious usage / manipulation of Tape Echo, and Concrète sound reminiscent of both Akos Rozmann's "Images of the Dream and Death" and Bent Lorentzen’s “The Bottomless Pit” (also a Dane; I’ll bet you dirt for dollars that they knew each other). The first piece consists mainly of the sounds of a clock’s second-hand manipulated in myriad ways (ala Hugh Davies’ “Dripsody”) - the second a raw burst of Modular-Synth blat twisted and turned out over 12 minutes.

... and then we get to Fuzzy. His piece here is a real head-scratcher that, when not infuriating the listener with musical quotes (is that the Farfisa intro to “Light My Fire” [!?}) bathes us in a sea of François Bayle-lineage “Acoustic Resonators” (i.e. “Excited” metal and wooden objects) before slipping into a mess of trickle-down Psych / Prog moves (echoplexed drums, chirpy melodies on par with Dissevelt / Baltan’s “Song of the Second Moon”, etc). From there it breaks down even further into a nice set of muted, scraping drones littered with foggy bells and flute, giving way to the second section; all gurgling water, raucous synth, then a noisy, dissonant odd-meter sequence climbs into a very “Triumphant” sounding drone of pitch-manipulated piano and strings.

Needless to say given the catalogue thus far but this is yet another previously obscure bit of Outsider Early Electronic Music made audible again by Mr. P.C. - no less essential than what’s come before or what’s yet to come."