This was Åke Parmerud‘s first solo LP, after a split release with Björn Vickhoff in 1980. Born 1953, Parmerud studied photography in Göteborg in the 1970s, before enlisting at the town’s Conservatory of Music, with teacher Rune Lindblad, where he composed his first works using synthesizers and tape (Proximities, 1978). Parmerud became part of a local scene as documented in the Gothenburg 86/87 compilation LP, posted earlier. He somehow connected with the Stockholm electroacoustic music scene, on the other coast of Sweden, and the famous Fylkingen venue and EMS studio. Yttringar was indeed recorded at Stockholm’s Electron Music Studio (EMS) in 1983 and published by small Swedish record company, Ton-Art.
♫ Composed for small ensemble and electronic tape, Yttringar (or Expressions) is close to pure electroacoustic music from start to finish, as the instruments contribute almost musique concrète interjections amid a constant, sometimes rather complex tapestry of electronic textures. The mix itself is a remarkable achievement, blending acoustic instruments and electronic sounds in a vivid, highly dynamic stereo mix, with powerful and lively sonorities jumping out of the speakers. While the ensemble’s music sometimes recalls Dubravko Detoni’s Acezantez music theater, the one of a kind electronic sounds are what makes Parmerud’s music so arresting. This is further manifested in Krén – a mix between Kronos and Energy, according to the composer–, where the advanced sound processing of a humble Yamaha DX7 synth reaches stratospheric heights where only a Bernard Parmegiani could compete. With depth and punch a-plenty, the sounds have the sheen of a fully equipped, professional electronic music studio, while the writing itself strongly structures the composition into distinct moments, each with their own sound signature. A little short of 17 min, Krén leaves one begging for more.
01 Yttringar (17:57)
02 Krén (16:37)
Total time 34:34
LP released by Ton-Art, TONART17, Göteborg, 1984