Paths consists of five compositions forming a totality of 53 minutes. The music is derived from three multichannel pieces premiered at the Tectonics festival in Reykjavik (2014), the Ephemere series in The Hague (2014) and Presences electroniquefestival in Paris (2015). These have been further reduced, combined and rearranged resulting in the five compositions found on the album. We may think of music as navigating between di*erent moments of continuous change. One chooses a starting point and from there tries to reach other positions. The way a contact between these occurs is however always di*erent and depends on the engagement with previous points of encounter. Even very static situations create perceptual illusions of development, producing prolonged and continuous experience. It could be how things change that creates the feeling of time. Perhaps all development is a matter of process, of activity, of change. We have di*culties apprehending what we are but little di*culty experiencing what we do. This behaviour based view is an important aspect of the album that explores previously experienced musical situations, di*erent points of contact, paths through musical material.
Mastered by Erik Nylstrom
Artwork by Opora
Of course I might be wrong, and I did hear of Bjarni Gunnarsson, but a quick survey of the old weeklies learnedthat this might be my first introduction to his work, despite having releases on Vertical Form, Thule, Uni:form,Spezial Material, Trachanik, Lamadameaveclechien, Shipwrec and 3LEAVES — and some of these labels actuallymake it to these pages. On 'Paths' we find five pieces, which originally were part of three multichannel pieces,but of course now turned into stereo. The title may refer to the routes the sounds travel to various speakers hangingin space. This is an area that is of much interest for Gunnarsson and he worked in various studios offering suchsound surround speakers, including the WFS system in Berlin, which has 832 speakers. He studied with peoplelike Trevor Wishart and Curtis Roads and teaches now in The Hague himself. The five pieces on this CD are quitevibrant pieces of computer music with a very classical touch in terms of musique concrete. His pieces bounce upand down and go all over the place, and one never recognize any of the original sound input. I am sure all of theclassical tools are used, such as max/msp or Ina/Grm tools to transform these sounds ad infinitum. It's easy tosee how this would work if it would be played on more speakers; leaping up and down, side ways and spinning outof control, even when a piece is quiet, such as 'Pulsatiles'. This is not music to settle down with and keep quiet,but is quite a major tour de force, which needs quite a bit of volume for it's playback.
Of course I might be wrong, and I did hear of Bjarni Gunnarsson, but a quick survey of the old weeklies learned that this might be my first introduction to his work, despite having releases on Vertical Form, Thule, Uni:form, Spezial Material, Trachanik, Lamadameaveclechien, Shipwrec and 3LEAVES — and some of these labels actually make it to these pages. On 'Paths' we find five pieces, which originally were part of three multich