We are pleased to announce the most recent recording issued from the catalogue of the Edmonton Composers’ Concert Society (our thirteenth). It will prove to be a most unique disc on several fronts.

First, the recording features eleven electroacoustic works crafted exclusively by ten composer-members of the Society. Second, these selections span nearly the entire spectrum of the period of electroacoustic music history since the end of World War II, offering works from every decade with the exception of the 1950s and the 1970s. Third, the music encompasses virtually all of the genres of the idiom from musique concrète, works for tape with instruments and/or voice, a piece composed using tone generators and other sound modification equipment as well as computer-generated music. Fourth, the disc is the Society’s first release on the prestigious Centredisques label.

The selections on the disk include Reinhard von Berg’s Cult Figure from 1988, and Michael Horwood’s Monday Afternoon (1966), both contemporary executions of musique concrete techniques from differing perspectives; Don Ross’s My Dad’s Story (2006), an example of electronic and acoustic collage; Ian Crutchley’s Arco/Lyrically (2008), which is built from sampled acoustic instrument sounds; Helve Sastok’s Sailing the High ‘C’ (2002), a frequency modulated piece digitized on computer and Piotr Grella-Mozejko’s humourous WOW! (Is My Cat a Rock’n'Roller?)(1990) which utilizes synthesized psychedelic cat sounds among other sonic effects. Michael Matthews’ On the Outer Edge (2001), Aris Carastathis’s Full of Stars (2003), Rolf Boon’s System 2.3/7 (1985) and Rob Morin’s Blue Evening (2003) are all examples of computer-generated works. Boon’s other contribution to the disk, Waves from 2008, was composed for and performed on two synthesizers with percussion, guitar and saxophone.

Even the artwork for the cover (by Evelyn Berg) is a wonderful incorporation of visual photographic effects adapted to match the music. The CD liner/programme notes are by Jerry Ozipko.