Barry Truax ‎– Pacific Rim

Label:
Cambridge Street Records ‎– CSR-CD 9101
Format:
CD, Album
Country:
Released:
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Tracklist Hide Credits

1 East Wind
Alto Recorder, Recorder [Tenor] – Peter Hannan
10:55
2 Arras 10:00
The Wings Of Nike (12:26)
3 I. Album 6:10
4 II. Scherzo 3:08
5 III. Coda 3:08
Pacific (36:46)
6 I. Ocean 6:24
7 II. Fog 10:50
8 III. Harbour 5:18
9 IV. Dragon 14:14

Companies, etc.

Credits

Notes

"Computer And Electroacoustic Music by Barry Truax"

East Wind (1981) for solo amplified recorder and four soundtracks.
Arras (1980) for four digital soundtracks.
The Wings Of Nike (1987) for two digital soundtracks.
Pacific (1990) for four digital soundtracks.

℗ 1980 Melbourne Records
℗ 1991 Cambridge Street Records. Liner © Cambridge Street Records.
© 1991 Barry Truax
Printed in Canada

Barcode and Other Identifiers

  • Matrix / Runout (Mirrored): made by/fabriqué par DISQUE AMERIC CANADA CWB2<152>CSRCD-9101
  • Rights Society: SOCAN

Reviews

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ultimathulerecords

ultimathulerecords

February 25, 2014
One of the most challenging and innovative of Canadian electronics avant-gardists, Truax isn't always successful, yet is always interesting and challenging.
The four works on this new disc span the last decade and are all radically different. East Wind features alto and tenor recorders, the sounds of which are manipulated so widely as to range from didgeridoo drones onto bird calls, to shakuhachi or just plain normal flute type sounds. The atmosphere is mysterious, atmospheric yet unnervingly strange, twice growing into bizarre cacophonies of sound. Arras combines four tracks of bell-like, metallic, modulated electronic sound in shifting patterns quite reminiscent of Francois Bayle, especially as it verges on the edge of more melodic synth realms. The Wings Of Nike is a more violent multi-timbral and composed work, with vast sonic patterns, buzzing insectile sounds amidst a storm thundering and shuddering down a tunnel, breaking up into weird almost vocal mutterings. Pacific features more stormy sounds, swirling masses of sonic soup, blizzards of seagulls and all manner of abstract delights.
From my review in Audion #21, published in May 1992