artist: PÅL ASLE PETTERSEN
title: Komposisjoner 2005 - 2008
label: Zang:Records
country: Norway
format: CD
title: Komposisjoner 2005 - 2008
label: Zang:Records
country: Norway
format: CD
"Its been a while since we last heard from Pal Asle Pettersen from Stavanger. He’s one
of the two behind the Zang: label, and organizer of various concerts in Stavanger, as well
as being actively involved as a composer. To date his sparse releases are collections of
compositions he did, and they are numbered: ‘Komposison 23′, ‘Komposison 15′ etc. and
this CD collects the pieces made between 2005 and 2008. Pettersen uses field
recordings and treated acoustic objects, but its hard to trace them to anything you would
recognize as ducks, rain, or the moving of ashtray on the table - to mention a few
possible sound sources. Everything is treated to the limit here in a very ‘traditional’
musique concrete sense, even when Pettersen doesn’t use scissors and tape to work on
his material, but computer technology. Plug-ins or sound tools that programs have
(normalising, reversing, pitch shifting), they are all used here and with great care and
style and not as a display of possibilities. Just like Erdem Helvacioglu, reviewed
elsewhere, the music composed by Pettersen stands firm in this tradition and wouldn’t
look odd in the catalogue of Empreintes Digitales, but like Helvacioglu its surely
something different and more original than many of their peers on the Canadian label.
Pettersen’s compositions are short and to the point, and throughout this is a fine
collection of pieces." (Frans de Waard - Vital Weekly)
of the two behind the Zang: label, and organizer of various concerts in Stavanger, as well
as being actively involved as a composer. To date his sparse releases are collections of
compositions he did, and they are numbered: ‘Komposison 23′, ‘Komposison 15′ etc. and
this CD collects the pieces made between 2005 and 2008. Pettersen uses field
recordings and treated acoustic objects, but its hard to trace them to anything you would
recognize as ducks, rain, or the moving of ashtray on the table - to mention a few
possible sound sources. Everything is treated to the limit here in a very ‘traditional’
musique concrete sense, even when Pettersen doesn’t use scissors and tape to work on
his material, but computer technology. Plug-ins or sound tools that programs have
(normalising, reversing, pitch shifting), they are all used here and with great care and
style and not as a display of possibilities. Just like Erdem Helvacioglu, reviewed
elsewhere, the music composed by Pettersen stands firm in this tradition and wouldn’t
look odd in the catalogue of Empreintes Digitales, but like Helvacioglu its surely
something different and more original than many of their peers on the Canadian label.
Pettersen’s compositions are short and to the point, and throughout this is a fine
collection of pieces." (Frans de Waard - Vital Weekly)