Reissues
Journey to the Land of Forgotten Dreams
Total downer one-man-against the world synth action from one Lorq Damon; “Dedicated to all who believe in the beyond.” The artists’ liners cite strict instructions on how to enjoy this music; i.e. that this “is a psychic experience and not a musical composition.” Whereas the Nik Raicevic material was full of drug-addled, woozy rhythms & off-time pulsing, this is sheer long-form drone-work, bordering on the inaudible in spots. The waves of atonal analogue sound positively peeling off of the chea…
Reality Gates
Creel Pone treatment of this set of deep-fried one-man-against-the-cosmos synth-automaton gunk from the distant US midwest - specifically; Bloomington, Indiana - of the early 70s, initially released on / by the “Custom Fidelity Records” label / plant. Starts out with the absolutely piercing high tones / clarion call of “Music of the Spheres” after which we become the (un)willing passengers on Dr. Steven T. Birchall’s mind-trip excelsior, passing through several key lobes of the beyond before ze…
Electronique Et Stereophonie, Musique Spatiale
Amazing Early Electronic / Experimental Instrument / Tape-Manipulation work from these two Composer / Performers, with Sala perhaps the better known of the two due to his innumerable contributions to film-sound design - he did all of the bird-sounds in Hitchcock’s “The Birds” via the “Trautonium,” Dr. Friedrich Trautwein’s 1929 electronic instrument and Sala’s “axe” - Sala == Trautonium / Clara Rockmore == Theremin. Several facets of the Trautonium’s design lend to an otherworldly timbral palle…
Trip-Tych
Originally brought to light in 1977 by Serenus - the same folks that unleashed the early Creel Pone “Hit,” “The Inside of the Outside ... or the Outside of the Inside”) this is a fine example of a record that straddles the divide between library-music style conventions - many of the pieces are short, melodic numbers of the sort that would dot the silent spaces in a public-tv science program - and wild, free-form synthesizer filigree. Thematically linked into three “Themes”, the A-side’s “The Bi…
Contemporaneos 4, Musica Electroacustica
Last C.P. of 2010, finally available after countless delays, mostly involving the tricky /expert-level remastering job needed to resuscitate this incredible, historically-important music from sub-par vinyl pressings - a high-spec issue of Cuban composer Juan Blanco’s first two Egrem / Areito label LPs, covering his earliest electronic music dating back to 1963. Opening with the token non-electronic “Musica Para un Joven Martir” - or "Music for a Young Martyr" - rife with swelling, Penderecki-ia…
Works of Electronic Music
Something of a “companion” volume to the “Greek Electronic Music -1” compilation (one of the most popular & enduring entries in the early Creel Pone replography) issued a decade later, comprised of late-70s & mid-80s works by a successive generation of “capsule-intakers” as they transition from the “analogue world” into thedigital era, Four pieces from four different composers :: Thanos Mikroutsikos (whose “La Frere” is the token ensemble-sound work amidst the otherwise purely electronic offeri…
Musiques de l'O.N.F., Music of the N.F.B.
reproduction of a lovely 1977 double-lp set collecting only the earliest electronic music made in canada; with a majority of pieces remarkably made without the aid of magnetic tape (!?) but directly on optical film... music of the n.f.b. (volume 1)audio without visualthis album offers an unusual opportunity to discover the "sound dimensions" of the national film board of canada. this is not, however, a matter of "film music" or "theme songs". the sound tracks to be found here, detached from thei…
The Inside of the Outside, or The Outside of the Inside
"Who Are They? Where Do They Come From? Why are They Here?" After a short beauty res(e)t, Creel Pone returns borne anew with this pristine nugget, a reproduction of this 1965 Serenus-label lp by one George Engler - with one piece credited to “Heinz Karl Gruber” attributed to “The Inside of the Outside /or The Outside of the Inside." One can glean all sorts of hypochondroid vibes from the title & liners alone, even before the music itself hits your ears - a fine mist of space-age paranoic Lo-Fi …
Tropes on the Salve Regina
I've heard rumo(u)r of the Creel Pone "shortlist"; i.e. the member-curated selection of "candidates" for the Creel Pone treatment, each title nominated then judged according to strict set of attributes found running throughout the series (intangible qualities, mind you, such as "zonked" - "private-universe / bedroom" - "against-grain" - "aleatoric" - etc ...) Up high on said list all along has been this gem; Michael Sahl's first release, "Tropes on the Salve Regina." This one fits in so perfectl…
Iowa Ear Music
This one’s certainly a mold-breaker; closer in spirit to Cage / Tudor’s “Indeterminacy” than the sort of bedroom solo composer / producer / performer LPs that have been the Creel Pone archetype thus far. Improvisors were set up in 4 different isolation booths in the studio in Iowa State University’s recording studio during the ‘67 - ’75 seasons; these simultaneously-ocurring sound-events captured in real time, then collaged via tape & electronic processing by the studio-head Michael Lytle after…
Electronic Tricks
L’Illustration Musicale - more commonly known as simply “IM” - was a Parisian production library active during the early to mid 70s, during which they issued a couple-dozen titles by the cream of the crop: Eddie Warner, Johnny Hawksworth, Bernard “Black Devil” Fevre, Jacky Giordano, and the two guilty parties concerned here - Peter Bonello - aka Georges Teperino, aka Nino Nardini - & Roger Roger - his actual, real name, aka Cecil Leuter, Eric Swan, aka Archie Gun. An honest-to-goodness “Split;”…
Musica Elettronica 1
Here’s something of a Holy Grail amongst the “Electronic Library” spec; Romolo Grano’s 1973 Joker-label “Musica Elettronica 1,” touted as no less than an all-encompassing “New Dimension in Sound, Electronically Tested in Sound Laboratory,” The polar opposite of “Groovy” libraries by the likes of Cecil Leuter, Georges Teperino, and Giampero Boneschi, this sits comfortably alongside the dark, brooding minimal electronics of Giorgio “Zanagoria” Carnini & Giuliano Sorgini’s work, offering up a sele…
IPEM 1963-73
Easily the most elusive of the three “I.P.E.M.” (Institute for Psychoacoustics and Electronic Music) titles released by Alpha Brussels (you want to do this? alright, here we go - this one, CP 138, was the first to be released, SP-6015, 1973 - followed by CP 085, “I.P.E.M. (aka “Harry Sparnaay • Lucien Goethals • Louis De Meester”)”, SP-6028, 1975 - then, finally CP 053, “Elektronische Produktie van I.P.E.M. (aka “Muziek in Vlaanderen”), DBM-N 257, 1978) - this collection of pieces by Karel Goey…
Live Electronic
After a long winter-hiatus, Creel Pone returns anew in fine form w /a reproduction of this 1979 Hungaroton-label burner, covering a series of "Live Electronic" pieces composed by Laszlo Dubrovay during the mid-late 70s. After an extended "Modern Composition" -leaning ensemble-bleep venture - i.e. heavily filtered / ring-modulated piano, strings, cimbalom, and percussion playing in a sparse, pointillist manner - the album progresses into deeper waters, first with a sorted piano / synthesizer due…
Elektronische Musik, Konkret - Instrumental - Vokal
1982 compilation of late 70s & early 80s "Konkret - Instrumental - Vokal" work composed at the Studio für Elektronische Musik der Staatlichen Hochschule für Musik und Darstellende Kunst Stuttgart. Includes pieces by Jürgen Bäuninger (incredible transformations of “Tam Tam”, or gong smash / grabbings,) Klaus Fessman (re-pitched string grabs, Partch-like prepared piano & deep ominous bass cloudings, cut with random bleep,) Ulrich Süsse (tongue-in-cheek narrations jump-cut at a rapid pace analog za…
Organum Quadruplum
Here’s a special one: the 1974 “Edizioni Musicali e Discografiche Pubbliart” - essentially, a private imprint - issue of Vittorio Gelmetti’s electronic music, including the extended 1969 piece “L'Opera Abbandonata,” composed at the Studio Eksperymentalne of the Polish radio in Krakow with Bohdan Mazurek - an incredible 23-minute collage of radio static & plundered audio material - plus the 1967 "Organum Quadruplum” - oddly, a “Live Recording” - chair-shuffles & stifled coughs dot the transcripti…
Dimensione Sogno
Despite being something of a self-professed “Enthusiast” of exactly this kind of thing - privately-released LPs of minimal, experimental electronic music from the 1970s - I had literally never heard head nor hide of the storied Italian actor - he was in Roger Vadim’s wonderful Barbarella, Tinto Brass’ Attraction, and Vittorio de Sica’s Sunflower, something of a holy trifecta right there - Umberto di Grazia’s lone musical outing, featuring a series of minimal, experimental electronic etudes real…
Íslensk Raftónlist / Electronic Music From Iceland
Ah, yes ; here's Mr. P.C. C.P.'s treatment of the other known Icelandic Early Electronic music LP - the first, while not really Icelandic in the sense that it was composed @ UCSD :: Thorkell Sigurbjrnsson's "La Jolla Good Friday;" Creel Pone #52 - but then again these two pieces were composed in Holland and Sweden, respectively. Despite that each side-length piece - composed, respectively, by Llárus Halldór Grímsson & Thorsteinn Hauksson - was composed at the dawn of the 1980s, the music here ha…
Música Nueva Latinoamericana
Creel Pone treatment of four LPs, privately released (on the Tacuabé label) in Uruguay in the mid-to-late 70s, “Música Nueva Latinamericana 1 • Cuatro Composiciones Electroacusticas • Bazan / Bolaños / Kusnir / Neves,” “Música Nueva Latinamericana 2 • Tres Composiciones Electroacusticas • Bertola / Nova / Orellana,” “Música Nueva Latinamericana 3 • Tres Composiciones Instrumentales (Grabado en Vivo) • Etkin / Gandini / Iturriberry,” and “Música Nueva Latinamericana 4 • Tres Composiciones Electro…
Prismes
Previously, Mr. P.C. C.P. had the wise idea to replicate the two “Corticalart” Pierre Henry titles, considered by many as the most wild & woolly amongst the French Musique Concrète master’s vast discography. Personally, I’ve long been puzzled by the “Corticalart III” title ; was there a “Corticalart II” that we somehow missed? Lo and behold, here it is, in the form of a “Second” concert utilizing the system, again done in collaboration with Bernard Bonnier, assembled at the Studio Apsome then pr…