| $16.71
new to stock as of
february 16th, 2007
threads:
1970s-electronic
electro-acoustic-composition
musique-concrète
minimalism-drones
field-recordings
analogue-synth
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| | | creel pone (france) #creelp gaku cd jean-claude eloy “gaku-no michi” compact disc recordable - the follow-up to “shanti” !! two discs of frozen concrète-drones !!!
disc 1 / lp 1- “tokyo” la voie des sons quotidiens (du concret à l’abstrait) (extrait) 29’09
- “fushiki-e” (“vers ce qui n’est pas connaissable”) la voie des sons de méditation (de l’abstrait au concret) (1er extrait) 28’53
disc 2 / lp 2- “fushiki-e” ( “vers ce qui n’est pas connaissable”) la voie des sons de méditation (de l’abstrait au concret) (2ème extrait) 29’45
- “kaiso” (“réminiscence”) la voie du sens au-delà des métamorphoses (de l’abstrait à l’abstrait) 17’27
- “kaiso” (2ème extrait) “han” son de prolongation (extrait du début) 11’37
| ah - here’s the one a bunch of you have been waiting for with baited breath: the follow-up to jean-claude eloy’s “shanti”, recorded 5 years later at tokyo’s n.h.k. studio (yes, the same studio that so many of the pieces on both the “obscure tape music of japan” and “oto no hajimari wo motomete” were executed at...) using many of the same tools & speaking the same lexicon of expanding drone-sound & distant, reverb-soaked field-recorded events...
“gaku no michi” (“ways of music”) is an epic piece (originally over 4 hours long; in its recorded form here close to 2 hours !!) utliizing environmental sounds from in and around tokyo (recordings of pachinko parlors, sumo arenas, train stations, machinery, and department stores are mixed seemlessly with temple bells, traditional drumming, etc... in an old-world-meets-the-new setting) and quite a bit of analogue synth-chatter (there’s an amazing electronic flare-out in the middle of the second iteration of “fushiki-e”) yielding a thick, ominous cloud of dense, full-frequency sonic information; as claustrophobic as contemporary tokyo itself...
a mind-melter of a creel pone; highly recommended for fans of xenakis’ “bohor” and/or anything that intersects both the musique concrète and long-form electronic sound spheres... |
| | creel pone press release... |
| this creel pone edition includes:
1 x crystal-clear resealable polypropylene cd sleeve with a black / gold foil stamp affixed to the exterior
1 x double-sided six-color / one-color inkjet-printed hand-cut card-stock insert
2 x six-color inkjet-printed compact disc recordables in high-density round-bottom cd sleeves
music: jean-claude eloy
by john rockwell
published: november 19, 1983
jean-claude eloy's ''gaku-no- michi,'' or ''paths of music,'' is a four-hour electronic-music score that was presented wednesday night at the experimental intermedia foundation as part of the forum 83 ''international festival of today's music.''
international mr. eloy certainly is. he was born in france in 1938 and studied with, among others, pierre boulez and karlheinz stockhausen. but as its title suggests, wednesday's score was realized in japan, and mr. eloy has spent considerable time in asia.
all works of such extended duration invite audience members to submerge themselves into the flux, abandoning conventional notions of form and structure in return for hypnotic involvement. in this writer's experience, however, such submersion is best achieved when the moment-by- moment unfolding of the work is of interest, and if the larger formal coherence becomes manifest in the smaller details. that coherence needn't be imposed by busy formal ingenuity or schematic rationality. it works better subtly and intuitively, but however it works it must be there.
mr. eloy's piece is a blend of ''concrete,'' or pre-recorded, sounds with or without alteration, and synthesized music. at its best, the two blend suggestively, pointing at a real gift for an electronic music theater of the future. many of the sounds are really sumptuous, although most of the time wednesday the four-channel reproduction seemed to suffer from a blunt treble cut-off that dulled sensuous appeal.
the real trouble was just that lack of convincing coherence. the tension rose and fell, the music got louder and softer and thicker and thinner, all without any demonstrable dramatic or musical purpose. it was a collage of effects, some good, some bland but not adding up to something larger than its many, many parts.
as a direct result of that impression, this review is based on a 90- minute sampling. perhaps a different judgment would be rendered if one made a commitment to the full four hours. this writer will never know. |
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