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.soon.
... thanks for everyone's patience during the move !!! while it did take about a week longer than scheduled to get even the most basic elements of mms up & running again (i.e. records back on the shelves [in order !!!] ; packing & shipping bench upright & operational) we can safely say that things are finally getting back to normal around here ...

... we're just about caught up with invoicing & shipping orders placed during our closure & we've started opening up the dozens of boxes of new titles that arrived in our absence, updating the site here to show all of the new arrival & restock activities over the past few weeks (scanner & stereo are still boxed up, so full workups are still pending) ...

... as a token of appreciation to everyone that helped us out by placing a "closeout" order in the days leading up to the move (and due to a number of requests for more time to properly investigate / strategize a more thorough sweep of the dwindling list of titles on offer) i've extended the exhaustive "closeoupacolypse" one final time until the end of the spring ; this should afford everyone the proper resources to make their final selections ...
previous record label:
 creative sources 
there are 24 titles on creel pone in stock.
they are listed below.
next record label:
 crouton 
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 $10.44

new to stock as of
april 6th, 2012


threads:
1970s-electronic
1980s-electronic

creel pone (greece) #cp 144 cd

thanos mikroutsikos / ivan patachich / charis xanthoudakis / mladen milicevicworks of electronic music” compact disc-recordable

  • thanos mikroutsikos - le frere (14:46) 1979
  • ivan patachich - moog fantasy (8:10) 1984

  • charis xanthoudakis - la dame aux camelias (16:20) 1985
  • mladen milicevic - patterns (4:45) 1985
... something of a “companionvolume to the “greek electronic music -1 compilation (thusfar one of the most popular & enduring entries in the early creel pone replography) issued a decade later, comprised of late-70’s & mid-80’s works by a successive generation of “capsule-intakers” as they transition from the “analogue world” into the digital era ...

... four pieces from four different composers :: thanos mikroutsikos (whose “la frere” is the token ensemble-sound work amidst the otherwise purely electronic offerings, mixing smoke-addled string cloudings w/ distant, gained reverb-bath scraping ala andre almuro), ivan patachich (oddly, the hungarian-national composer, whose “moog fantasy” was actually composed at hungarian radio in budapest ... no idea why it’s here, thematically, but it’s a great set of glorpy moog miniatures culminating in some amazing minimal-synth beats towards the end - listen to the sound-sample), charis xanthoudakis (glassine digitally-stuttering “stuck buffercarousel & music box plunderphonics with vocal interruptions), and mladen milicevic (ditto the bosnian composer working at his “private” studio ... whose “patterns” introduces itself as a sparse set of digital-fmtine” timbres, slowly gaining in volume & intensity before receding back into silence) ...

... a great comp, as diverse & zonked as they get ; this creel pone replica perfectly recreates the look & feel of the o.g. object, and includes a reproduction of the included booklet ...
creel pone press release...

this creel pone edition includes:
1 x crystal-clear re-sealable polypropylene cd sleeve with a green / gold foil stamp affixed to the exterior
1 x 4-panel double-sided professionally printed full-color pearlized photo-stock booklet
1 x 4-panel double-sided laser-printed one-color insert
1 x six-color inkjet-printed compact disc-recordable in a high-density round-bottom anti-static cd sleeve

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 $10.39

new to stock as of
february 10th, 2012


threads:
1960s-electronic
1970s-electronic
analogue-synth
experimental-instruments
electro-acoustic-composition
musique-concrète
minimalism-drones

creel pone (serbia) #cp 139 cd

vladan radovanovic / paul pignon / natko devcic / josip kalcicelektronski studio radio beograda” compact disc-recordable

  • vladan radovanovic - electra (10:15) 1974
  • paul pignon - hardware performance (tri stava) - i i ii stav (9:51) 1972

  • paul pignon - hardware performance (tri stava) - iii stav (6:05) 1972
  • natko devcic - sonata (6:18) 1973/74
  • josip kalcic - duboki do (9:41) 1974
... 1975 collection, the first to offer pieces from the serbian electronic music studioelektronski studio radio beograda”, with work from paul pignon (his “hardware performance trilogy split across two sides ; supreme, distant analogian bleep of the highest order - listen to the sound-sample), vladan radovanovic (high-spec mutating bell-klang orbits & chopped-up ghost-vocal rituals), natko devcic (aleatoric clusterings of scattered stereo-field bleep), and josip kalcic (dark, filtered-out buzz, culminating into a dense bed of sliding-scale histrionics) all covering an early-mid 70’s, southeastern european variant on the kind(s) of techniques & compositional acuities forged (largely) in the northwest over the prior decade ...

... comes in a perfect repro of the eye-popping cover, with all original era sensibilities left intact ...
creel pone press release...

this creel pone edition includes:
1 x crystal-clear re-sealable polypropylene cd sleeve with a green / gold foil stamp affixed to the exterior
1 x 4-panel double-sided professionally printed full-color pearlized photo-stock booklet
1 x six-color inkjet-printed compact disc-recordable in a high-density round-bottom anti-static cd sleeve

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 $10.38

new to stock as of
january 27th, 2012


threads:
1960s-electronic
1970s-electronic
musique-concrète
analogue-synth
electro-acoustic-composition

creel pone (belgium) #cp 138 cd

karel goeyvaerts / lucien goethalsipem 1963-73” compact disc-recordable

  • karel goeyvaerts - op acht paarden wedden (26:39) 1973

  • lucien goethals - studie i (5:15) 1963
  • lucien goethals - studie vii b (7:18) 1973
  • lucien goethals - meliorbis (12:22) 1973
... easily the most elusive of the threei.p.e.m.(institute for psychoacoustics and electronic music) titles released by alpha brussels (you want to do this ? alright, here goes ... this one, cp 138, was originally the first, sp-6015, 1973 ... followed by cp 085, “i.p.e.m. (aka “harry sparnaay lucien goethals • louis de messter”)”, 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 goeyvaerts & lucien goethals, released on the eve of the ipem’s 10th anniversary, delivers on a series of fronts, offering an epic side-length drifter by goeyvaerts (27 minutes !!! all epic piano klang & held tones) followed by three shorter études by goethals (gooey analogia in sliding, de-centralized pitch scales not too far removed from the levels of manic excess witnessed on pietro grossi’s “computer music” 2lp) ...

... in the lineage of early belgian electronic music, this set (along with leo küpper’s fantastic 1971l'enclume des forces / électro-poème / automatismes sonoreslp on deutsche grammophon) is arguably the high-point ... the, frankly, impossible-to-find (word has it the c.p. brain-trust had been at it for 5 years !!!) o.g. edition has been wonderfully replicated here, down to the “gatefold(recreated as two extra panels in the included booklet) ...
creel pone press release...

this creel pone edition includes:
1 x crystal-clear re-sealable polypropylene cd sleeve with a green / gold foil stamp affixed to the exterior
1 x 6-panel double-sided professionally printed full-color pearlized photo-stock booklet
1 x six-color inkjet-printed compact disc-recordable in a high-density round-bottom anti-static cd sleeve

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 $10.37

new to stock as of
january 13th, 2012


threads:
1970s-electronic
analogue-synth
live-electronic
machine-music
psych-prog

creel pone (italy) #cp 137 cd

di jarrellapril orchestra présente rca sound • vol. 5” compact disc-recordable

  • mondo industriale (3:14)
  • industria 2000 (3:05)
  • meccanizzazione (2:51)
  • sala macchine (2:56)
  • energia pesante (3:09)
  • metalmeccanica (3:02)

  • lavoro sereno (3:03)
  • lavoro a catana (3:03)
  • lavoro a catana (vers. solo ritmica) (3:01)
  • industria elettronica (3:07)
  • motori elettromagnetici (3:07)
  • transistors (3:02)
... impeccable short-stab collection of bizarrely prescient rhythmic synthesizer metallics from amedeodi jarrell tommasi (rumor has it that di jarrell is his wife’s maiden) ; an italian jazz pianist that, from the mid-70’s on, dabbled in crushing analogue devastation(s) and assorted proto-industrial moves across a series of libraries for cenacolo, orly, costanza, and cbs disques france’s “april orchestra” series here ...

... each side here presents three morelyrical” numbers (still quite well produced & arranged, full of electric piano & hissing, rhythmic white-noise pulsing) that segue into a trilogy of loud, bass-heavy sub-divided analogue synth wooze that presages the whole early 80’s industrialwave in a, frankly, incredible way ...

... easily one of the best & most forward-thinkingexperimentalitalian libraries, rescued from the shadows & given the c.p.replicatreatment (here, for the first time, featuring a pretty damn nice pearlized-stock booklet that captures the aluminum glow of the music quite nicely) ...
creel pone press release...

this creel pone edition includes:
1 x crystal-clear re-sealable polypropylene cd sleeve with a green / gold foil stamp affixed to the exterior
1 x 4-panel double-sided professionally printed full-color pearlized photo-stock booklet
1 x six-color inkjet-printed compact disc-recordable in a high-density round-bottom anti-static cd sleeve

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 $10.35

new to stock as of
september 30th, 2011


threads:
1970s-electronic
1980s-electronic
electro-acoustic-composition
analogue-synth

creel pone (germany) #cp 135 cd

josef otto mundiglelektronische musik” compact disc-recordable

  • glasperlenspiel (in memorian hermann hesse) (23:50) 1976
  • interludium (2. satz aus dem orchesterkonzert nr.1) (13:16) 1975
  • quartett nr. 1 (in memorian hermann beck) (13:07) 1980
... mr. p.c. c.p.’s handling of this 1981private-press(c/o the internationales musikstudio ; aka the nürnberg vinyl pressing plant) abstract-synth stunner, comprised of three pieces composed during the mid-70’s & early-80’s by “elektronische musik im unterricht” & “musik aus strom : eine einfuhrung in die elektronische musikauthor & instrument designer (famously, he built the prototype of the “synthi e” variant for ems-steinberg ... but a trail of custom-built analog designs like the “doppelringmodulator” are out there in the ether) josef otto mundigl ...

... all three pieces here display an instantly-grasp-able, deep knowledge of synthesizer function & mal-function ; the sparse pacing(s), bubbling spring reverb-klang & wide stereo field all harken to the wdr’s “elektronischeroots ... even if, by this point in technology the instruments & systems being used were generations beyond the crude, post-war surplus of the 50’s & 60’s ...
creel pone press release...

this creel pone edition includes:
1 x crystal-clear re-sealable polypropylene cd sleeve with a green / gold foil stamp affixed to the exterior
1 x double-sided professionally printed 4-panel full-color semi-gloss photo-stock booklet
1 x six-color inkjet-printed compact disc-recordable in a high-density round-bottom anti-static cd sleeve

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 $10.34

new to stock as of
september 16th, 2011


threads:
electro-acoustic-composition
musique-concrète
analogue-synth
1970s-electronic
1980s-electronic
plunder-phonic
machine-music
live-electronic

creel pone (germany) #cp 134 cd

jürgen bäuninger / klaus fessman / ulrich süsse / david mason-edwards / erhard karkoschkaelektronische musik • konret - instrumental - vokal” compact disc-recordable

  • jürgen bäuninger - the tam tam tape (abdridged) (7:53)
  • klaus fessman - isn’t it strange in the cage (7:35)
  • ulrich süsse - dieses stück (7:49)

  • ulrich süsse - dieses stück (2:53)
  • david mason-edwards - i miss my dear cats (abdriged) (7:56)
  • erhrad (sic) karkoschka - dialog (12:45)
... 1982 compilation of late-70’s & early-80’s 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 zaps, sound poetry & plunderphonics ; quite intense !!!), david mason-edwards (deep context-removal language-transformation study, based on gregory corso’s 1958 poem, using some quite grimy synth crackle), and erhrad (sic) karkoschka (oboe smear & pointillist tape-stutter par excellence) ...

... the common bond here is the embrace of dark, spacious musique concrète approach(es) to sound aggregation ; quite unusual (even this late) given the franco-germanic divide between schaeffer’s grm school & the wdr set (clearly this lot side with schaeffer !!!) ... an excellent set of music by some quite obscure names ; unheralded no more ...
creel pone press release...

this creel pone edition includes:
1 x crystal-clear re-sealable polypropylene cd sleeve with a green / gold foil stamp affixed to the exterior
1 x double-sided professionally printed 4-panel full-color semi-gloss photo-stock booklet
1 x double-sided photo-quality laser-printed single-color insert
1 x six-color inkjet-printed compact disc-recordable in a high-density round-bottom anti-static cd sleeve


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 $10.32

new to stock as of
august 19th, 2011


threads:
analogue-synth
electro-acoustic-composition
psych-prog
guitar-themed
free-improvisation
musique-concrète
live-electronic
machine-music
1960s-electronic

creel pone (brazil) #cp 132 cd

georges teperino / cecil leuterweird sounds b/w crazy sounds” compact disc-recordable

  • georges teperino - weird sounds n° 1 (3:38)
  • georges teperino - weird sounds n° 2 (3:22)
  • georges teperino - weird sounds n° 3 (1:29)
  • georges teperino - weird sounds n° 4 (1:41)
  • georges teperino - weird sounds n° 5 (1:36)
  • georges teperino - weird sounds n° 6 (3:08)
  • georges teperino - weird sounds n° 7 (1:49)

  • cecil leuter - crazy sounds n° 1 (3:23)
  • cecil leuter - crazy sounds n° 2 (3:36)
  • cecil leuter - crazy sounds n° 3 (1:36)
  • cecil leuter - crazy sounds n° 4 (2:27)
  • cecil leuter - crazy sounds n° 5 (2:04)
  • cecil leuter - crazy sounds n° 6 (1:47)
  • cecil leuter - crazy sounds n° 7 (1:38)
... spot-on reproduction of this mythical 1969 tvmusic library (tvm 102, right after tvm 101’s “cosmic sounds b/w electro sounds”) offering a side of “weird sounds” by georges teperino (again, aka nino nardini, peter bonello) & one of “crazy sounds” by rogercecil leuterroger (aka archie gun, eric swan) ...

... whilecosmic b/w electro” has some nice moments of “lyricalelectronic music that presage pretty much the entire library spec, this one is completely bonkers, throwing any/all “groovyconnotations out with the bath-water in favor of alternatinglywhite lab coat” & “reckless abandon” approaches that boggle the mind ... the opening track sounds fresh out of a stockhausen piece (an electronically gated trombone drone slowly folds over itself) & from there things only get stranger (drum machines, played backward through echo accompanied by tape-munged slide guitar ... dissonant organ clusters & theremin / synthesizer glissandi float over milky pools of phosphorescent vibes) ...

... but easily the most head-scratch-ingly awesome moments are the first threecues” on side b, sounding like an aborted mahogany brain / fille qui mousse jam session gone awry, in which a zonkedpsychpower trio essentially covers the amm / mev split in its entirety (ok, maybe that’s a little ott, but it’s a seriously out-there session - listen to the first part of the sound-sample for a chunk of that) ... this recedes into a suite of minimal collage pieces, all involving small, clickingclock” noises sent packing through an array of tape-manipulation & time-based effects (i’ve put a little excerpt of a couple of those at the end of the sound-sample as well to show the range of this beast) ...
creel pone press release...

this creel pone edition includes:
1 x crystal-clear re-sealable polypropylene cd sleeve with a green / gold foil stamp affixed to the exterior
1 x double-sided professionally printed full-color semi-gloss photo-stock booklet
1 x six-color inkjet-printed compact disc-recordable in a high-density round-bottom anti-static cd sleeve

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 $15.31

new to stock as of
august 5th, 2011


threads:
1960s-electronic
1970s-electronic
analogue-synth
electro-acoustic-composition
electro-acoustic-improvisation
experimental-instruments
live-electronic
machine-music
minimalism-drones
modern-composition
musique-concrète
sound-poetry

creel pone (sweden) #cp 130-131 cd

música nueva latinoamericana • diez composiciones electroacusticas y tres composiciones instrumentales” double compact disc-recordable set

  • josé maria neves - un-x-2 (8:56) 1971
  • oscar bazan - parca (8:47) 1974

  • cesar bolaños - intensidad y altura (5:22) 1964
  • eduardo kusnir - la panaderia, versión electronica (9:20) 1970

  • eduardo bértola - dynamus (5:45) 1970
  • joaquin orellana - humanofonia (humanofonia ii) (11:37) 1971

  • jacqueline nova - creacion de la tierra (19:14) 1972

  • mariano etkin - musica ritual (13:10) 1974

  • juan josé iturriberry - música nocturna (8:14) 1973
  • gerardo gandini - música nocturna (7:37) 1964

  • conrado silva - equus (10:29) 1976
  • ariel martinez - el gloton de pepperland (9:22) 1970

  • coriún aharonian - homenaje a la flecha clavada en el pecho de don juan diaz de solis (13:38) 1974
... creel pone treatment of four lp’s, privately released (on the tacuabé label) in uruguay in the mid-late-70’s ::


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

música nueva latinamericana 4 • tres composiciones electroacusticas - tres compositores del urugay • aharonian / martinez / silva


... all squeezed onto two discs & housed in a single-pocket formation with two booklets (detailed below ; one for the first two lp’s, then another for the second two with detail for the actual playing elements recreated on a “gatefold” in the second) ...

... covering a wide range of music by southern & central-american composers (executed at area studios ranging from “above-board” institutions like the claem - instituto t. di tella, cicmat, and studio de fonologia de la universidad nacionál in buenos aires & the lsv in sao paolo to “private” setups in guatemala & argentina ... but also at european studios such as the “centre americain” in paris & the g.m.e.b. in bourges) ; the first, second, and fourth volumes exclusively feature electro-acoustic work ranging from cesar bolaños1964intensidad y altura(scrabbly / witchy echo-addled percussive events & whispered texts run through a maze of tape-speed effects) to conrado silva’s 1976equus(dark, noisy, scream-oriented vocal drone extrapolations on par w/ andre almuro’s work ; quite powerful & mysterious - listen to the sound-sample to your left for a taste) ... with the third (included here for continuity’s sake) offering three (rather kagel-esque)instrumentalcompositions, “grabado en vivo” from a distant vantage, coming across as acoustic staging(s) of the same language(s) & discipline(s) used to execute the tape(d) work(s) ...

... inarguably the best collection of uruguayan tape music you’re bound to come across ; replicated with all original-era indicators in-tact (not a shred of cultural revisionism at work) ; the creel pone train continues its global voyage ...
creel pone press release...

this creel pone edition includes:
1 x crystal-clear re-sealable polypropylene cd sleeve with green / gold foil stamp affixed to the exterior
2 x double-sided professionally printed full-color semi-gloss photo-stock booklets
2 x six-color inkjet-printed compact disc-recordables in high-density round-bottom cd sleeves


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 $10.28

new to stock as of
july 8th, 2011


threads:
1960s-electronic
1970s-electronic
experimental-instruments
machine-music
live-electronic
electro-acoustic-composition
library-music
modern-composition

creel pone (italy) #cp 128 cd

oskar salaelectronic virtuosity” compact disc-recordable

  • resonances • concerto for mixture-trautonium and electronic orchestra (18:17)

    fugato (5:12)
    concertando (7:35)
    ostinato (5:30)

  • suite for mixture-trautonium and electronic percussion (17:45)

    dance with percussion solo (4:58)
    agitato (2:22)
    light march rhythm (1:43)
    meditation (1:59)
    interlude with some percussion effects (1:25)
    echo-structures (1:42)
    improvisation for electronic percussion (3:36)
... long in the works, here’s a replica of oskar sala’s 1970debut” album (actually ; he did make his recorded debut on the 1961electronics • five improvisations on magnetic tape” lp alongside remi gassmann’s score to a george balanchine ballet production ... but this is first full-length recording of his work) ; a selected sound library show-casing (-boating ?) his “electronic virtuosity”, intended for “radio television film advertising backgrounds” ...

... in some ways the early-electronic equivalent of a steve vai record (in many others ... absolutely nothing like one) the two side-length pieces here consist of extremely deft, multi-tracked performances of trautwein & sala’s trautonium, expertly controlled by sala & sent packing through all manner of “tape studioeffects (the gnarly sproing of reverb & chatty ring modulation timbres are a treat) ... the b-side’s addition of “electronic percussion” only serves to add an extra exotic layer of low, thudding energies & beautifully flitting crackling trills ...
creel pone press release...

this creel pone edition includes:
1 x crystal-clear re-sealable polypropylene cd sleeve with a green / gold foil stamp affixed to the exterior
1 x double-sided professionally printed full-color semi-gloss photo-stock booklet
1 x six-color inkjet-printed compact disc-recordable in a high-density round-bottom anti-static cd sleeve

selected sound
radio television film advertising backgrounds

stereo 9009

electronic virtuosity by oskar sala

in 1930 oskar sala studied composition with paul hindemith. he was an assistant to friedrich trautwein. in 1952 he constructed the mixture·trautonium (mtr) with electronic percussion. since 1958 oskar sala has owned an electronic studio in berlin, where he composes and realizes electronic music for film, radio, television, records, and theatre.

the mixture-trautonium is an electronic music instrument with relaxation oscillators to generate frequencies ; two manuals - two strings stretched over two metal bands ; two pedals ; stops for timbres and subharmonic mixtures ; an electronic percussion with random noise generator ; relay interrupter, and percussion switches.

to create an "electronic orchestra", the mtr is connected with studio equipment. the results are superimpositions of sound sequences with variations in the sound level, sound relationships, timbres, rhythms, dynamics and, in stereophonism, the location of the sounds in the room. according to the kind and numbers of combination switches selected, complex sound structures are built up.


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 $10.25

new to stock as of
april 8th, 2011


threads:
analogue-synth
field-recordings
musique-concrète
1970s-electronic

creel pone (italy) #cp 125 cd

umberto di graziadimensione sogno” compact disc-recordable

  • verso la sorgente (3:11)
  • dimensione (2:12)
  • tempo (1:25)
  • ipnos (2:52)
  • l’ignoto (1:52)
  • lo spazio (1:51)
  • irreale (2:02)
  • viaggio nel tempo (1:50)

  • verso la sorgente (solo) (3:12)
  • dimensione (solo) (2:09)
  • tempo (solo) (1:38)
  • ipnos (solo) (2:49)
  • l’ignoto (solo) (1:53)
  • lo spazio (solo) (1:48)
  • irreale (solo) (2:02)
  • viaggio nel tempo (solo) (1:46)
... despite being something of a self-professedenthusiast” of ... exactly this kind of thing (i.e. privately-released lp’s of minimal, experimental electronic music from the 1970’s) i had literally never heard head nor hide of mr. grazia’s lone musical outing, featuring a series of ... minimal, experimental electronic etudes realized by the shadowym. radicchi” & “binsy” as something of a soundtrack to grazia’s self-actualization book of the same name (translation :: “the dream dimension”) from 1976 ...

subtitled “musiche dalla dimensione: spazio - tempo - captate dalla “particolare sensibilità(i.e., clunkily, musics from the dimension: space - time - picked up by the “detailsensibility) this set of music was issued by the ultra-obscure roman pinciana record label as a “double a-side” affair ; one of the aforementioned moog solos (the b-side), then one with the same pieces , only cut with environmental recordings & natural sounds (the a-side) in a manner more befitting a henning christiansen audio-work (i.e. the animal sounds are quite intense ; listen to the sound-sample for a rather noisy winged friend accompanying some of the ‘ol “detail sensibility”) than anything hinging on healing / self-improvement ...

... this one’s just dripping with utter mystery ; it’s as obscure & inviting as these thing get ...
creel pone press release...

this creel pone edition includes:
1 x crystal-clear re-sealable polypropylene cd sleeve with a green / gold foil stamp affixed to the exterior
1 x double-sided professionally printed full-color semi-gloss photo-stock booklet
1 x six-color inkjet-printed compact disc-recordable in a high-density round-bottom anti-static cd sleeve

from the xith ch. of the book: « dlmenslone sogno »

the study of music has always fascinated me. when i was sixteen, i managed to buy myself a guitar and some « easy » instructions for playing it. the « method » consisted of a booklet illustrating the chords of the guitar on which enormous fingers slid up and down. but i dind'nt learn a thing from that system; so i threw the guitar into the depths of a trunk.

however, in my dream, here i am an acclaimed musician. seated at a piano, i am staring at a score lying open on the music stand. there is complete silence in that splendid music hall, thronged with people. i stare at the music stand: how can will i understand any of this musical piece and how can i perform it on the piano if i don't know how to play? there is an expectant silence around me. i can see myself now. i have ont a smooth black velvet suit with delicate and frilly white lace at the cuffs and neck; and dark shoes with silver buckles and tassels. now i am reflected in the shiney panel of the piano: i am an old man. i stretch my fingers on the keyboard... i am playing, it is music of a moving profound sweetness.

that dream repeats itself and each time with greater wealth of detail on my surroundings and myself. i see the little alleys and houses of a small italian town and « i feel » as though i am living in the second half of the eighteenth century. i am aware of being a music teacher as well as a composer: in fact « i feel » as though i am being attended, now by pupils. and now by a devoted and admiring public. i am contented, serene; but i have a longing for france because « i feel » that there, i lived more intensely. the walls of my « studio » are covered with placques, diplomas, framed dedications; but i can't manage to decipher them. when i play, i feel a melancholic but sweet torment like the memory of a distant, lost happiness.

this dream-like music resounds in my ears even when i am awake. unfortunately, i do not have the cultural means to transcribe it. i was talking about it with some friends, among whom antonia, mimma and giuliano could testify to this. they drew a stave for me and i arranged a few dots here and there. what came out of this was a sort of musical script without key or tempo that - when tried out on a guitar and a piano - seemed to have and idyllic character. i showed my « dots » to several people including qualified musicians. some speak of my music as a gregorian chant, others as a dirge to be played on a flute, others as songs for harpsichord... one person says it is a question of « transmitted » music and he is doing historical research into this.

there have been those, who have asked « my » opinion of the music i have heard while dreaming. i have answered that i think that it is related to the most remote periods ...

it is my view - that is to say - that it goes back to times when (especially in the indochina area) there came about the habit of communicating in a geometric-sonic way, thus giving life to what nowadays could be called a code of international, or even better, universal understanding. it consists, i believe, of a series of ideogrammes transcribed on a tablet and recording the sounds emitted by rudimental wind instruments: probably reed pipes.

on the upper part of the tablet, incised beneath the ideographic representations of the signs of the zodiac, were indications of mountains and hills; on the central part, those of plains of a more or less undulating nature; and, near the bottom, those of valleys, ditches and ravines ... as well as lakes, rivers and seas ...

when a meeting occurred betwen two individuals who had different means of verbal expression, it was possible that these individuals could communicate, for example, the place they were coming from and the direction in which they were heading; and that one could ask the other for information concerning the nature of the route to be covered... it is obvious to think that the sounds, with their different pitch, intensity and duration, with their different rhythm, could succeed in describing, for instance, the relative ruggedness of a mountain, the distance across a hill or a plain ... whether the sea was calm or rough ...

« lento », « andante », « dolce », « agitato » ... a crescendo of sounds: their blending or their sudden interruption ...

this dream-like music makes me long for lost paradises, ages of innocence and gaiety, clear and strong sentiments, simple and spontaneous affection. i have enjoyed this type of affections since i was sixteen. if i speak about them here, it is so that the reader who wants to take me as an object of his psychological-scientific probings, can know the genesis of my character, affective or rebellious, to puzzling conformism.

i was eight years old. i lived in rome, in an old villa. that day, i was playing in the courtyard. i was climbing up a staircase and sliding down the bannister. i fell off and hurt myself rather badly. someone leaned out of a window on the ground floor, picked me up, and held me in their arms. he was a medical student from a pleasant, cordial, and open falily. he carried me into the house to take care of me.

it was then that i saw her. a little girl, a delightful child in a long dressing-gown. that little girl - rosaria - seemed to me a magical apparition: a little figure from a fable.

she was the youngest of eight brothers of which the medical student was the eldest ... from that day, i was more often in rosaria's house than in my own ... the girl and i became inseparable ...

when i was sixteen i kissed my friend for the first time. i felt that i loved her and i started to dream about a joyous future ... but rosaria vanished from my horizon.

she confided in someone who scolded her severely and made her believe that she had sinned in an unpardonable way. it was a thunderbolt for me ... i remained as if burned by it ... something dried up forever in my soul. i began to perceive an adversion for society and for its moralisms the fruit of malice when not of spiteful wicked envy.

traslation by author - umberto di grazia


umberto di grazia, born on 1941 at viterbo, when he started to study these phenomenous of which he was touched. left a job as director of public relations in one of the most important firm in rome. he devoted himself to this branch of study and famous lectures as doctors, psycoanallsts, and archaeologists are interest on his research.

umberto di grazia shoud like to involve a lot of people in his own interest in order to give anybody the opportunity to find a different dimension in the life. it means a more balaced and interesting dimension of life. he should like to help people to look for and to find a common possibility of research that could make much more rich each of us. in having an esact idea of his own internal and psycoloclal feelings. the television and the press are both interestd theirselves on umberto di grazia, giving him the opportunity for some interviews and meetings.




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creel pone (uk) #cp 122 cd

dubravko detoni / john keliehor / john lewisavant garde • volume 2 • modern science, space, and mystery” compact disc-recordable

  • dubravko detoni - assonance (7:10)
  • dubravko detoni - phonomorphia (7:50)

  • dubravko detoni - forms and plans (8:20)
  • john keliehor & john lewis - schizophrenia (10:50)
... trucking right along, here’s the 1974 second entrant from british library studio g’s “avant garde” series, featuring a trilogy of pieces composed by none other than “acezantez” head dubravko detoni ; only his second lp release (following the storied “graphie i.ii.iii / phonomorphia 1.2.3” lp for philipsprospective 21e siècle series from a few short years prior) ...

... laid out with familiar library-lexicon panache (the three pieces are described as “acoustics for piano effects and cello”, “piano effects and electronics”, and “for orchestra and electronics”) detoni’s music here is concerned with dense electro-acoustic grapplings with small-group instrumental timbres rivaling his “above-board” work for jugoton ... in particular the piano-transform piece “phonomorphia(sound-sample to your left) is a fantastically dark musique concrète workout that calls to mind such canonic work as raaijmakers’ “pianoforte”, yet retaining dubravko’s extended sense of space & dense tonal clustering(s) ...

... to round things out, there’s a piece by regulars (their pieces dot the tracklistings of both “dramatic and horror” volumes for studio g, along with many bruton & standard libraries) john lewis & john keliehor, consisting of some very cinematic atonal organ & a-rhythmic marching-band figures that erupt into a big grisly blowout worthy of the closing credits of a lucio fulci film ... lovely cover as well, reproduced beautifully thanks to the upgraded 2011 c.p. print-spec ::



creel pone press release...

this creel pone edition includes:
1 x crystal-clear re-sealable polypropylene cd sleeve with a green / gold foil stamp affixed to the exterior
1 x double-sided professionally printed full-color semi-gloss photo-stock booklet
1 x six-color inkjet-printed compact disc-recordable in a high-density round-bottom anti-static cd sleeve

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analogue-synth

creel pone (usa) #cp 121 cd

daria semegen / bülent arelelectronic music for dance” compact disc-recordable

  • daria semegn - arc: music for dancers (13:40) 1977
  • bulent arel - mimiana i: flux (10:40) 1968

  • bulent arel - mimiana ii: frieze (13:02) 1969
  • bulent arel - mimiana iii: six & seven (12:23) 1973
... welcome to 2011 !!! ; the ground may be frozen, but the “boxes from reykjavik” have started arriving once again ...

kicking things off, here’s a fine set of pieces, each showcasing the buchla electric music box system(s) ... daria semegen’s harmonic-series-richarc(composed at suny stonybrook’s electronic music studio ... established by mr. arel in 1971) at times recalls other era electronicspectralists” like daniel arfib, yet works across a more spare iterative space, often recycling short micro-melodies cut with the unmistakable thwack of the buchla’s vactrol-based gates ... it’s an incredible, patient piece of music that begs the question as to why ms. semegen isn’t more well known ...

arel’s 3-partmimiana” suite (recorded over a 5-year period at the columbia-princeton electronic music center ... where he’d been an integral part of the proceedings, even working with varèse on the tape-portion of “deserts”) starts with a raucous 10-minutes of tape-echo’ed bleep ; perfect mechanistic / future-shock orientation while acting as something of a showcase for the kinds of timbres attainable that point in time ... even a year later, in the second part we’re treated to an even more complicated variant on micro-sequenced, often atonal electronic blat ... but by the third movement the dynamics & general levels of freneticism are off the charts, yielding one of the the most active & engaging pure-electronic synthesizer-based work ...
creel pone press release...

this creel pone edition includes:
1 x crystal-clear re-sealable polypropylene cd sleeve with a green / gold foil stamp affixed to the exterior
1 x double-sided professionally printed full-color semi-gloss photo-stock booklet
1 x six-color inkjet-printed compact disc-recordable in a high-density round-bottom anti-static cd sleeve

the myriad, diverse sonorities, expressions, and articulations of the electronic music medium provide a remarkable array of musical colors especially suitable for combination with the visual medium of dance.

the electronic music works on this recording were composed expressly for modern dance and were commissioned by choreographer mimi garrard in the span of nearly a decade. each individual musical work is uniquely related to its own choreography. collectively, the compositions reflect varying degrees of complexity and diversity of both an aesthetic and technical nature, and a wide range of emotional expression.

in creating a dance work, often the choreographer may chart out a meticulously detailed plan of action on stage, including each beat or count of the dance in exact tempos, descriptions of dancers' movements which may form essential and recurring motives in the dance, and elaborate lighting effects. then, the musical score is composed to synchronize with these aspects of the choreography. the dancers, in turn, synchronize their own movements to the music throughout the choreography, and the composer's musical score must be lucid, technically precise, as well as a sensitive aesthetic interpretation of the dance. sometimes, the situation is reversed and the choreography is based on an already composed, previously commissioned electronic work, perhaps itself based on an overall expression or programmatic idea suggested by the choreographer, or else created by the composer as a work purely abstract in nature. in any event, the composer's intention is to create a work which complements the dance and is one of its essential components, and which can exist also as a complete musical work in its own right

in this recording, the composers' virtuosity and musical mastery of the medium is unmistakably evident in these singular and engaging works of electronic music for dance.

bulent arel's series of mimianas was produced at the columbia-princeton electronic music center, and daria semegen's arc: music for dancers was realized at the electronic music studios at the state university of new york at stony brook, long island. the complete works combining choreography, music, and lighting images have been performed by the mimi garrard dance theatre initially in new york city and subsequently on tour.

arel - mimiana i: flux [1968]

the dance work includes a film which projects changing colors, patterns, and numbers on the dancers, creating continuously changing abstract designs. this first electronic music score of the mimiana series was composed after the choreography was completed, and consists of purely electronic sound phrases which parallel the overall gestures of the dancers, without indicating any specific beats or metric patterns, as such.

arel - mimiana ii: frieze [1969]

the choreography for frieze was completed some time before the musical score was composed. after seeing the dance, the composer's general impression was that of early egyptian reliefs in which the human faces are seen in profile, while their torsos are facing outward. the dance suggested a feeling of a completely ritualistic procession consisting of slow and deliberate movements of the dancers. except for a few contrasting short bursts of fast, active sequences, the dance never lost its hypnotic character.

in the musical score, all sounds are electronically produced and, coincidentally, the work reflects some tonal feelings. from the middle part of the score, where "pure sounds" or sine waves are used, microtones are introduced and begin to give a descending character to the previously existing pitches by gradually shifting the pitch structure downward-creating an intentionally blurred pitch relation. the sound colors and articulations are restricted only to those which seemed to best reflect the feeling of the dance.

arel - mimiana iii: six & seven [1973]

the music is buoyant in nature and was composed following a list of various rhythms and tempos previously designed by the choreographer mimi garrard. the dance consists of a total of seven dancers, numerically identified by changeable neon-light number displays on the helmets of their costumes, and grouped into a set of six against the single seventh dancer. throughout the dance, the six reject the seventh dancer by either ganging up on, or retreating from her. the music opens with an exposition of the numbers from 1 through 7. as #1 appears, the single basic beat is heard in the music. when #2 and #3 arrive, the beat is subdivided into two and three (triplet) pulses respectively. so it continues, in the manner of an inventory of numbers through the introduction of the work. when a certain number is highlighted in the dance, its musical motive reappears. this beginning section uses overlapping phrases of these subdivisions of the main beat forming smooth layers of sounds. the music progresses toward a gradually introduced double-bass type sound which outlines each beat clearly and dominates the ending section of the work. in the end, as the seventh dancer finally expires, repetitions of a high seven-tone ostinato are heard, as the music ends by gradually fading away.

mimiana iii was composed using electronic sounds including the buchla synthesizer as an elaborate source material generator in combination with tape mixing and editing techniques.

semegen - arc: music for dancers [1977]

the music was composed following the choreographer's detailed graph-diagram indicating each beat of the dance and descriptions of dancers' motions on stage, combined with a plan of synchronous stage lighting effects. the dance itself does not suggest a specific programmatic idea throughout, but each section of its arc pattern seems to feature motivic gestures ranging from slow, graceful movements to rapid motions involving solo, duet, and trio combinations of the seven dancers. sometimes, the lighting effects themselves are featured in precise synchronization with the music, and create elaborate silhouette designs as they play across symmetrical groups of stationary dancers. the piece consists of five parts whose themes, tempos, and "orchestrations" are arranged in the shape of an arc (a b c b a). each section is itself divided into a smaller arc ( a b a ). after a brief introduction of phrases in groups of three beats each, the first part begins with two motivic elements arranged in a simple question-answer idea: lower range sounds on the beat, and contrasting high echoed flourishes in alternation. section b introduces both a new tempo and "orchestration" or sound texture, as well as a new motive featuring a tremolo effect on harsh sounds alternated in various patterns from one channel to the other. a six note ostinato appears toward the middle of this section and is gradually integrated into a polyphonic passage. section c's theme resembles an orchestral "tutti" and is followed by a variation of the tremolo idea and echo figurations heard previously. although the music is essentially tonal and establishes various temporary tonal centers throughout, microtones and the characteristically rich textures of electronic sound sources provide dissonant impressions counterbalancing the tonal aspects.

the work was composed using a buchla series 200 synthesizer and classic studio techniques. the music tape was synchronized at bell telephone labs with the program of the mimi garrard dance theatre's portable computer-controlled lighting system by mimi garrard and james seawright in preparation for arc's first presentation in may of 1977.

biilent arel (b. 1919, istanbul, turkey) graduated from and taught at the ankara state conservatory. he was the first musical director and tonmeister of radio ankara and pioneered in the field of electronic music combined with conventional instruments with his music for string quartet & oscillator (1957). in 1959 he was invited to the united states as the recipient of a rockefeller research grant to the columbia-princeton electronic music center and contributed significantly to the field as an innovator, teacher, and composer of over a dozen major works. he taught composition at yale university where he designed and installed the electronic music studio in 1962, and at columbia university as a frequent visiting lecturer. since 1971, he has been professor of music and director of the electronic music studios at the state university of new york at stony brook, long island. his works include instrumental, vocal, and symphonic music as well as music for the ballet, theatre, television, and film. he is a recipient of several national endowment for the arts grants and commissions from the new york cultural council foundation and the columbia-princeton electronic music center.

daria semegen (b. 1946, bamberg, germany) studied at the eastman school of music, yale and columbia universities, and in warsaw, poland as a fulbright scholar. her composition teachers include samuel h. adler, robert gauldin, butrill phillips, witold lutoslawski, biilent arel, and vladimir ussachevsky. she has received numerous awards in composition including two bmi awards, chautauqua, macdowell colony, and tanglewood fellowships, fulbright grant, two national endowment for the arts commissions, prizes from yale university, mu phi epsilon, and the iscm int'l. electronic music competition for her work electronic composition #1 . she is author of instrumental and electronic music and has published articles on electronic music in the music journal. since 1972, she was on the teaching staff of the columbia-princeton electronic music center and also worked as technical assistant to v. ussachevsky and otto luening. in january 1974, she joined the dept of music of the state university of new york at stony brook where she is asst professor and associate director of the electronic music studios.


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threads:
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1970s-electronic
modern-composition

creel pone (france) #cp 118 cd

edgardo n. cantonmusiques électroacoustiques” compact disc-recordable

  • palpiti (8:09)
  • animal (6:14)
  • voix inouies (9:38)

  • une espece de serpent (7:34)
  • a cheval vers la lune s’en va lagune (13:47)
... creel pone treatment of this hen’s-teeth rare 1984 moshe-naim label collection of chileancomposer edgardo n. canton’s early electro-acoustic music, entirely composed & executed during a residency at the grm that started in 1959 & ended in 1965 (although he stayed on as an adjunct composer until 1973) ...

... as the central & southern-american territories have been fairly under-documented (and not just via creel pone ; it’s something of a travesty that composers like jocy de oliveira, josé vicente asuar, rodolfo caesar, gabriel brncic, ivan pequeño, gustavo becerra-shchmidt, juan blanco, and many others are largely unknown outside of their countries-of-origin) this creel-pro comes as a rewarding surprise ; canton’s transmogrifications of instrumental & electronic sounds remind me of fellow grm / concrète travellers like ivo malec & jacques lejeune, yet there’s an undeniablelatininfluence to the pacing, rhythms, and instrumentation (pizzicato strings, trumpet) that makes this music so unique ...
creel pone press release...

this creel pone edition includes:
1 x crystal-clear re-sealable polypropylene cd sleeve with a green / gold foil stamp affixed to the exterior
1 x double-sided professionally printed full-color semi-gloss photo-stock booklet
1 x six-color inkjet-printed compact disc-recordable in a high-density round-bottom anti-static cd sleeve

musiques électroacoustiques composée par edgardo canton

peinture (recto et verso)
relation couleur
demarco


i palpiti. parce que tout ce qui vit, frissonne, palpite, tremble.

animal animal. parce que on en trouva un caché à l'intérieur de la plaque de tôle d'où tous les sons de ce morceau ont été tirés à l'aide d'un archet de violon. parce qµe pour y parvenir, le compositeur du ébranler la.tôle avec une brutalité inaccoutumée. parce que il y a quelque chose de très étrange derrière les répétitions et les redondances.

voix inouies. parcel que voix-jamais-entendues et aussi voix-jamais parcourues. les significations multiples et simultanées qu'on peut accorder à cerjains vocables, permettent quelquefois à l'esprit, ne serait-ce qµe l'espace d'un instant, d'échapper à la prison où la raison l'enferme d'habitude.

une espèce de serpent. une rencontre entre êtres réels et êtres imaginaires

a cheval vers la lune s'en va lagune. l'affirmation faite en 1866 par le poète argentin estalinslao del campo selon laquelle le gaucho lagune - personnage de son poème "faust" - était un si bon cavalier qu'il serait capable, pour maîtriser un cheval sauvage déchaîné sur lequel il serait monde, de le suivre jusqu'à la lune, fut longtemps regardée comme une métaphore poétique inventée à la fois pour les besoins de la persuasion et de la rime. après avoir comp0sé et entendu la musique que voici, nous pensons - sans être pour autant des partisans inconditionnels des interprétations littérales - qu'il y aurait lieu désormais de réexaminer cette notion peut être un peu trop rapidement acceptée dans le passé.

les œuvres contenues dans ce disque ont été réalisé'es entre 196 et 1970 dans les studios du groupe des recherches musicàles de l'ortf (actuellement institut de l'audiovisuel) elles ont été données pour la première fois ensemble en concert à la galerie annick le moine, paris.


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new to stock as of
september 10th, 2010


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creel pone (france) #cp 116 cd

peter bonello / cecil leuterelectronic tricks” compact disc-recordable

  • peter bonello - electronic track 1 (1:38)
  • peter bonello - electronic track 2 (1:40)
  • peter bonello - electronic track 3 (1:30)
  • peter bonello - electronic track 4 (1:40)
  • peter bonello - electronic track 5 (1:37)
  • peter bonello - electronic track 6 (1:58)
  • peter bonello - electronic track 7 (1:32)
  • peter bonello - electronic track 8 (1:33)
  • peter bonello - electronic track 9 (1:35)
  • peter bonello - electronic track 10 (1:16)

  • cecil leuter - electronic track 11 (3:40)
  • cecil leuter - electronic track 12 (1:34)
  • cecil leuter - electronic track 13 (2:10)
  • cecil leuter - electronic track 14 (2:05)
  • cecil leuter - electronic track 15 (1:28)
  • cecil leuter - electronic track 16 (2:30)
  • cecil leuter - electronic track 17 (2:12)
  • cecil leuter - electronic track 18 (2:30)
... l’illustration musicale (or, more commonly known as simply “im”) was a parisian music library active during the early to mid 70’s, during which they issued a couple-dozen titles by the cream of the crop :: eddie warner, johnny hawksworth, bernardblack devil fevre, jacky giordano ... and the two guilty parties concerned here :: georges teperino (aka peter bonello, aka nino nardini) & roger roger (his actual, real name ... aka cecil leuter, eric swan, aka archie gun) ...

... an honest-to-goodnesssplit” ; teperino’s side is essentially 10 tracks of ring-modulated drum-kit jams, cut with wry little rhythm-box etudes & squiggly, a-synchronous moog overlays that hit a great deal of my pleasure-centers, simultaneously ... roger finds his inner ruth white (opening with some great, chiming, electric harpsichord figures & tape-echo) before letting loose a bizarre array of “functional” cues (there’s an “exterior shot” kind of thing, one of descending electronicdread”, “suspense”, “car chase”, etc) ... none of which seem fully suited to their appointed bill(s) ...

very cool little number (#101 by my count ; nice that the various mr. p.c. c.p. ptb’s have extended the offer / promise of the series), getting into some alternatinglyout-there” & “groovy zones ...
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this creel pone edition includes:
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1 x six-color inkjet-printed compact disc-recordable in a high-density round-bottom cd sleeve

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creel pone (usa) #cp 110-110.5 cd

chris swansenthe complete badger recordings of chris swansen” compact disc-recordable

  • pulaski skyway (1) (7:31)
  • pulaski skyway (2) (4:17)
  • pulaski skyway (3) (3:21)
  • pulaski skyway (4) (4:24)

  • ooh baby (3:00)
  • snow (2:45)
  • here comes monday (2:51)
  • my girl (2:47)
  • les ibis (2:49)

  • moondog, can you hear me? (3:21)
  • joy (3:29)
  • summertime-mood indigo (6:12)
  • bitch (4:26)

  • clearwater (1:47)try to remember (4:43)
  • sheep may safely graze (3:17)
  • once upon a summertime (3:10)
  • air in d (2:53)
ok ; this one takes a little bit of explaining ...

on the surface, yes, another set of moogsploitation joints, but closer in fact to the holy grail of said ; released in 1972 & 1975, this pair of obscure, self-released lp’s issues some of the firstpop” music ever made on the moog synthesizer by one of the first people to own a system (famously, choreographer alwin nikolais got the first off the line ... but library music composer eric siday & the subject here were among moog’s initial customers) :: jazz musician chris swansen ...

swansen grew up in milwaukee, studied music at dartmouth in the late 50’s & ended up teaching at berklee for a spell between touring with stan kenton, maynard ferguson, and (of course) herb pomeroy ... a trombone, piano, & bass player by trade, his multi-instrumental & arrangement skills (his name pops up all over the place ; from steve marcusvortex-label side “the lord’s prayer” to several gary burton & phil woods releases) coupled with his growing interest in electronic music made him the perfect candidate to be one of the first artists to have a “residency” at the fledgeling moog music corporation in 1968, giving many demonstrations and concerts on the moog synthesizer throughout the next few years at the moma in new york & the musée d’art modern in paris (plus, in the early 70’s, while recording much of the later music heard here, he shared a studio with david borden’s mother mallard) ...

chrisunique approach to creating densely layered music on the, at that stage, still monophonic moog modular, shows a real love & understanding of the system beyond the “by-the-numbers” approach many would take even later on ... talking about the moog system back in the day, chris wrote ::


my music derives from as many sources as i can find and use electronically. the music is not limited by the instrument as almost any conceivable sound or tone color is possible on the synthesizer. almost every style of composition and orchestration is used at one time or another, with an overall freedom given to rhythmic and harmonic components of the total structure. jazz, rock, folk musics of many parts of the world, indian scales and intervals, classical and romantic western forms and harmonies, serial techniques, and grecian, arabic and chinese intervallic systems, as well as pure electronically derived forms and patterns all enter into my compositions.


the two lp’s in question were issued from archival materials after he relocated back to wisconsin to raise his family ; whereas w. carlos1968switched on bach” was inarguably the first record that put the moog out into the collective consciousness via a series of rigid, formic executions of the bach material, it’s interesting to think how the landscape would have changed had this music been issued as it was being recorded ... in many ways it’s the polar opposite, taking a loose, improvisational, and at times even funky approach to single-line arrangement methods (every single sound on every piece herein comes from the moog ; the drum-parts, largely white-noise bursts, are hand-played, as are the many 3/4/5-part “horn” lines) ...

... rather than issue everything on two discs, mr. p.c. c.p. has decided to change things up & issue these two historically important sides on a single disc as a “2-for-just-slightly-more-than-the-price-of-1 initiative (there are two booklets ; one for each lp) ; thanks mr. p.c. c.p. !!!

ps. perhaps to whet your appetites, i’ve put up two of the choicer cuts as a long sound-sample ... there’s the tail-end of title-track / opening cut, with it’s extended drone-outro, then the first cut of the second lp (getting into some cantina-band zones) ; bon appetit !!!
creel pone press release...

this creel pone edition includes:
1 x crystal-clear re-sealable polypropylene cd sleeve with a green / gold foil stamp affixed to the exterior
2 x double-sided professionally printed full-color semi-gloss photo-stock booklets
1 x six-color inkjet-printed compact disc-recordable in a high-density round-bottom cd sleeve

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 $9.94

new to stock as of
february 27th, 2009


threads:
1980s-electronic
analogue-synth
electro-acoustic-composition
musique-concrète
modern-composition

creel pone (mexico) #cp 094 cd

antonio russek / raul pavon / roberto morales / vicente rojomusica electroacustica mexicana” compact disc-recordable

  • antonio russek - para espacios abiertos (13:55) 1981
  • raul pavon - fantasia cosmica (9:10) 1982

  • roberto morales - agua derramada (10:20) 1983
  • vicente rojo - vulcan (11:10) 1983
... and the train keeps rolling with this fine entrant to the creel pone canon (geographic-survey titles acting as something of a backbone to the series) ; a reproduction of this 1984 lp (compiled by the “centro independiente de investigacion multimedia”) covering pieces composed during the three years prior by mexican composers antonio russek, raul pavon, roberto morales, y vicente rojo ...

beginning with russek’s expert-level “para espacious abiertos” ; a 14-minute slice of heavy machinery, keening modular synth-wail, and the sort of “bouncing wine glass” timbres that pop up all over françois bayle’s work, i began wondering aloud why i’d never come across his name in any of the history books ... this is immediately followed by raul pavon’s “fantastica cosmica” owing as much to the “academic” avant-garde as the horror & sci-fi film soundtracks of the 50s & 60s ... only realized using era synths & a somewhat aleatoric-feeling sense of sound-organization ...

roberto morales’ “agua derramada(spilled water) kicks off the sparse side of the record ; long stretches of near-silence punctuated by windchimes and, nearing the end of the piece, some light-years-beyond synth-blat ... finally, vicente rojo brings it all home with “vulcan” - a depiction of the void of space in electronic sound, with deep gong-hits (most likely ring-modulated prepared piano jabs) perforating the razor-thin bed of static lying below ...

... coming from a (self-professed)enthusiast” of early electronic music, i find it rather odd that not a single one of these pieces had, until now, entered my radar-screen ; especially given the worldly nature of it all ... but then again, i guess that’s the point of mr. p.c. c.p.’s tireless efforts ; these are exactly the sort(s) of “unheralded classics of electronic music” the series aims to promote ...
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 single-sided six-color inkjet-printed hand-cut glossy-stock booklet
1 x six-color inkjet-printed compact disc recordable in a high-density round-bottom cd sleeve.

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 $9.89

new to stock as of
may 16th, 2008


threads:
1980s-electronic
electro-acoustic-composition
analogue-synth
musique-concrète

 best of 2008 !!! 
creel pone (netherlands) #cp 089 cd

lárus halldór grímsson / thorsteinn haukssoníslensk raftónlist • electronic music from iceland” compact disc-recordable

  • lárus halldór grímsson - vetrarrómantik • winter romanticism (19:30) 1982-83

    hjarnfjúk • drifting snow (7:05)
    skammdegisórar • mid-winter phantoms (6:17)
    himinglætur • gleams in the sky (5:45)

  • thorsteinn hauksson - sonata (22:05) 1980
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 sigurbjörnsson’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 lárus halldór grímsson & thorsteinn hauksson) was composed at the dawn of the 1980s, the music here more in common, timbrally and technique-wise, with the danish late-60s “scene(bent lorentzen’s ‘heaven and hell’ epic “the botomless pit”, specifically, but also the work of else-marie pade and jørgen plaetner) ...

the first movement of grímsson’s “vetrarrómantik” is quite gestural / minimal compared to the shuddering rhythmics & blasted synthesized thunderclaps that dot the second & third (making full use of the instituut voor sonologie’s arsenal of analogue synthesis tools ; despite the year nary a “plonky” computer-attack in sight !!!) ... hauksson’s “sonata” progresses in a similar fashion (substitute the instituut’s hand-wired modules with ems stockholm’s sprawling ems synthi 100 & buchla systems ; the same heard on akos rozmann’s epic “images of the dream and death”) utilizing a wide array of barber-pole / shepard tone patterns at the piece’s crescendo before settling into a long section of wafting fm tonalities that wouldn’t at all seem out of place on an autechre lp ...

this creel pone edition comes complete with a reprint of the 4-page booklet in both icelandic and english, containing an excellent overview of “icelandic electronic music(from the early 60s to the mid-80s), composer bios and information regarding the specific construction of these two epics ...
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 single-sided six-color inkjet-printed hand-cut photo-stock booklet
1 x double-sided four page one-color laser-printed hand-cut insert
1 x six-color inkjet-printed compact disc recordable in a high-density round-bottom cd sleeve


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 $9.86

new to stock as of
april 4th, 2008


threads:
1970s-electronic
analogue-synth
modern-composition
electro-acoustic-composition
electro-acoustic-improvisation
live-electronic

 best of 2008 !!! 
creel pone (hungary) #cp 086 cd

laszlo dubrovaylive electronic” compact disc-recordable

  • “a2(to erhard karkoschka) (16:35) 1975
  • oscillations no.3 (9:54) 1977

  • oscillations no.1 (to karlheinz stockhausen) (17:58) 1976
  • oscillations no.2 (11:48) 1977
... 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 duet between dubrovay and partner zsuzsanna kiss, then a killer 18-minute auto-filtered electronic organ / synthesizer droner (thick, sliding tones, never quite reaching any kind of tonal center, with errant flurries of fizzy vclfo’ed resonance-figures ...), & finally a sparse, electronically-enhanced cimbalom & cello piece (using the ring-mod in its lowest-frequency settings, resulting in almost auto-gate sound rich with deep, filtered out passages) ...

notable both for being one of the earliest eastern-europeanclassicallive-electronic sets ; certain sections recall the more freewheeling electro-acoustic improv of il gruppo, mev, and even david tudor’s reading of larry austin’s “accidents” ... once again, mr p.c. c.p. has dug up a fine slice of early electronic-music experimentation missing from the myriad history-books & documentation ...

this creel pone edition replicates the eye-popping cover-art, with its ems vcs3 pin-matrix ...
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 single-sided six-color inkjet-printed hand-cut glossy-photo-stock booklet1 x six-color inkjet-printed compact disc recordable in a high-density round-bottom cd sleeve.

laszló dubrovay
zongora • piano (a)
elektromos orgona • electronic organ (b)
(yamaha yc-45 d)

zsuzsanna kiss
szintetizátor • synthesiser (a, b)
(ems [london] ars)

gyula sfuller
hegedú • violin (a/1)

kafalin vas
gordonka • cello (a/1, b/2)

ilona szeverényi
cimbalom (b/2)

gabor kósa
ütohangszerek • percussion (a/1)


recording producer: dóra antal
recording engineer: judit lukács
front-cover: ems ars synthesiser
design: sandor sajnovits
mhv recording
made in hungary (p) 1979
the record can be played with a stereo or mono cartridge.

“a2

this work consists of two layers, one being determined by a permutation principle, and the other by a melody (sequence).

the melody - by the acceleration and retardation of its notes, or by the stopping on one or other of the notes - organizes both polyphony and simultaneous sounding as well as all the inner movements of the piece. the same melody controls the modulation processes of the sythesiser which transform the original notes of the instrument.

by the end of the work the two layers merge into each other; the synthesiser's own sound is heard while at the same time modulating the sound group of the cow bell and the other instruments determined by the permutation principle.

oscillations

all three pieces are built on an identical composition principle. the triangular voltage fluctuation (wave) fed into the sequencer of the synthesiser, or the wave form motion of an oscillator produce changes in the original sound of the instrument which, according to the given wave shape, affect their frequency composition, timbre, dynamics and form of motion (articulation).

this oscillation principle naturally regulates not only the changes taking place within a note, but also the spatial and temporal relationship between the notes, thereby resulting in acceleration and retardation, condensation and rarefaction, intensification and softening. in short, it can organize all the parameters of music.

the musical material of the three works is quite different.

the notes, groups of notes and harmonies of oscillations no. 1 have been produced by the application of the permutation principle, while the note stock of oscillations no.2 is made up of the expansion and constriction of a mass of minor seconds into hyper major chords. the musical material of oscillations no.3 consists of a few cells. each cell has a stock of notes, characteristic only of itself, which originated by means of the coding of the permutation of a numerical series.

laszlo dubrovay

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threads:
electro-acoustic-composition
analogue-synth
musique-concrète
minimalism-drones
psych-prog
1970s-electronic

 best of 2007 !!! 
creel pone (france) #cp 074 cd

cecil leuterspectacular stereo sounds • les sons électroniques de cecil leuter” compact disc-recordable

  • glissandorama (2:05)
  • les pas du geant (1:35)
  • pluie d'or (1:00)
  • chair de poule (1:35)
  • fantome lunaire (1:24)
  • pulsations électroniques (1:05)
  • bombe atomique (1:33)
  • agonie des planètes (1:25)
  • retombées nucléaires (1:01)

  • matière en fusion (1:22)
  • la guerre des colosses (1:43)
  • danse des gouttes d'eau (1:58)
  • larmes de glace (1:54)
  • frémissements atomiques (1:56)
  • fuite d'eau (2:05)
  • l'ordinateur déréglé (1:34)
  • dialogue dans l'espace (1:25)
...and we’re back on track; creel pone here returning from a two-month hiatus with this superb collection of minimal bleepery from noted library music composer cecil leuter (aka roger roger) originally issued by the neuilly label in 1971...

this isn’t exactly the funk & bleep fest of leuter’s recently reissued “pop electronique”, instead a set of short, thematic pieces consisting of abstract electronics, gated vocals, rudimentary rhythm-box studies, and some inspired sun ra/cecil taylor lineage keyboard abuse...

impressively distorted/lo-fi bursts (sounding like worn-down/pre-owned tape) followed directly by screaming high-end sweeps & gurgles. some of it is in the same ballpark as the ruth white creel pone production-wise, yet this has much more festive feeling about it...

when i listen to this i imagine french teens sitting on shag carpets, melting their johnny hallyday singles in pots of boiling water upon discovering this alien future-music. but of course this was only distributed internally by neuilly at the time & had to wait 35+ years for mr. creel pone to come along and liberate these sounds from the collective unconscious ...
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 single-sided six-color inkjet-printed hand-cut photo-stock booklet
1 x six-color inkjet-printed compact disc recordable in a high-density round-bottom cd sleeve

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 $9.33

new to stock as of
march 3rd, 2006


threads:
1970s-electronic
live-electronic
machine-music
site-specific
experimental-instruments
electro-acoustic-improvisation
electro-acoustic-composition
analogue-synth
concert-recordings

creel pone (france) #cp 033 cd

pierre henrycortical art iii” compact disc-recordable

  • cortical art iii (1) (enregistrement public en l’abbaye saint-victor de marseille le 5 septembre 1973) (24:36)

  • cortical art iii (2) (enregistrement public en l’abbaye saint-victor de marseille le 5 septembre 1973) (24:57)
... what better way to celebrate creel pone #33 (the significance? you decide...) than to offer a follow-up to the title that put mr c.p. on the map (no... not tom hamilton’s “pieces for kohn” - although that was in fact the first and is amazing, now deleted) ... behold - the third staging (at the 8th international conference of electro-encephalography, no less) of henry / lafosse’s cortical art, engineered by a young bernard bonnier (more on him later in the series) ...

where “mise en musique du corticalart” wowed us all with it’s full-on synth-noise grind in song-length segments, “cortical art 3” slowly builds over two side-length performances from a whisper of nervous oscillator-gurgle into a storm of frenzied bleeps and a distorted hash of brainwaves & analogue filtering ... in a way this trumps even the “mise” lp - although given you’re going to need a slightly longer attention-span for it to truly “work(there are all sorts of references in the french text below to “alpha” and “betabrain waves ... get out your bi-focals...)

what’s interesting to me is that this is actually a room recording of the performance ; all of henry / bonnier’s knob-twiddling and button-pressing quite audible (as are the audience’s coughs and whispered comments to each other... or maybe i’m just imagining things) ... and yes the room erupts in riotous applause at the end (god bless those early 70’s provençal audiences !!!) ...

ed maurer said it best :: “what a performance this must have been to witness, as this is one of the most over-the-top recordings of all time.” ; i can only agree ...
creel pone press release...

this creel pone edition includes:
1 x crystal-clear re-sealable polypropylene cd sleeve with a green / gold foil stamp affixed to the exterior
1 x double-sided professionally printed full-color semi-gloss photo-stock booklet
1 x six-color inkjet-printed compact disc-recordable in a high-density round-bottom cd sleeve

cortical art iii
pierre henry


audio improvisations recorded in public at the concert for the inauguration of the 8th international meeting of electro-encephalography and clinical neurophysiology in marseilles on september 5, 1973

the execution of cortical art :
concept and technical assembly roger lafosse – groupe artec (bordeaux)
sound direction pierre henry assisted by bernard bonnier :
electroacoustic studio apsome – j. heuze
photo back: david henry
right: tableau of jecques wyrs


pierre henry improvises on the cortical art iii

in the first two weeks of september, 1973 an international group of electro-encephalography and neurophysiology professionals gathered in marseilles; the group was led by its president professor gastaut and a significant number of doctors and researchers.due to their experience and knowledge, on september 5th the members of the congress were convened to attend a concert at the saint victor abbey by composer pierre henry. they were to witness a recently perfected instrument that tapped into the cerebral electricity of its user: the corticalart, on which pierre henry improvised that evening, creating nearly one hour of music straight from his brain.

this recording was made at the scene, in public and is a direct account of the sound created in the abbey. it did not undergo any processing or mixing of any sort.

alpha, beta and artifact waves

those who were lucky enough to witness pierre henry’s improvisation on corticalart (besides those who’d been privy to his performance at the musée d’art modern in paris in 1971* and at the winter circus in 1972) in an intense state of cerebral concentration, would never forget it.a great adventure into a world of audio hitherto unexplored, this exercise was a fascinating spectacle. it is important that we can discuss it without fear of speaking of hypnosis, catalepsy, "black mass" or séances. however, cortical art is only one instrument like others (or, almost like them), that uses all the resources of modern technology with regards to electronics, but fundamentally no more cumbersome than a pedal organ. cortical art uses alpha-rays, a hundred-year-old discovery, whose existence was proven by german, hans berger, to a musical end.

it is composed of an electric wave of variable frequency (between 8 and 12 cycles per second), emitted in the occipital-temporal regions of the human brain by two symmetrical generators, oscillating at about the same rate. the waves’ rate seem to vary within the subject, and can be collected directly on cranium using electrodes. the waves are identified as either alpha waves (slow rate/rhythm, corresponding with a state of inattentiveness, relaxation and rest) or beta waves (a fast rate, implying alertness, attentiveness and activity) according to their frequency. on the front of the subject one can collect signals known as artifact which are related to the muscular activity of the eye.

the invention of corticalart

let us now transform this electric transmission into audio signals: the individual, the musician, becomes at once his own material and the material’s own interpreter. it was in the hope of implementing the school of thought (fanatical identification on the philosophical level) that musician and researcher roger lafosse came to imagine, and then to build with the technical assistance of the groupe artec de bordeaux a preliminary version of the cortical art. the instrument was then developed and improved for a richer and more flexible use.

a solo instrument

whereas pierre henry combined his preceding "mises-in-musique du cortical art" with mixtures of pre-recorded sequences made using studio equipment, the instrument alone is what is experienced here. its music has a brut, incomparable, "prehistoric" force. each moment of the improvisation, its beginning which resembles a dawn, its increasingly loud sound pushes, its glorious efflorescence, its baroque summits, holds its own, but as a whole it appears welded together by its extraordinary dramatic progression, perhaps related to the fight of the composer to go down increasingly deep into himself.

--- anne rey

* "mise en musique du corticalart", disc nº 6521 022 (cp 002 cd)


translation :: sam brelsfoard

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new to stock as of
february 17th, 2006


threads:
1970s-electronicinvented-instruments1940s-electronic1960s-electornic
modern-composition
electro-acoustic-composition
electro-acoustic-improvisation
experimental-instruments
sound-poetry
1970s-electronic
1980s-electronic

creel pone (brazil) #cp 032 cd

jocy de oliveiraestórias para voz instrumentos acústicos e eletrônicos” compact disc-recordable

  • estória ii para voz percussào e fita (9:35) 1967
  • wave song para piano e fita (8:07) 1977
  • dimensòes para quatro teclados (5:53) 1976

  • estória iv para vozes violino electrônico baixo guitarra e percussào (22:38) 1978
... as the word of the creel-pone revolution spreads, collectors and aggregates far and wide have gotten in touch with mr. p.c. c.p., asking how they can contribute to the cause... the answer is simple ; avail your personal collection of early-electronic knowledge / wax so that others may benefit from the fruit it bears...

here we have a fine example of just what exactly is lurking out there ; a fine 1981 collection of “stories” for voice, acoustic, and electronic instruments composed by ms. jocy de oliveira between 1971 and 1980 (originally released on the micro “fermata indústria fonográfica ltda. imprint), lent to mr. p.c. c.p. by a mysterious individual known eponymously as “von.”

aside from being the first bit of brazlian early-electronic music that i’ve ever heard, it is a magnificent display of vox-electronic fireworks ; ranging from joan labarbara-esque squiggles over a melange of traditional brazilian / orchestral percussion and just messed-up garbled-tape zombie-riffage to full-bore synthi / buchla / arp squabble & resonant dronework ... the last piece alone comes across like the lost tropicalia / psych / free-vocal / ring-modulator freakout / jam hybrid that you’ve only dreamt about ... absolutely gorgeous and a fine addition to the c.p.canon” ...
creel pone press release...

this creel pone edition includes:
1 x crystal-clear resealable polypropylene cd sleeve with a red / gold foil stamp affixed to the exterior
1 x one-sided six-color inkjet-printed hand-cut glossy-photo-stock booklet
one-color inkjet-printed compact disc recordable in a high-density round-bottom cd sleeve

works by jocy de oliveira

side a

a) estoria ii (for voice, percussion and tape) written in 1967


estorias (for voice, acoustic and electronic instruments) is a work in progress; a series of pieces which are recollections of dreams and memories, a kaleidoscope of sound, words and images. they are concerned with the transformation of language and sound --- the voice and image of a woman.

in estoria ii the idea started as a cell made up of certain words and groups of phonems forming a text with multiple meanings. the text emphasizes "a maria" which means' a woman, anybody or anything. in truth this "maria" is connected with the amorality of nature. the text explores sounds and groups of consonants related with nature, sonic and rhythmic relations, play upon words, euphonic similarities, popular sayings, emphatic repetitions, etc. the musical notation started in my mind as a quite explicit one; however, in the process of writing it i realized i was trying to keep in traditional measures a spontaneous relation of speech-sound. the clarity of symbols was interfering with the quite improvisatory form. without any rehearsal i placed the scheme of phonems and words near to the microphone in front of the soprano rozalyn wykes and myself. while i would read (in a modulated speech) and improvise sounds and words, the singer would foliow the nuances of the portuguese language in a "spreachgesang" manner or singing. this was the source for the elaboration of the tape part. this liquid clear voice passes through the tape as a parallel to the symbolism of the text. as the work progresses it fol1owsits way distorting itself, loses its character and changes its vocal personality --- becoming like a wind. instrument.


b) wave song (in collaboration with ron pellegrino) written in 1977 (for piano and tape)


wave song was performed as a real time composition by myself using an amplified piano and electric celesta, and ron pellegrino using four synthesizers (2 synthi aks, arp 2600, buchla electric music box) and laser during the festival for new musicin rio de janeiro in 1976. later this piece was developed for piano with tape in the version heard in this recording.

the piece motivates a peaceful state of mind, a sort of attaining alfa. the piano part in this version is almost to be transinitted orally. it is not to be improvised but rather developed in the oriental sense as, for instance, in a raga. although the compositional material is planned, it should flow spontaneously.

the pianist uses a mode based in the same harmonics heard in the tape. it is performed as softly as possible, light, very fast and superficially as if the fingers were butterflies. the piano is prepared with ping pong balls.


c) dimensoès para quatro teclados (for four keyboards played by the same performer)


written in 1976 this is a piece conceived to be played by one performer using four different keyboards. four electric or amplified instruments are placed in square position with the performer in the center. (for this version, recorded during as iscm concert in denmark, i used an electric piano, electric organ, amplified piano and harpsichord.) the composer/performer combines the possibilities of exploring the four timbres. it is also a challenge to the performer to be able to reach the different keyboards at the same time, considering the need of different touches and to maintain a continuous sound. as a sort of player/actor, the performer switches from one instrument to another in a busy mimic related to the keyboards. the combination of the four instruments is used in added formula - 4c2 +, 4c3 + 4c4 - which can also be employed in the elaboration of multiplying new instruments to infinite possibilities of different pieces. this recording was made live during the concert without any prerecorded effect.


side b

a) estoria iv (for voice, electronic violin, bass guitar and percussion) written in 1978, revised in 1980


i started to compose estoria iv in 1978; i revised the version heard in this recording in 1980, when the piece was also first performed.

the text is composed of a polarity of meanings with semantic and rhythmic correspondence through a series of words connected to each other in blurred relations of dreams and memories, intelligible reflections on life and death. this is a play upon words and sonic relations between some words in portuguese, sanskrit and japanese. the text emphasizes "era tuna vez uma memoria" (once upon the time there was a memory). then, following "era uma vez", instead of "uma maria", there is in sanskrit, "uma mahes vara" (the supreme deity wed to the peace of night). the use of words "sonho" (in porguguese, dream) and "shomyo" (art of singing in japanese), "nada" (intelligible sound in sanskrit), and "nada" (nothingness in portuguese) and so on. the voice part is inspired by oriental vocal techniques (multiphonic, raga, shomyo) combined with contemporary western means. the performer tells a story impossible of being verbalized by an oriental because its language is too occidental and vice-versa. this piece is like the dream of meeting of cultures. the optimum condition for performing this piece is to have the singer working with the composer. it is also suggested to have during the performance a second voice (such as the composer) following the same text in order to be a leading element to choose, manipulate sounds and modify the singer voice. (this is how we performed in this recording.) the words do not have to be understood by the listener but used by the interpreter as a leading cue for choice of phonems. it should be sung as slow as possible as if a tape were being played backwards in a wrong and slow speed.

the electronic violin is an instrument made by "vitar" with five strings. the performer uses the pitches from the raga "vibhasa" to develop his part. the violin and the bass guitar parts should blend completely. my concern for the bass guitar as well as for the percussion was to find new sonorities. this whole piece was played live without any prerecorded effect.



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new to stock as of
october 21st, 2005


threads:
1950s-electronic
musique-concrète
electro-acoustic-composition

creel pone (france) #cp 019 cd

philippe arthuysle crabe qui jouait avec la mer” compact disc-recordable

  • le crabe qui jouait avec la mer (1) (13:46)

  • le crabe qui jouait avec la mer (2) (11:25)
... good to see that we’re back on track ...

here’s a beyoot of a 1955 radio-play, based on a short story by rudyard kipling, featuring one of the only full-length bits of musique concrète by the ortf / ina-grm aligned composer philippe arthuys ...

heavy french texts pervade the goings on throughout, but then again with it’s all-ages appeal, it’s kind of the first creel pone that’s for everybody (well ; everyone that speaks french ...) ; absolutely gorgeous cover with it’s depiction of psychedelic crustaceans only sweetens the deal ...

early and covetable, i’m feeling it ...
creel pone press release...
this creel pone edition includes ::

1 x crystal-clear resealable polypropylene cd sleeve with a custom foil stamp affixed to the exterior
1 x single-sided six-color inkjet-printed hand-cut card-stock booklet
1 x one-color inkjet-printed compact disc recordable in a high-density round-bottom cd sleeve

quant à philippe arthuys (paris 1926), son contact avec la musique concrète a coïncidé avec la période où celle-ci a pu paraître essentiellement destinée à renouveler la musique dramatique. le tempérament d’ arthuys s accommodant bien de cette tendance, il a recherché surtout les rapports de la musique avec la poésie ou l image, dans des œuvres illustrant des textes de kipling (le crabe qui jouait avec la mer, 1955) ou d’ apollinaire (“le voyeur”, pour un film de gruel, 1956). la libération d’esprit et de technique ainsi trouvée a influencé les musiques de films (“la cage de verre”, paris nous appartient”), dont il s’est fait depuis une spécialité.

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 $9.18

new to stock as of
october 14th, 2005


threads:
1960s-electornic
1960s-electronic
electro-acoustic-composition
musique-concrète
machine-music
library-music

creel pone (usa) #cp 018 cd

the inside of the outside / or the outside of the insidewho are they? where do they come from? why are they here? (dialogue in space)” compact disc-recordable

  • konjugationen (9:10)
  • ghostly drumming (2:45)
  • echo (1:25)
  • swarm of insects (1:40)
  • industry (1:05)
  • matellurgy (1:40)

  • work in space (1:20)
  • destruction (2:20)
  • saturn (2:00)
  • thunder and lightning (2:25)
  • dance of the unknown (2:35)
  • terror (2:15)
  • spherical exotic (1:35)
  • hectic (1:15)
  • sparkling particles (1:35)
  • steel-harp (1:00)
  • lunacy (1:07)
  • tears (0:25)
  • sounds on venus (1:55)
... 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 (below) alone, even before the music itself hits your ears ; a fine mist of space-age paranoic lo-fi / end rumbles and truly insane, tape-augmented guitar-skrabble :: so perfect that ... did i not know better (sometimes i wonder if i do) i’d think this was a hoax ... but then again, even if it is someone has gone through a hell of a lot of trouble to concoct something very close to my own definition of the perfect record ...
creel pone press release...

this creel pone edition includes:
1 x crystal-clear re-sealable polypropylene cd sleeve with a green / gold foil stamp affixed to the exterior
1 x double-sided professionally printed full-color semi-gloss photo-stock booklet
1 x six-color inkjet-printed compact disc-recordable in a high-density round-bottom anti-static cd sleeve

"what is at the bottom of it all?" he said to me as we moved out into space at a rate of 23,000 miles per hour. we were moving at a disappointingly slow rate because at this speed it would take us something likethree months to get to mars if our calculations were correct and we both knew that we only had enough capsules to last us for four months. everyone who knows anything about space travel knows that in space a month is a very short time, it becomes like a week and then the further out you get, a day, and finally when you begin to get a little weary it seems like an hour. even at that it had taken us 641 days at 40,000 per hour to get to that unbearably hot saturn several years ago and we had determined never to take such a long trip again only to find that when you got there either the heat or the cold would force you away with not ev.en a good chance to make a really thorough search of the place. and here we were going only 23,000 and foolishly, as though perversely, not sure that we had enough nutrition aboard to last us for any length of time if we missed or overshot "there's nothing at the bottom of it," i said. "there's nothing at the bottom nor at the top. in fact, there is no bottom and there is no top. there is only an outside and an inside. we are now inside a bottle but the bottle is on the outside and that means we're on the outside"

"and yet," he said, "just as there is no top or no bottom, there is also no inside nor outside. what is outside is inside and what is inside is outside. but when i said, what is at the bottom of it all, i meant what is the reason for our being sent."

"i'm surprised that one as intelligent as you should ask that kind of question. do you remember when they first came to the white plains outside, rather, i should say, in the environs of new york? what did we say and what did they answer when we asked, "who are they? where are they from? if you recall, they said in a sort of pigeon english, making those peculiar bird.like sounds we later deciphered, "we were sent." and when we asked them who sent them or why they were sent they were speech. less. the question of who what when or why did not seem to occur to them at all. theirs was not to reason why, theirs was but to-well, we never did find out what theirs was to. nevertheless it must be admitted that they were charming little creatures, especially as they stood there radiating, giving off their high intensity, tungsten-light glow. the amazing thing about them was that their intellect also seemed to radiate so that we had to record their oscillations and with the help of our commuters, pardon me, i meant computers, figure out their ideational system. how innocent they were. imagine, they did not understand when we asked them about their people, cus. toms, habits, government, military potential, and so on imagine, it was only those four and four others who were running their whole planet, keeping it glowing in the heavens as a beacon for all our travelers, air and space strange, too, wasn't it, to our minds, to have them turn out to be timeless, indestructible and without dimension imagine to be able to appear at one time no more than four feet high and at another time and place to extend in a straight, thin line for two million miles, still possessing their radiant intellect"

"it's rather charming," he said, "to realize that they had outgrown the need for population, that eight of them could do without several hundred million others who must at one time have peopled their planet. wet1, not really peopled. but whatever they were. just think of a society which grows so efficient that it stops needing people or members or whatever you call them. generation by generation, or era by era, eon by eon, only the necessary survive, only those who motivate and simultaneously activate survive. it's stupefying to think of, the sheer grandeur of such evolution. how can a purely industrial or business phenomenon ever hope to achieve such a perfect development?"~ it seemed that we were getting nowhere with our conjectures and being approximately seven hundred seventythree thousand miles from our paling planet, distant enough so that we could begin to pick up sounds and signals from other senders throughout the galaxy, i sug gested that we relax a bit and listen to some of these transmissions, always a fun occupation. our own signal was emanating at its usual intensity and i knew we were getting out and would be noted throughout our sphere but it was always interesting to hear these other signals we opened up our receiver and let them come through, listening and relaxing as we had done so many times before to these sounds of other worlds, other spirits, other machines, vibrating, vibrating, radiating, sending, sending, sending; like deathless souls, emanating forever their identity.

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to add this to your
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 $9.14

new to stock as of
july 29th, 2005


threads:
1960s-electornic
1960s-electronic
1970s-electronic
electro-acoustic-composition
musique-concrète
analogue-synth
plunder-phonic

creel pone (canada) #cp 014 cd

carrefour • musique électro-acoustique” compact disc-recordable

  • otto joachim - 5.9 (5:54) 1971
  • paul pedersen - for margaret motherhood and mendelssohn (4:20) 1971
  • m. coulombe-st-marcoux - zones (9:00) 1972

  • peter huse - space play (3:30) 1969
  • michel longtin - la mort du pierrot (5:20) 1971-72
  • hugh lecaine - mobile (1:50) 1970
  • david paul - eruption (6:06) 1971
... mid-70’s rundown of the “psychedelic eraquébécois electro-acoustic composer-scene ; contains pieces by the well-known (hugh lecaine) to the time-obscured (just about everyone else including the recently re-discovered micheline coulombe st. marcoux) ... especially strong pieces include peter huse’s “space play” from 1969 (again: space + early electronix = winner, every time), michel pongtin’s “la mart du pierrot”, and of course the st. marcoux & lecaine pieces (listen to the sound-sample for a taste of the levels of bombast gotten up to by the former) ...

occasional mis-steps hurt the head (i could do without the recast wedding march in the pedersen piece, although parts of it are extremely edit-heavy ... some of the synth sounds in the david paul piece haven’t exactly aged well) ... but do little to cloud the overall vision on display continuously throughout ... leave it to mr. p.c. c.p. to trawl the globe, slowly enlightening us to the goings on in electronic music studios the world over, one era / studio / batch / record at a time ...
creel pone press release...

this creel pone edition includes:
1 x crystal-clear re-sealable polypropylene cd sleeve with a green / gold foil stamp affixed to the exterior
1 x double-sided professionally printed full-color semi-gloss photo-stock booklet
1 x six-color inkjet-printed compact disc-recordable in a high-density round-bottom anti-static cd sleeve

previous record label:
 creative sources 
...and that's everything on creel pone in stock.
(why not take a look at the previous and next labels?)
next record label:
 crouton 
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... this page was last updated on wednesday, april 23rd, 2014 @ 11:51 am