.home..artists..labels..new..restocks..best..faq.
.soon.
... the "closeoupacolypse" is ending ; shortly i will begin removing items from our closeouts section (in order by catalogue number, as they were listed) & placing the remaining stock in deep storage to make room for new inventory ; please finalize your selections this week ...
previous record label:
 creative sources 
there are 63 titles on creel pone in stock.
they are listed below.
next record label:
 crouton 
click the image above
to add this to your
shopping cart
 $10.63

new to stock as of
august 16th, 2013


threads:
1970s-electronic
analogue-synth
electro-acoustic-composition
free-improvisation
guitar-themed
live-electronic
modern-composition
psych-prog

 best of 2013 !!! 
creel pone (spain) #cp 163 cd

itviaje” compact disc-recordable

  • 1º (10:16)
  • 2º (12:45)

  • 3º (22:00)
... in 1976 the fairly squaremovieplay s.a.imprint (via their slightly hipper “serie gong”) quietly issued this monster of a live-electronic / psych-freakout opus (oddly, alongside canonic titles by inti-illimani, victor jara, et.al ... all considerably more “inside”) by the then-unknown composers eduardo polonio & horacio vaggione ...

... predating the latter’s canonic cramps-label debut “la maquina del cantar” by a couple of years, this is miles away from the controlled generative transfixations of said, instead figuring around the more iterative synthesizer, organ, guitar, and bass basheries laid down by the pair & post-processed heavily into something more in line w/ the best of krautrock’s studio-excesses (günter schickert’s less rhythmically conservative work & the more outré faust experiments come to mind, but there are also sections that are heavily reminiscent of seeselberg & even some of schnitzler’s early solo outings) ...

... unbelievably great, one of the (unheralded) missing links in the electronic-psych canon, brought out into the open after remaining a (well-guarded, i’d literally never heard of this until now) secret ...
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 linen-stock booklet
1 x six-color inkjet-printed compact disc-recordable in a high-density round-bottom anti-static cd sleeve

click the image above
to add this to your
shopping cart
 $10.62

new to stock as of
august 2nd, 2013


threads:
1970s-electronic
1980s-electronic
analogue-synth
electro-acoustic-composition
musique-concrète
minimalism-drones

creel pone (usa) #cp 162 cd

jack tamulelectro/acoustic” compact disc-recordable

  • genesis (6:36)
  • lament for gettysburg (8:12)
  • canon cancrizans (5:07)

  • fantastia (6:38)
  • mogul (6:57)
  • wave rhapsody (6:43)
... lovely set of tape-music by composer jack tamul, issued in 1980 by spectrum (not the wergo sub-label, but the same bear mountain-area powerhouse that released william hoskins’ “galactic fantasy” & william strickland’s “an electronic visit to the zoo” the year prior) “recorded at the jacksonville museum of arts & sciences ...

... starting with a series of pieces incorporating acoustic materials (“genesis” is a choir piece peppered with synthesizer & tape-manipulation ; “lament for gettysburg” is purely choral ; “canon cancrizans” is a pure tape-work utilizing accordion sounds) the pieces progress towards the fully-electronic, with a trilogy of fine synth-based constructs (the sleeve lists the gear used in exacting detail :: prophet five, arp 2600, moog satellite ... and a bevy of “modifiers and miscellany”) offering a range of motifs from “fantasia” ‘s eerily prescient synth-drones (seriously, if someone played me this claiming it to be a new spectrum spools release, i’d believe it wholesale - listen to the sound-sample) to “mogul” ‘s rather dockstader-esque constructs, to “wave rhapsody” ‘s woozy slow oscillations ...
creel pone press release...
this creel pone edition includes:
1 x crystal-clear re-sealable polypropylene cd sleeve with a red / silver foil stamp affixed to the exterior
1 x 4-panel double-sided professionally printed full-color linen-stock booklet
1 x six-color inkjet-printed compact disc-recordable in a high-density round-bottom anti-static cd sleeve

click the image above
to add this to your
shopping cart
 $16.61

new to stock as of
october 25th, 2013


threads:
1960s-electronic
1970s-electronic
1980s-electronic
electro-acoustic-composition
musique-concrète
modern-composition
plunder-phonic
experimental-instruments
psych-prog

creel pone (spain) #cp 160-161 cd

andrés lewin richter / anna ricciinterpreta obras • musica electroacústica” double compact disc-recordable set

  • secuencia iii para anna (8:43) 1976
  • el viento iii (7:13) 1980
  • wagler walricci (5:30) 1981

  • el viento ii (homenaje a lorca) (9:21) 1979
  • om (5:58) 1975
  • el viento iv (6:23) 1980

  • fontecilla mix ii (22:23) 1978

  • baschetiada (12:13) 1980
  • densidades (2:25) 1963
  • estudio i (3:40) 1964
  • estudio ii (3:27) 1965
... issued in 1982 as a pair of separate lp’s by hemis ferio, this set covers the bulk of spanish composer andrés lewin richter’s electro-acoustic music (as opposed to his library work - issued by cam as a one-two-three punch of masterful mood-pieces under the “space electronics” moniker in 1977) segregated by his work with vocalist anna ricci (the first lp) and without (the second) ...

... incorporating a wide range of source materials (aside from ricci’s operatic & at times psychedelic splendour, we’re treated to the sounds of the baschet instruments on “baschetiada,” a plunderphonic reworking of wagner on “wagler walricci,” and all kinds of synthesized & processed noises available to richter via the classic 60’s “tape studio” toolkit :: primitive oscillator / synthesizer / filter topologies, ring modulation & gating circuits, and possibly the sproing-iest spring reverb i’ve heard on record - listen to the second half of the sound-sample for a taste) the pieces herein tend towards the alien & otherwordly, with a generally drenched & distant fidelity adding a murky, dark charm to the proceedings, recalling andré almuro’s similarly-hued, contemporaneous work @ the grm ...
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 4-panel double-sided professionally printed full-color linen-stock booklets
2 x six-color inkjet-printed compact disc-recordables in high-density round-bottom anti-static cd sleeves

click the image above
to add this to your
shopping cart
 $10.57

new to stock as of
february 15th, 2013


threads:
1980s-electronic
analogue-synth
electro-acoustic-composition
musique-concrète
plunder-phonic
guitar-themed
psych-prog

 best of 2013 !!! 
creel pone (france) #cp 157 cd

jean-marc foussatabattage” compact disc-recordable

  • grillage (1:10)
  • images & jalousies (9:34)
  • ruines (4:30)
  • petit paysage (1:50)

  • petit paysage (0:09)
  • hontes, inquiétude & quevoejotto (2:41)
  • abattage (14:06)
... recorded in 1981 & issuedprivately” in 1983 (on foussat’s own pyjama imprint) this is a screamer of a record, taking in a decidedly unique approach to minimal musique concrète assemblage (there’s an emphasis on presenting banal, interstitial in-situ sound-events [coughs, footsteps] that reminds of luc ferrari one minute ... before a sudden barrage of jackhammer-noise, plunderphonic mangling [is that ... barbra streisand !?!], and high-end oscillator scree takes over pushing this closer, aesthetically, to the early industrial forms that were just starting to take root) ...

... heavily featuring foussat’s virtuoso ems synthi stylings (his range of sounds & incredible technique presages contemporary players such as thom lehn ; listen to the sound-sample for a particularly gooey segment) the proceedings go from whisper-quiet to full-on apocalyptic abandon in a heartbeat ... in my dreams there are shops in exotic beach-side towns that contain racks full of contemporaneous records with this level of stylistic abandon & next-level technical prowess ; and yet i’ve thusfar only had the pleasure to discover this one ...
creel pone press release...
this creel pone edition includes:
1 x crystal-clear re-sealable polypropylene cd sleeve with a red / silver foil stamp affixed to the exterior
1 x 4-panel double-sided professionally printed full-color linen-stock booklet
1 x six-color inkjet-printed compact disc-recordable in a high-density round-bottom anti-static cd sleeve

click the image above
to add this to your
shopping cart
 $10.56

new to stock as of
february 1st, 2013


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

creel pone (belgium) #cp 156 cd

andre stordeur18 days” compact disc-recordable

  • to you (2:46)
  • memories (9:01)
  • my world (7:36)

  • cc.101.296 (12:36)
  • aphrodisiac (7:02)
  • nang na nang (5:08)
... the brussels-based igloo label was one of the main hotbeds of belgian avant-garde music in the late 70’s & early 80’s, issuing canonic work(s) by godfried willem raes (& his logos duo w/ moniek darge), jacques bekaert, henri chopin, leo küpper, artur petronio, henri pousseur, and many others, including this slept-on set by electronic music composer andre stordeur (whose only other issued work prior to this were a pair of pieces used to score a 1973 documentary on the artist gordon matta-clark) executed over (you guessed it) an 18-day stretch from december 1978 through january 1979 ...

... a purely didactic affair, the a-side’s “analog electronic music” features three pieces (presumably made w/ the pictured arsenal ; ems vcs3, arp 2600) that dovetail conceptually into the b-side’s “digital electronic music” ; there’s a tendency towards sub-divided rhythmics that recalls michael czajkowski’s “people the sky” - albeit devoid of said’s positivistic tendencies (the stark b/w artwork & stordeur’s grim visage on the back cover belie a darker sensibility) ; a better reference point would be the contemporaneous expurgations of mauriziom.b.bianchi, whose adherence to echo-laden polyphonics & mysterious “ghost in the machinenoises share a similar spec ...
creel pone press release...
this creel pone edition includes:
1 x crystal-clear re-sealable polypropylene cd sleeve with a black / gold foil stamp affixed to the exterior
1 x 4-panel double-sided professionally printed full-color linen-stock booklet
1 x six-color inkjet-printed compact disc-recordable in a high-density round-bottom anti-static cd sleeve

click the image above
to add this to your
shopping cart
 $10.55

new to stock as of
january 18th, 2013


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

creel pone (germany) #cp 155 cd

klaus röderelektronische kompositionen 1976-1983” compact disc-recordable

  • tanz (2:35) 1976
  • klangbild (19:15) 1980

  • mr. frankenstein's babies (10:42) 1979
  • konzertwalzer (9:21) 1977

  • polyphonie (13:12) 1982
  • kristallisation 1 (6:52) 1981

  • kristallisation 2 (19:00) 1983
... privately released as a pair of lp’s in 1981 & 1983, respectively, this set covers the early electro-acoustic work of german composer, guitarist, and electronic percussionist klaus röder, a student of milko kelemen & günther becker’s (more on becker later in the series) ; member of the free jazz band synthesis (along w/ gerhard illi ... not to be confused w/ the arthur blythe / olu dara / david murray group of the same name) who formed an electronic music studio in solingen to realize his idiosyncratic experiments in hyper-rhythmic, cut-up musique concrète in the mid-70’s ...

... meticulous, frenetic, and wryly humorous, the pieces here often show röder’s dexterity as an instrumentalist (there’s a fair bit of classical guitarshredding” peppered throughout) but consistently show him as a master of assemblage ; there’s an incredibly prescient sense of rhythmicprogramming” that, at times, presages dance / electronic music’s rush towards feverish complexity in the mid-late-90’s ...

... this creel pone comes with a separate booklet for each individual lp, with both sets contained tidily on a single compact disc-recordable ...
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 4-panel double-sided professionally printed full-color linen-stock booklets
1 x six-color inkjet-printed compact disc-recordable in a high-density round-bottom anti-static cd sleeve

click the image above
to add this to your
shopping cart
 $10.53

new to stock as of
november 2nd, 2012


threads:
modern-composition
electro-acoustic-composition
musique-concrète
live-electronic
machine-music
1970s-electronic

creel pone (usa) #cp 153 cd

david copek • weeds” compact disc-recordable

  • k (20:39)

  • weeds (21:44)
... issuedprivately(via his own “discant records” ; the label’s sole release) in 1971, this was the recorded debut of composer & author (his “techniques of the contemporary composer” was a big help in my post-collegiate years) david cope, consisting of two side-length pieces for live instruments, demonic loud-whisper vocals, and analog electronic processing (according to the liner notes, cope played back “early tapes of his own works, altered through a moog synthesizer at the electronic studio of the cleveland institute of music”) ...

... what’s immediately noticeable is that these pieces really don’t sound like any other one thing, merging a cyclic, at-times sea-sick sensibility (the loping piano figure & pointillist lid-smash antics of the tail-end of the second piece def. make me woozy !!!) with the kind(s) of hör-spiel & avant-cabaret-leanings robert ashley et.al would explore in the coming years (of note ; “k” is symbolically linked with a samuel beckett play, which gives some indication of the conceptual frameworks at play herein) ...

... definitely one for the lovers of the darker end of the early-electronic spectrum ; parallels can be drawn, contextually, to ruth white’s baudelaire realizations & even such agitprop work as salvatore martirano’s “l’s g.a.” ; another missing link, thought awash in the void eternal, now anchored safely ashore by the p.c. c.p. brain-trust ...
creel pone press release...
this creel pone edition includes:
1 x crystal-clear re-sealable polypropylene cd sleeve with a red / silver foil stamp affixed to the exterior
1 x 4-panel 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

click the image above
to add this to your
shopping cart
 $16.51

new to stock as of
october 5th, 2012


threads:
1970s-electronic
1980s-electronic
analogue-synth
machine-music
electro-acoustic-composition
psych-prog
minimalism-drones

 best of 2012 !!! 
creel pone (belgium) #cp 150-151 cd

jean hoyouxplanètes” double compact disc-recordable set

  • les saturnales (12:33)
  • zeus (9:33)

  • la marssivité (7:44)
  • la blancheur ouverture (10:02)

  • ballade a venus (8:05)
  • le mercurial (13:47)

  • hymne au soleil (23:16)
... this 1981kosmichestunner (originally issued by “crets” ; or centre de recherches et d’etudes en thérpies sonores in a miniscule, “internal” edition) follows en ligne w/ the jean-jacques perrey title 10 or so “crelplersback ; it’s seven extended pieces form a course of “sound therapysimilar in tone to angel rada’s “hand-playedexplorations in rubato-rooted forms ...

... the largely tonal pieces (recorded using string & choir synthesizers, vocoders, drum machines, etc. along with a heavy battery of phasing & time-based effects) lands somewhere between a “library-music” - styled mood excursion and a genuinely transformative mind-melter that ranks as one of the more obscure entrants into the ... obscure electronic music canon ...

... this creel pone replication does justice to the lovely gatefold & includes scaled-down replicas of the seven individual inserts (one for each piece) ...
creel pone press release...
this creel pone edition includes:
1 x crystal-clear re-sealable polypropylene cd sleeve with a black / gold foil stamp affixed to the exterior
1 x 4-panel double-sided professionally printed full-color semi-gloss photo-stock booklet
7 x 2-panel inkjet-printed six-color inserts
2 x six-color inkjet-printed compact disc-recordable in high-density round-bottom anti-static cd sleeves

click the image above
to add this to your
shopping cart
 $10.49

new to stock as of
august 17th, 2012


threads:
1970s-electronic
1980s-electronic
analogue-synth
electro-acoustic-composition
musique-concrète
minimalism-drones
modern-composition

creel pone (belgium) #cp 149 cd

joanna bruzdowiczhomo faber • dum spiro spero” compact disc-recordable

  • homo faber (1970-1975)

    le souffle
    la solitude

    la sérénité

  • dum spiro spero (1981)

    naissance d’une vie
    jeunesse
    amours et chagrins
    illusions et raisons
    sagesse
... creel pone treatment of this majorly slept-on set of dark, minimal, surrealist electro-acoustic & musique concrète pieces from the polish composer joanna bruzdowicz, a member of the grm under pierre schaeffer’s tutelage between 1968 & 1970 & long-term collaborator of agnes varda’s (for whom she scored several films from the mid-80’s on, including “les glaneurs et la glaneuse”) ...

... the lp in question (the only one to feature her electronic work) consists of the three-parthomo fabersuite (composed in belgium between 1970 & 1975 at the storied ipem in ghent) & a 5-part suite of flute (performed admirably by marc grauwels) & electronic miniatures , “dum spiro spero(composed in 1981) ...

... ranging from edit-heavy concrète assemblages to more serene & focused tonal studies (such as the gorgeous bit in the sound-sample) this set shows the work on a composer exhibiting complete technical & conceptual control over the early european tape-studio in a way that few truly did ; remarkable this music has flown under the radar for so long ...
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 semi-gloss photo-stock booklet
1 x six-color inkjet-printed compact disc-recordable in a high-density round-bottom anti-static cd sleeve

click the image above
to add this to your
shopping cart
 $10.48

new to stock as of
august 3rd, 2012


threads:
1970s-electronic
musique-concrète
electro-acoustic-composition
analogue-synth
plunder-phonic
minimalism-drones
lo-fi

creel pone (austria) #cp 148 cd

wilhelm zobländere die welt, sie braucht es” compact disc-recordable

  • ändere die welt, sie braucht es (15:00) 1973

  • zwischenraum (16:00) 1971
... it’s rainingmusikalische jugend österreichstitles !!! this collection of agit-prop tape music & raw tone-combination studies by the austrian composer wilhelm zobl was recorded (with eugeniusz rudnik’s invaluable aid) at studio eksperymentalne & vienna’s institut für elektroakustik der musikhoschule wien in 1973 & 1971 (respectively) & remains (other than an appearance on a super-weird 1985 collection entitled “antithesis” - where he appears alongside “works of electronic music” alumnus thanos mikroutsikos, frederic rzewski, and erwin ortner’s arnold schoenberg choir) his only recorded output from the lp era ...

... the two side-length pieces here are tours-de-force, merging a heady, agitprop early-70’s concrète / radio-play hybrid (the a-side’s “ändere die weltsie braucht es” - in spots not too far removed from a “hymnen” / “fantasmata 1960” hybrid) with a side of janked raw oscillator drift (the b-side’s “zwischenraum” ; whirring, dissonant agglomerates of nasty sawtooth buzz & fizzing fm synthesis) ... definitely not something you’re likely to find out in the wild, where it has remained one of the more elusive entrants in this tantalizing austrian series of early-electronic masterpieces ...
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 semi-gloss photo-stock booklet
1 x six-color inkjet-printed compact disc-recordable in a high-density round-bottom anti-static cd sleeve

click the image above
to add this to your
shopping cart
 $10.47

new to stock as of
july 20th, 2012


threads:
1970s-electronic
analogue-synth
sound-poetry
electro-acoustic-composition
machine-music
musique-concrète

 best of 2012 !!! 
creel pone (austria) #cp 147 cd

dieter kaufmannherbstpathetique / bildnis” compact disc-recordable

  • herbstpathétique (op. 22) (18:45) 1972

  • bildnis einer frau im spiegel (op. 24) (20:02) 1973
... issued by the mythicalmusikalische jugend österreichs(the same who bestowed anestis logothetis’ “hör!-spiel / nekrologlog 1961 / fantasmata 1960lp onto a confused, irradiated public a few years later) in 1972, this, frankly, batshit outing of sound-poetry lineage vocal gymnastics (courtesy of the composer’s wife - noted actress gunda könig) & analogue blat hits an ardent stride during the a-side’s rilke adaptation ... before launching into the stratosphere via the b-side’s extremely noise-addled scream / squelch extrapolations ...

... given the pure levels of scorched wha-fuck grappling within, i’m kinda sorta amazed that it’s taken this long to bring this to the attention of the p.t.b. over at p.c.c ; good to have you back bud(dies) ...
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 semi-gloss photo-stock booklet
1 x six-color inkjet-printed compact disc-recordable in a high-density round-bottom anti-static cd sleeve

subtitled "electroacoustic music with the voice of gunda könig".

record commissioned by musikalischen jugend Österreichs (jeunesses musicales autrichiennes / musical youth austria).
realized in the studios of groupe de musique experimentale de bourges in bourges, france.

bildnis einer frau im spiegel (op. 24) realized in 1973.

herbstpathétique (op. 22) realized in 1972, is an electroacoustic composition (1972) from the poem "hälfte des lebens" by friedrich hölderlin and "herbst" by rainer maria rilke.
broadcasted during the 1972 olympic games in münchen, germany in the multimedia spectacle named "les saisons" curated by groupe de musique experimentale de bourges.

sleeve contains a short biography and a list of works composed by kaufmann.

click the image above
to add this to your
shopping cart
 $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

click the image above
to add this to your
shopping cart
 $10.43

new to stock as of
march 23rd, 2012


threads:
modern-composition
electro-acoustic-composition
musique-concrète
analogue-synth
live-electronic
minimalism-drones
1970s-electronic
1980s-electronic

creel pone (canada) #cp 143 cd

claude caron / serge perron / ted dawsonelectronic music by caron, perron, and dawson” compact disc-recordable

  • claude caron - japa (for 4 pianos, 7 voices, 2 horns and electronic sounds) (24:50) 1981

  • serge perron - fusion (for piano and tape) (8:10) 1980
  • ted dawson - concerto grosso i (for tape) (13:30) 1973-1974
... reproduction of this 1981 collection, issued by mcgill university (making it the other covetable french-canadian collegiate-issue electro-acoustic side ... along with the bengt hambraeusconcrète & synthesizer music” set) covering the work of three quebecois composers :: claude caron, serge perron, and ted dawson ...

... caron’s side-length “japa” is a gorgeous (extended) stretch of post-philip glass modal fury, replete with churning arpeggiated analogue synths & a nice, light, wafting tonality ... on the flip, serge perron’s “fusion(his only issued work) is a performance work for piano & tape (with the former handled admirably the composer alcides lanza) ...

... but the real star of the lp is the 13-minute piece by ted dawson, a tour-de-force of light-speed concrète & synthesizer grappling, a jagged & at times violent outburst of electronic sound that rivals prime-era parmegiani for edit-per-second density ; it’s an incredible one-off (essentially dawson’s graduate-year piece during his time at mcgill) that, along with the other two pieces herein, has been excavated from the vinyl graveyard by mr. p.c. c.p. & given its time to shine anew ...
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 semi-gloss photo-stock booklet
1 x six-color inkjet-printed compact disc-recordable in a high-density round-bottom anti-static cd sleeve

click the image above
to add this to your
shopping cart
 $10.42

new to stock as of
march 9th, 2012


threads:
1950s-electronic
experimental-instruments
minimalism-drones
modern-composition
analogue-synth
live-electronic

creel pone (france) #cp 142 cd

jean-jacques perreyprelude au sommeil” compact disc-recordable

  • prelude au sommeil (1) (25:40)

  • prelude au sommeil (2) (25:27)
... timely creel pone of this incredible 1957institutional issuelp (literally, pressed by a frenchsleep institute” and given out to hospitals - mental & otherwise - to aid in their patients’ acquisition of sleep) featuring twotakes” of a piece composed & performed by jean-jacques perrey, consisting of lulling ondioline (george jenny’s 1941 vacuum-tube based, spring-loaded electronic instrument) figures ...

... aside from being perrey’s first issued solorecording (he debuted as a sideman, on the same instrument, in 1951, on charles trenet’s “song of the poets”), this is remarkable on a number of levels ... namely that perrey appears to have single-handedly “inventedambient electronic music (in that the intended purpose is to elicit an alpha-state) ... in 1957 ...

... this creel pone issue (which replicates the “spec” of the often sleeve-less record on a nice pearlized booklet) issues both side-lengthtakes” of the piece ; it’s a major revelation whole existence essentially rewrites the chronology of “electronic pop music” ...
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

click the image above
to add this to your
shopping cart
 $16.41

new to stock as of
february 24th, 2012


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

 best of 2012 !!! 
creel pone (sweden) #cp 140-141 cd

elektron musik studion • dokumentation 1-4” double compact disc-recordable set

  • ralph lundsten & leo nilsen - aloha arita (14:39) 1965
  • ralph lundsten & leo nilsen - kalejdoskop (18:36) 1965,karl-birger blomdahl - altisonans (19:12) 1966
  • bengt emil johnson - 1/1967 (nya släpkoppel med vida världen: besök, äventyr, lindringer etc.) (19:23) 1967
  • arne mellnäs - conglomerat (7:50) 1967

  • jan w. morthenson - epsilon eridani (17:03) 1967
  • lars-gunnar bodin - winter-events (15:30) 1967
  • sven-erik bäck - in principio (14:37) 1969/1970
  • bengt emil johnson - 3/1970 / bland iii (8:26) 1970
  • lars-gunnar bodin - toccata:(15:39) 1969/1970
  • lars-gunnar bodin - traces i (7:05) 1969/1970
... issued privately by stockholm’s “elektron musik studion(ems) between 1966 & 1973, the fourdokumentationlp’s were something of a seasonal report card of the studio’s charter output, “internally” issuing key early works ...

... composers ralph lundsten & leo nilsen (whose side-length “aloha arita” & “kalejdoskop” have only been issued in severely excerpted form in the interim), karl-birger blomdahl, bengt emil johnson, jan w. morthenson, arne mellnäs, lars-gunnar bodin, and sven-erik bäck all completed their first electro-acoustic pieces in the studio between 1965 & 1973 & are all represented here in their embryonic state ...

... while some of this material has shown up in revised or reworked form over the years via a stream of compilations & overviews, it’s extremely interesting to see & hear it all in its original iteration, in a manner devoid of rampant historical revisionism & favoritism in a stark, appealing manner ...
creel pone press release...
this creel pone edition includes:
2 x crystal-clear re-sealable polypropylene cd sleeves with green / gold foil stamps 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

click the image above
to add this to your
shopping cart
 $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

click the image above
to add this to your
shopping cart
 $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

click the image above
to add this to your
shopping cart
 $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

click the image above
to add this to your
shopping cart
 $10.36

new to stock as of
october 14th, 2011


threads:
1970s-electronic
1980s-electronic
analogue-synth
machine-music
live-electronic
playback-music

creel pone (belgium) #cp 136 cd

arnold aardelectro-sonnances” compact disc-recordable

  • electro - pianotages (10:10)
  • eastern evenings (10:49)

  • synthe - sonnances (9:14)
  • magic square (11:32)
... ever since the creel-production of douglas leedy’s “entropical paradise,” i’ve been wondering about the existence of any otherautomatic electronic music” released during the “classic era” ...

lo & behold, mr. p.c. c.p. has unearthed this “private-ly” released chestnut from 1980, covering four of obscure belgian composer aarnold aard’s experiments with self-generating electronic music systems ...

... the results fall somewhere between leedy’s elegant side-long tonality studies & the oddly miscreantic creep of nicholas schöffer’s “hommage à bartók(one needs only to listen to the sound-sample to get a handle on how those two divergent aesthetics overlap) ; each piece derived from a synthesizer patch documented on the sleeve via flow-chart ::



... super-interesting (if often unbelievably a-musical !!! there seems to be a grand plan involving all but the most challenging of dramatic dynamic leaps & motivic development on par w/ the best of the “outsiderspec) wanderings all but buried by the sands of 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 6-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

electro-sonnances
by
arnold aard

the electro-pianotages are composed of a suite of percussive sounds and of others of slow resolution. all are produced by synthesizer on the present recording. the sounds have been recorded on magnetic tape after having been shaped, placed in the memory, reshaped, and subjected to modulations of various types.

in eastern evenings, on the other hand, sounds resembling that of gongs have been reproduced. the principal section is composed of modulations in frequency and amplitude.

synthe-sonnances is characterized by tones which are removed from those which we understand. these are violins resonating like bells, harps commanding the sonority of the trumpet, or a «piano» with supporting background.

of the four parts of this recording, it is magic square which has my preference. perhaps because it is more electronic. the restrained modulations of this piece make it a music «in steps» which yield unexpected sonorities.

- arnold aard, december 1980.


click the image above
to add this to your
shopping cart
 $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

click the image above
to add this to your
shopping cart
 $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

click the image above
to add this to your
shopping cart
 $10.33

new to stock as of
september 2nd, 2011


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

creel pone (france) #cp 133 cd

pierre henryprismes” compact disc-recordable

  • ouverture / sirène (4:58)
  • continuum (4:04)
  • crépidance (5:14)
  • facettes (5:10)
  • manèges (3:04)

  • crescendo (3:22)
  • perpetuum (4:22)
  • prisme (15:15)
... previously, mr. p.c. c.p. had the wise idea to replicate the twocorticalartpierre henry titles, considered by many as the most wild & woolly amongst the french master’s vast discography ...

... personally, i’ve long been puzzled by the “corticalart iiititle ; was there a “corticalart ii” that we somehow missed ? lo and behold, here it is, in the form of a “second” concert utilizing the system, again done in collaboration with bernard bonnier, assembled at the studio apsome then presented as part of a “spectacle of cybernetic, spatio-lumina-dynamics” staged by nicolas schöffer & alwin nikolas at the hamburg opera in february 1973 under the bannerkyldex i” ...

... i’ve seen the single prismesexcerpt show up on a few compilations of henry’s era work, but the complete performance remains one of henry & bonnier’s most sought-after sides ... recorded a full two years aftermise en musique(but only 7 months prior to “corticalart iii”) this takes a comparably nuanced approach to working with the system ... while yes, the opening pulsewidth grind of “ouverture” is straight out of “mise en musique’splaybook, the stereo-heavy electronic twang of “sirène” is a rising swarm of tightly-controlled high-end synthesizer fury that drops out into a distant prepared-piano block ... the extremely minimal pointillism of “continuum” wraps rattled percussion & sly oscillator pings into an inter-channel riddle (listen to the sound-sample for a chunk of those last two) ... “crépidance” clearly shows bonnier’s involvement (the constant kick-pulse & tape-echo chime are straight out of “casse-tête”) & the two-part “facettes” drops an incredibly dense musique concrète miniature before continuing in the mould of rising, hysteresis-heavy brainwave-induction before the zappy, aberrant pan laws of “manèges” close out the side ...

... bothcrescendo” & “perpetuum(ditto ; raw brain-wave inductions sustained in a thick morass of discordant overtones, then further ultra-minimal iterations) build up to the main-event of the title-track :: 15 minutes of sublime rise / fall tactics, impeccably assembled waves of over-lapping automations & low, growling figures cut with almost imperceptible slices of taped-sound, erupting into a honey of a tape-speed munge-out ...

... of the threecorticalarts,” this one definitely shows the most range & prowess (don’t get me wrong ; i do love the brutal bludgeoning of “mise” & the washed-out room-whirr of “iii”) ; amazing it’s taken mr. p.c. c.p. so long to sort out the missing installment of this incredible trilogy ...
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
2 x single-sided one-color laser-printed hand-cut vellum translation sheets
1 x six-color inkjet-printed compact disc-recordable in a high-density round-bottom anti-static cd sleeve

click the image above
to add this to your
shopping cart
 $10.29

new to stock as of
july 22nd, 2011


threads:
1970s-electronic
1980s-electronic
analogue-synth
electro-acoustic-composition
musique-concrète
guitar-themed

creel pone (brazil) #cp 129 cd

lelo nazariodiscurso aos objectos #2 • balada unidimensional” compact disc-recordable

  • discurso aos objectos #2 (45rpm) (8:11) 1978
  • balada unidimensional (45rpm) (6:37) 1982

  • discurso aos objectos #2 (33rpm) (11:07) 1978
  • balada unidimensional (33rpm) (8:56) 1982
... two incredible, light-speed musique concrète pieces from the brazilian composer & grupo um member lelo nazario :: the first, “discurso aos objectos #2” managing to shove in pretty much the entire universe of sound (loud, destruction-oriented sections of recorded action ... spoken / shouted proclamations in “7 linguagens diferentes” ... little blasts of instrumental & site-specific sonorities ... short. automated “pureelectronic & synthesizer blurst) into a relatively short 8 minutes ... then, the second, “balada unidimensional” organizing the same (perhaps at a slightly more “conversational” pace) alongside paulo bellinati’s “violåo” (classical guitar) shred ...

... composed at nhk in tokyo, ndrs in münchen, and his own norte magnetico in são paolo, these two pieces present a higherideas per second” ratio than most of the “side-lengthtape-collage pieces of the era combined ... the dexterity & technical skill on display here is staggering, matched only by decades-later computer-assemblage pieces like john oswald’s “plexure(sans the pop-culture referentiality) ; you’ll definitely need a few repeat listens to register everything that’s happening here (mr. p.c. c.p. was kind enough to include transcriptions of the both 45rpm-pressed pieces at 33rpm, for the “students” of the form ; a wise choice) ...
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 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

"discurso aos objetos" (1978) foi originalmente escrita para flauta piccolo, trombone baixo e fita magnética. a segunda versão é, na realidade, uma reedição das matrizes originais, com uma conseqüente condensação já que as partes unicamente instrumentais foram suprimidas. para a confecção da fita magnética foi utilizada uma série fixa de materials, entre os quasis sons concretos (puros e/ou processados), eletrônicos e vozes humanas selecionadas a partir de um total de 7 linguagens diferentes, tendo como critérios a riqueza expressiva e as características sonoras de cada uma delas. a partitura apresenta uma notação rigorosa para os solistas contraposta uma transcrição gráfica da fita magnética, que contém o máximo número de informações a respeito de cada um dos sons gravados. assim, cada som recebe sua "forma" gráfica particular, que informa acerca de sua altura relativa, timbre, forma de onda, localização no espaço, duração (em segundos) e outros dados que possam eventualmente apresentar.

"balada unidimensional" (1982) traz, em conseqüência da presença do violão como instrumento solista, uma série de materiais totalmente diversa, com predominância de sons concretos não-processados e uma série reduzida de sons eletrônicos, compostos de modo a permitir um funcionamento orgânico na sua relação com o solista. toda a parte da fita é "encadeada" ao violão (em termos de alturas, ritmos e dinâmicas), sempre ressaltando a riqueza timbrística extremamente sutil deste instrumento. a música é dedicada ao violonista paulo bellinati, que a executa neste álbum.

click the image above
to add this to your
shopping cart
 $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 (germany) #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.


click the image above
to add this to your
shopping cart
 $10.27

new to stock as of
may 13th, 2011


threads:
1970s-electronic
analogue-synth
machine-music
minimalism-drones

creel pone (italy) #cp 127 cd

vittorio marinofugue of light [cml 173]” compact disc-recordable

  • ghiacciai dorati (2:54)
  • tarantella elettronica (6:15)
  • dodecasfera (4:27)
  • gioco per bambini gioiosi (4:19)

  • sogno antico (3:58)
  • saltarello spezzato (2:21)
  • fuga di luce (6:22)
  • io ti amo (5:29)
... and here the “italian invasion” finally grinds to a halt with this, the lone outing from the virtually un-google-able composer vittorio marino ...

... amidst the absolutely spot-on engrish depictions of possible placement / use (examples :: “the machine finds the place to discuss with the man; the rhytm (sic), by creating repeating and obsessive vibrations, akin to the assembly line”, “beam of light, which notwithstanding its very speedy run, does keep its substance as a light vibration.”, “the machines do modulate a music which is unusual to be heard by men, however full of sensations making it « harmonic » to be heard.”, “music with numberless sound modulations, a carpet for singing the phrase « i love you ».”) lies an impressive set of extremely minimal, drone-based compositions for synthesizer ...

... equal parts heldon, terry riley, alvin curran, nikpascalraicevic, richard lainhart, charlemagne palestine, david behrman, jon hassell, and steve reich, these pieces absolutely brim with countless approaches to spaced-out minimal-synth float & filigree ; it’s one of a rare breed of library titles containing extended pieces (most hover around the 5/6 minute mark) - which is a beautiful thing given the gradual development(s) & slow enveloping(s) that unfold throughout ...
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

fugue of light
fuga di luce
fugue de lumiere
fuge im licht
fuga de luz

music by v. marino

scoring record
disco di sonorizzazione
disco de sonorizaciòn

educational material
not for sale

materiel educatif
vente interdite

disque de sonorisation
beschallungs platte
disco de sonorização


click the image above
to add this to your
shopping cart
 $10.26

new to stock as of
april 22nd, 2011


threads:
analogue-synth
sound-poetry
electro-acoustic-composition
musique-concrète

creel pone (italy) #cp 126 cd

andres lewinspace electronics [cml 142]” compact disc-recordable

  • progression (1:15)
  • tonal (1:28)
  • drums (2:00)
  • halo (1:19)
  • non stop (1:15)
  • clap clap (1:35)
  • spectrum (1:48)
  • creeper (1:53)
  • rails (1:36)
  • percussion (1:15)
  • bounce (1:40)

  • helicopter (2:33)
  • lok (1:30)
  • scraper (1:13)
  • scintillation (3:15)
  • kub (1:50)
  • doubles (2:20)
  • earth (2:09)
  • breath (2:00)
... space electronics. let’s stop and ruminate on that for a minute ... not “electronics from outer space”, or “electronics for inner space” ... but, simply, “space electronics” ; genius ...

... composed in 1977 for the italian cam library, this suite of short synth-basedmood pieces” from spanish composer andrés lewin (-richter, as it’s often listed) predates his two more well-known hemisferio outings (even if those largely consist of his 60’s work) by a good half-decade while offering a then-contemporaneous collection of pieces rife with classic cam descriptors like “sounds with echo”, “impulses with echo in motion”, “beats at various levels overlapping and creating complicated rhythms”, or my personal favorite, “low, deep and magnetic” ...

... aside from all of the excellent, short-form vcs3 bleepings & backwards tape-maskings going on throughout this expectedly killer set, there’s some real a-gradesound research(listen to the sound-sample, especially the last track’s mutant gated sound poetry ala henri chopin) that belies lewin-richter’s background as an academic (he started the “estudio de música electrónica de barcelona” with josep-maria mestres quadreny & spent time at the columbia-princeton electronic music center in the 60’s) ...

... an amazing record, long one of my personal holy grail” titles, found & made audible / tangible once again due to the un-tiring hands of mr. p.c. c.p. ...
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

space electronics
elettronica dello spazio
electronique de l’espace
raum - elektronic
elektronica del espacio

music by andres lewin

scoring record
disco di sonorizzazione
disco de sonorizaciòn

educational material
not for sale

materiel educatif
vente interdite

disque de sonorisation
beschallungs platte
disco de sonorização


click the image above
to add this to your
shopping cart
 $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 the storied italian actor (he was in roger vadim’s wonderful barbarella, tinto brassattraction, and vittorio de sica’s sunflower - something of a holy trifecta right there) 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.



click the image above
to add this to your
shopping cart
 $10.24

new to stock as of
february 18th, 2011


threads:
1980s-electronic
electro-acoustic-composition
minimalism-drones
modern-composition

creel pone (italy) #cp 124 cd

giuseppe morrocchiaaffluss b/w raaffluss” compact disc-recordable

  • aaffluss • pianoforte e nastro (piano and tape) (21:45) 1980

  • raaffluss • pianoforte (piano) (19:20) 1984
... killer 1988art-gallery edition (each copy of the original lp was hand-painted by the composer in a loose, water-colour smear / drip style beautifully reproduced here - albeit utilizing the same image for each replica) covering a pair of beautiful, drifting piano pieces composed & executed by giuseppe morrocchi in 1980 & 1984 ...

... seemingly influenced by charlemagne palestine’s “strumming music” approach (coupled perhaps with lubomyr melnyk’s “continuous mode”) - the slow rise from decisive, individual note-attacks into a smear of motorik-lined rhythmic modal playing gets into some wonderfully claustrophobic spaces, exacerbated (on the a-side) by the use of tape-slown & reversed iterations of the same piano phases, resulting in a swirling, bi-directional mass of twisting string-sound that’s just as deluxe & trance-inducing as anything in the aforementioned composerscanon(s) ...

... an incredible record, one often tied up in the various price-gouging scenarios that go hand in hand with “art records” ; discovered out in the wild, cleaned up & issued in a nice, pocketable edition for a slightly wider audience than the original will allow / afford :: the creel pone modus in a nut-shell ...
creel pone press release...
this creel pone edition includes:
1 x crystal-clear resealable polypropylene cd sleeve with a green / gold foil stamp affixed to the exterior
1 x double-sided professionally-printed linen-stock booklet
1 x six-color inkjet-printed compact disc recordable in a high-density round-bottom cd sleeve

i carried out the two pieces aaffluss and raaffluss in two performances held at il punto (florence) 1980-1984, using improvisation - a method which has been widely practised, especially in ancient times and today in eastern countries. in the performance of the two pieces i gave more importance to the idea of the musical motif rather than to the details (the actual score itself) yet without leaving the traditional canons which use sound to create music. in raaffluss the « glide » prevails, which then becomes not only the contrasting motif but also integrating with the repeated percussion of the trichord (three sounds comprising three tones), and thus forming together the polyphony. instead, in aaffluss the percussion motif prevails, based on the repetition of the two trichords, one low and one high, which develop the polyphony.

recorded with a portable equipment.
cover design and drawings by giuseppe morrocchi
sound engineer on master maurizio pieri

music by giuseppe morrocchi
performer giuseppe morrocchi

this record is numbered and signed:
coloured drawings are individually hand-painted
by giuseppe morrocchi.


click the image above
to add this to your
shopping cart
 $10.23

new to stock as of
february 4th, 2011


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

creel pone (italy) #cp 123 cd

vittorio gelmettiorganum quadruplum • ipotesi a • l'opera abbandonata” compact disc-recordable

  • organum quadruplum «questo e ii gauo con gli stivali»(1967) (16:50)
  • ipotesi a (1974) (4:35)

  • l'opera abbandonata tace e volge la cavita' verso l'esterno (1969) (23:00)
... here’s a special one ; the 1974edizioni musicali e discografiche pubbliart(essentially, a private imprint) issue of vittorio gelmetti’s electronic music, including the extended 1969 piece “l'opera abbandonata,” composed at the studio eksperymentalne of the polish radio in krakow with bohdan mazurek (an incredible 23-minute collage of radio static, plundered audio material) plus the 1967organum quadruplum(oddly, a “live recording” ; chair-shuffles & stifled coughs dot the transcription of essentially the raw playback of the piece) & the short “ipotesi a(not electronic per se, but an interesting blend of kagel-like irreverence, composed in tribute to messiaen) ...

gelmetti was one of italy’s first electronic composers, working in the worlds of “academicmusic and film (he famously scored antonioni’s first “color” film “red desert” along with giovanni fusco ... in fact he was heavily active in italian film & television from the mid-60’s through the early 70’s) ... the record being replicated here is flat-out one of rarest documents of italian early electronic music (that is, until a small clutch of sealed originals were recently discovered, from which the audio here was painstakingly restored & remastered) ; a major issue from the p.c. c.p. stronghold ...
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

vittorio gelmetti, born in milan in 1926, lives and works in rome. after having received musical education from childhood through adolescence, he completed his studies as an adult on his own, beginning his activity as composer only in 1954 when he wrote the concertino per pianoforte e' archi - a piece which he still considers valid. for some years he followed the path of apprentice in the domains of schoenberg, bartok, webern and late strawinski. from these years come «jeau de structure, musica per strumenti ad arco, quattro poesie di lorca, ecc.; from 1959 he began an intensive period in the field of pure electronic music (misure, tensioni, due studi, treni d'onda a modulazione di intensita) which tended, beginning with nous irons a tahiti (1965) to clear the way toward the area af collage. it is in the period of intersezioni i e ii (in memory of edgar varese) and organum quadruplum (1967) where the performer is reinstated now a constant element in his music. he is then attracted by musical theater (la descrittione del gran paese with texts by sanguineti is presented at the palermo festival in 1968) and here his musical language becomes stable in embracing « classical » elements (coming from pure electronic music), aleatoric elements (given to the performer) and finally those from preexisting musics (collage and stylistic imitation). such a melting pot of heterogeneus elements thrives in the prospect of a total « classnessness » of whatever stylistic stereotype.

while being invited to partecipate in many festivals, realize works in noted studios and performed in many countries gelmetti remains basically an exceptionally independent composer far from the officialdom of music, avantguard and not.

organum quadruplum «questo e ii gauo con gli stivali»(1967) is a composition which bring together a number of varied musical experiences: electronic music (witnessed in the long durations of the chorus and organ), collage technique (heard in the quotes « la montanara », « estate fortes », « salt peanuts » and « va pensiero » - some given to the chorus others recorded); the transformation of « concrete » or natural sounds (noises and radio disturbances) ; use of theater and film music (here heard in stylistic-like imitations). the occasion for this work was a concert of new choral music given at st. paul's american church in roma. the program also included pieces by allan bryant, alvin curran, giuseppe chiari, and frederic rzewski. this piece can be considered as a point of central importance in the development of the author's works as seen in the bringing together and melding of many elements of diverse origin - a predominant characteristic of the contemporary artistic experience.

ipotesi a (1974) is a study for the opera « noll otterrete rispasta ». the use of a hunter's call (whistle), the piano with many references to the style of messiaen, and that of the percussion as repetitive rythmic element, here all tend to underline rather overused and burned out formulas and thus can be thought of as the final elements of a mixed language in expansion.

l'opera abbandonata tace e volge la cavita' verso l'esterno (1969) is the most ambitious of the author's works for magnetic tape. its duration of 23 minutes unfold on there distinct levels: a strict electronic structure underlies the whole piece; a « collage » structure (material taken from radio broadcasts) ; and third level constructed of quetes from beethoven's op. 110, quotes treated differently than in the original such as the two chords from strawinski's symphony of the psalms, and wagner's famous tristan chord, finally quotes which are transformed or elaborated on as seen in the use of the finale of beethoven's opus 110. the title is taken from a phrase of adorno's from a text on the last sonatas of beethoven. the work itself dates from the fall of 1969 on a commission from the' experimental studio of the polish radio and at their invitation was realized in their studios.

following the direction begun in « nous irons à tahiti » and again in the short opera « la descrittione del gran paese » this work furthers the development anc:l i,dea 0'f « music made from music" - analogaus, to what painting and literature have praticed for some time.

english translation by alvin curran

click the image above
to add this to your
shopping cart
 $10.21

new to stock as of
january 7th, 2011


threads:
electro-acoustic-composition
musique-concrète
1960s-electronic
1970s-electronic
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 resealable polypropylene cd sleeve with a green / gold foil stamp affixed to the exterior
1 x double-sided professionally-printed linen-stock booklet
1 x six-color inkjet-printed compact disc recordable in a high-density round-bottom 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.

click the image above
to add this to your
shopping cart
 $10.19

new to stock as of
november 12th, 2010


threads:
electro-acoustic-composition
analogue-synth
musique-concrète
modern-composition

creel pone (canada) #cp 119 cd

bengt hambraeusconcrète & synthesizer music” compact disc-recordable

  • intrada: “calls” (7:30) 1975
  • tornado (10:10) 1976

  • tides (14:35) 1974
... creel-production of this 1976university press” lp (mgcill in this case, where the c.i.q. has taught since relocating to canada in 1972) covering swedish composer bengt hambraeus’ ... you guessed it ... musique concrète & synth-based compositions from the mid-70’s ...

... the side-lengthtides” is a modular beep-gasm par excellence (one needs only to listen to the segment excerpted via the sound-sample to get the gist) ; rife with keening mid-range telemetry noises, dry subotnick-esque pings & underwater synthesized gristle, it’s one of the more pertinentpure electronic” pieces to come out of the academic sector post-moog ... “tornadolives up to its implied connotations ; 10 minutes of raw amplified electricity & clanging noises, constantly sliding in & out of temperament, and even the openingintrada” with it’s almost subliminal concrète transformations of solo brass playing has it’s moments ...

the placidon the beach” cover does little to connote the blistering analogue blurst contained within ; once again, hats off to mr. p.c. c.p. for rescuing this one from a mouldering record shop basement & placing it back into the limelight for some much-needed collective consciousness (re) -entry ...

ps. nice to see ted dawson’s name amidst in the “composer’s notesbelow ; more on him in a little bit ...
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

concrète and
synthesizer music
by bengt hambraeus

bengt hambraeus, noted composer, musicologist and organist, was born in stockholm, sweden, in 1928. he studied the organ with alf linder, and musicology with carl-allan moberg at uppsala university (ph.d. 1956 with a thesis on 16th century lute music). from 1957 to 1972 he was on the staff of the music department of the swedish broadcasting corporation, serving as head of production from 1968. in the early fifties he was the first swedish composer to work in the electronic music field, and his works have been produced in various european electronic music studios (cologne, munich and milan). he has also written many works for organ, orchestra, and chamber ensembles. among his later compositions are continuo - a partire da pachelbel for organ and orchestra (1975) which was premiered in germany in 1976, ricordanza for orchestra and jeu de cinq for wind quintet (both 1976). since 1972 bengt hambraeus has lived in montreal where he is a professor in the faculty of music at mcgill university.

notes by the composer


when helmut blume, former dean of the mcgill faculty of music, asked me to compose a piece for the opening of the new pollack concert hall on april 10, 1975, i immediately thought of various calls, signals and appeals. hence, intrada: “calls”, a work which is based on my impressions of the out-door musical communication systems used in various cultures. one of these with which i am well acquainted is the system of signals and calls used by the cowherds in middle-sweden mountain farms. the result is music, not for the concert stage, but for four-track tape to be presented from four speakers around the audience. some 30 fragments were composed for, and recorded by, five of my brass-playing colleagues at mcgill university. to this was added material which i performed myself on a kalimba (the african "thumbpiano"). all this material went through a series of electronic transformations in the mcgill electronic music studio, including the final synchronization. this work, like the others on this record, is a special two-track version.

as in intrada: "calls", i have often been interested in composing, so to speak, an environment, a situation, or an event. this is the case with tornado (1976) and tides (1974) which are both based on ideas about transforming time and sound patterns in such phenomena and their psychological impact on man. although tides was actually composed two years before tornado, it was planned as the conclusion of this diptych. in both cases, i decided not to use any kind of real, "concrete", sounds from the sea or tornados but to let the electronic studio produce all the sounds desired. the most important thing was to avoid anything that would give the impression of something synthetic, even though i used the normal studio facilities (voltage controlled oscillators and amplifiers, sequencers, filters, etc.). i challenged the studio to speak my language and express my thoughts. as a matter of fact, the facilities of the electronic studio turned out to be far more sensitive and useful than any other sound-source would have been in these works. for their kind assistance in the final synchronizations, i wish to thank two of my former students, ted dawson and margaret henry (tides and intrada), and my son michael (tornado).

- bengt hambraeus

click the image above
to add this to your
shopping cart
 $10.17

new to stock as of
september 24th, 2010


threads:
1970s-electronic
electro-acoustic-composition
analogue-synth
minimalism-drones
live-electronic
machine-music
psych-prog

creel pone (usa) #cp 117 cd

michael lobeltrip-tych • the sound-paintings of michael lobel” compact disc-recordable

  • lower than angels / crowned with glory (1:27)
  • a ladder / angels ascending and descending (1:56)
  • a stranger in a strange land (1:13)
  • the lilies of the field ... they toil not (0:48)
  • if the trumpet give uncertain sound (1:53)
  • a woman clothed with the sun, the moon under her feet (1:39)
  • they have sown the wind ... shall reap the whirlwind (1:42)
  • to everything there is a season (2:37)
  • the lord sent huim forth frmo the garden (2:20)
  • make a joyful noise unto god, all ye lands (2:52)

  • ... a human creature not six inches high ... (1:28)
  • 1500 emperor’s horses, each about 4 1/2 inches high (1:07)
  • i observed a huge creature walking after them (0:55)
  • ... whoever jumps the highest without falling (0:49)
  • for my insatiable desire of seeing foreign countries (1:10)

  • blast off! (0:26)

  • did not see it until the atom bomb burst (h.g. wells) (1:24)
  • not fond of platitudes in staind-glass attitudes (gilbert) (1:38)
  • if history repeats itself it is because ... (nietzsche) (3:51)
  • unpassioned the keen beauty of a great machine (brooke) (2:13)
  • what has concluded that we should conclude (w. james) (2:14)
... originally brought to light in 1977 by serenus (the same folks that unleashed the early creel ponehit,” “the inside of the outside ... or the outside of the inside” ) this is a fine example of a record that straddles the divide between library-music style conventions (many of the pieces are short, melodic numbers of the sort that would dot the silent spaces in a public-tv science program - listen to the first part of the sound-sample for an especially gorgeous / successful one) and wild, free-form synthesizer filigree (ditto the 2nd & 3rd segments, presented out of order) ...

thematically linked into three themes”, the a-side’s “the bible” suite takes you through a series of old testament scenarios (partly brimstone, partly hell-fire) with each piece based on a particular verse ... the b-side offers a suite based on gulliver’s travels (lighter, more sprightly fare), then a quintet of pieces sub-titled “modern times” that wades out into darker waters, offering several glimpses of raicevic-ian abandon ...

an excellent title for a creel pone ; one of which i hadn’t seen / heard until now, rescued from a charity shop back room & entered (back) into our collective consciousness(es) ...
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

michael lobel writes:

the word "triptych" (trip-tick), a set of three pictures, is used here to describe this recording, a round trip ticket for a three-part journey: biblical travels, gulliver's travels and modern travels. these trips, composed of twenty pieces, are text-textures, literally underscoring the quotations for which they were written. the music is primarily electronic but tape manipulation and acoustic sound sources were also used. although there is a deliberate relationship between the quotations and the music, the three sections may stand as entities in a non-programmatic way or (since the compositions are obviously evocative) in a purely personal programmatic way. whichever route you take - bon voyage!

click the image above
to add this to your
shopping cart
 $10.12

new to stock as of
may 14th, 2010


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

creel pone (germany) #cp 112 cd

seesselbergsynthetik-1” compact disc-recordable

  • overtüre - "jeder ist heutzutage glücklich" - if someone survives, we will have a return - match (konditionsmusik - 1972) (3:41)
  • eintrachtkreis-paranoia (die 200jahrfeier findet nicht statt - kondominatsmusik - 1973) (1:05)
  • verhütungsfreudenwalzer (kontinenzmusik für eine akademie 1973) (1:29)
  • speedy achmed (verhaltensanweisung 1973) (3:47)
  • studentenzucker - "tue gern, was du tun mußt!" (konfektionsmusik 1973) (0:36)
  • "die menschen sind glücklich, sie kriegen, was sie begehren, und begehren nichts, was sie nicht kriegen können - laubsägebastler, briefmarkensammler und brieftaubenzüchter bilden das rückgrat der menschheit" (kondolenzmusik 1973) (10:45)

  • phönix - 1972 (filmmusic zum film “phönix” von w.-j. seesselberg) (10:16)
  • "was dir heute freude macht, das verschieb nicht über nacht!" (kondensmusik aus einem konzert im gallery-house london - 1973) (4:16)
  • auszug aus einem konzert in der düsseldorfer kunsthalle 1971 (7:46)
... here’s inarguably the holy grail of the tri-section of the krautrock / düsseldorf-school / experimental-electronic crossroads ; the soleprivate issue1973 lp, documenting “elektronische musik” as recorded between “1971 bis 1973” by wolf-j & eckart seesselberg ::



... have long seen this titanic set as so much more than a mere footnote in the “electronic psychcanon ; if anything, the free-wheeling, free-form live-electronic blasting that ensues pretty much from the onset obliterates the majority of the more well-known output by the duo’s berlin countrymen (even the various zodiak free arts lab aggregates never got this woolly) ; the openingjeder ist heutzutage glücklich” ‘s fm-ed blast-off, heavy-stereo & tape-echo moves drops an albumsworth of moves in 3 minutes, paving the way for a series of short & completely zonked electronic miniatures (not far removed, thematically, from the pacing & “feel” of the fille qui mousse lp) that range from fried / clucking iterations to proto-raicevic-ian pulse-gristle ...

... the more temporally-expanded work on the b-side is all concerned with a constantly morphing set of analogue synthesis techniques that so perfectly straddles the line between “mind” and “head” that it’s practically the blueprint for our currently forming zeitgeist w/r/t to “psychedelic synth” exploits ... this music is as revelatory & relevant as it comes ; once again all praise on high for mr p.c. c.p. for rescuing it from the catacombs of history & putting it back out into our active collective consciousness(es) ...
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 semi-gloss photo-stock booklet
1 x six-color inkjet-printed compact disc-recordable in a high-density round-bottom cd sleeve

alle titel von wolf & eckart seeselberg, produziert & auggenommen in hamburg & düsseldorf 1973.
der verwendete synthesizer wurde von eckart seeselberg in den jahren 1965 - 1971 entwickelt.
mitschnitte und überspielungen auf tonträger aller arten, auch auszugsweise und zu privatem gebrauch, nur mit genehmigung von wolf und eckart seeselberg.

click the image above
to add this to your
shopping cart
 $10.11

new to stock as of
april 30th, 2010


threads:
1960s-electronic
electro-acoustic-improvisation
playback-music
experimental-instruments
minimalism-drones
sound-poetry
harsh-noise

creel pone (uk) #cp 111 cd

henri chopinaudiopoems” compact disc-recordable

  • new departure (4:51)
  • la peur (15:54)

  • pluralité 1.1.1.1. (23:36)
... right here is a creelproduction of henri chopin’s first (and, inarguably, best) album, initially readied by the uk-based tangent imprint (alongside canonic sides by the spontaneous music ensemble and ann(e)a lockwood’s “the glass world”) in 1971, issuing three pieces of his particular strain of throat-infected sound-poetry, mangled in-situ via tape machine in 1969 ...

no other recording captures henri’s work at it’s most unfettered ; the epic, side-lengthpluralité 1.1.1.1.” offers a determined rise from tape-slown whale-song into freaked-out tape-echo murmer into a feedback hailstorm & finally into a multi-faceted sound-on-sound masterstroke (listen to the sound-sample for the last few minutes) rates as one of his finest moments & is pretty much the blueprint from everything from the various schimpfluch factionstransgressions to the mulch of dylan nyoukis & spencer yeh ...
creel pone press release...
this creel pone edition includes:
1 x crystal-clear resealable polypropylene cd sleeve with a green / gold foil stamp affixed to the exterior
1 x double-sided professionally-printed linen-stock booklet
1 x six-color inkjet-printed compact disc recordable in a high-density round-bottom cd sleeve

tgs 106 stereo

audiopoems:

side one
new departure
october 1969
2 speeds, 4 superimpressions
for 'phases' and j. petithory

la peur (first movement)
poem 1958, recording 1969
3 speeds, 8 superimpressions
for my wife

side two
pluralite 1.1.1.1.
mai 1968, paris ; may 1969, ingatestone
6 speeds, 6 superimpressions
aux hommes


words are an arbitrary communication unit and any sound could do as well. an exquisite sonnet could be conveyed in bestial snarls and grunts once the units were established. and once the units are established, language petrifies into the académie française, alterations ruled out ... "ca n'est pas français". sound-poetry leaves the meaning open, as if a word could be a word or many other things as well, liberating sound from impacted language.

william burroughs

henri chopin

born in paris in 1922, living in england since 1968. his written works include signes, 1949-57 ; l 'arriviste, 1951-57; le dernier roman du monde, 1961 ; and le homard cosmographique, 1964. from 1958 to 1963 he published the review cinquieme saison, and in 1964 began the review ou, the first anthology of sound-poetry.

sound-poetry has always existed. it can be found in tribal oral expressions, in certain choral formations (aristophanes' the frogs), in. sixteenth-century poems (duranq de la malle), in rabelais, moliere, and in a rather more subtle form in lewis carroll. always the aim was to achieve harmony, by oral improvisation with no particular meaning, a pure phonemic projection, the imitation of natural sounds, or the onomatopoeic sounds that exist in all languages. this could be called the first period of sound-poetry.

the second period was developed mainly in france at the end of the nineteenth century, by rené ghil (traite du verbe, 1885) and gustave kahn. both' authors were seeking some language wider and freer than french and the other languages of human communication. rené ghil repeatedly insisted upon opening out language more and more ; in 1920 he declared:


in fifty years' time, the poet will be a man who commands phonetic machines. poetry will either have become a science or will no longer exist.

in the same period, numberless poets were experimenting with phonetic poetry. in 1918 the dadaists hugo ball and raul hausmann, and apollinaire's friend pierre albert-birot, developed the phonetic poem ; the main works of these authors are also the most important examples of the phonetic poem based on letters. kurt schwitters, who was strongly influenced by hausmann, also deserves mention for his ursonata. the emphasis in this period, from about 1885 to 1930, was on analysis of the alphabetical structure of language.

the third period of sound-poetry sprang to life between 1955 and 1957, when the tape recorder began to be widely available. already, in 1953, françois dufrêne and gil j. wolman had broken away from the phonetic poem, which had become too elementary for them. they breathed, shouted, sighed, cleared their throats, but the results were still rudimentary. then in 1955 bernard heidsieck broke up syllabic values, and henri chopin abandoned both syllabic values and letters (as well as sighings) to experiment with orally-produced phenomena, audible and inaudible.

this period saw the real birth of sound-poetry, or audiopoems. the aim, exemplified by both henri chopin and françis dufrêne, is to demonstrate the sensory superiority of sound as opposed to normal speech, and to free man from the strait-jacket of words and letters and from his obedience to didactics. sound-poetry proves that man can be freed.

the sounds produced by the human voice
are absolutely incalculable.
they exist both above and below the audible range.
every voice in itself
is an orchestra of infinite variety.
the word is no longer
the beginning.

click the image above
to add this to your
shopping cart
 $10.15

new to stock as of
april 16th, 2010


threads:
analogue-synth
1960s-electronic
1970s-electronic
modern-composition
machine-music

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

click the image above
to add this to your
shopping cart
 $10.09

new to stock as of
april 2nd, 2010


threads:
electro-acoustic-composition
musique-concrète
analogue-synth
live-electronic
machine-music

creel pone (italy) #cp 109 cd

romolo granomusica elettronica 1” compact disc-recordable

  • zooming (3:25)
  • mark (3:04)
  • nd filter (3:01)
  • wide (1:48)
  • socket (3:02)
  • slot (1:20)
  • cartridge (1:18)

  • focusing (1:48)
  • lens (2:18)
  • exposure (1:37)
  • provision (2:05)
  • shutter (1:47)
  • tester (1:45)
  • grip (1:10)
  • counter (1:30)
  • trigger (1:05)
... here’s something of a holy grail amongst the “electronic libraryspec ; romolo grano’s 1973 joker-label musica elettronica 1,” touted as no less than an all-encompassingnew dimension in sound, electronically tested in sound laboratory” ...

... the polar opposite of “groovy” libraries by the likes of cecil leuter, georges teperino, and giampero boneschi, this sits comfortably alongside the dark, brooding minimal electronics of giorgiozanagoriacarnini & giuliano sorgini’s work, offering up a selection of curt, single-minded environments mired in heavy dissonance(s) and extremely sparse arrangements of electronically-altered & synthesized sound ...

... an amazing depth was plumbed here ; this has to be one of the most obscure sets of early italian electronic music ever issued, trumping even the contemporaneous work of pietro grossi (with whome mr. grano shares an affinity for runaway, freewheeling atonal analogia) ... killer, eye-opening stuff !!!
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

musica elettronica 1

a new dimension in sound
electronically tested in sound laboratory

composed by romolo grano
direttore editoriale: sergio balloni

click the image above
to add this to your
shopping cart
 $10.08

new to stock as of
february 19th, 2010


threads:
1980s-electronic
analogue-synth
beat-research
machine-music
psych-prog

creel pone (sweden) #cp 108 cd

jonas palmze wörmnest” compact disc-recordable

  • ripjakt på taigan
  • linguatronics
  • anacreon
  • tillfällig förstoppning
  • storstad

  • artrock
  • cerberus
  • star träck
  • kära farmor
  • mlle brassiere dans la salle de bain
lovely. here’s a creelpro of jonas palm’s 1980 piglet-label outing “ze wörmnest,” widely considered as one of the canonic crater-dwellings of early 80’sminimal synthpedagogy ...

to wit :: here’s a perfectly zenzible stammer by johninzaneolson, re: this particular media-carrier ::
man.....super whacked out mumble synth homemade jammer by jonas palm. on the rare piglet records circa 1980. super mystery sounds from a oozing liquid stranger place inside your slowly vibrating skull. intense!!! actually found a couple of these through the years, first one gripped in high school at the sacred fbc dollar bin.... aka gateway to the sound world of beyond....czech this mug and bust your own soundtrack to your dark world inside!!!!

ze worm nest breederz of inzanity

... that’s a nail-head meeting right there ; plenty of the same brain-juices flown by raicevic, birchall, et.al are splilt herein, albeit coming from less of a drag-race drop-out / midwest interior waterfall kinda zone (closer to a dark, euro brood) ... classic, early 80’s euro-terminations of the highest order ...
creel pone press release...
this creel pone edition includes:
1 x crystal-clear resealable polypropylene cd sleeve with a green / gold foil stamp affixed to the exterior
1 x double-sided professionally-printed linen-stock booklet
1 x six-color inkjet-printed compact disc recordable in a high-density round-bottom cd sleeve

click the image above
to add this to your
shopping cart
 $10.06

new to stock as of
january 22nd, 2010


threads:
modern-composition
minimalism-drones
electro-acoustic-composition
analogue-synth

creel pone (germany) #cp 106 cd

klaus agersondern die stern sinds” compact disc-recordable

  • sondern die stern sinds (1) (5:11)
  • sondern die stern sinds (2) (6:52)
  • sondern die stern sinds (3) (7:24)

  • i remember a bird (15:45)
  • metaboles i (8:32)
... creel-pro of this mid-70’s aulos lp, with klaus ager’s three-partsondern die sterne sinds(recorded in the “computer music” studio at ems stockholm from 1974-1976, as well as the electronic studio at salzburg’s “hochschule mozarteum”) slowly unfolding over the a-side & two shorter chamber pieces,i remember a bird (for clarinet, trombone, guitar, piano, percussion, and tape) & “metaboles i(for clarinet, violin, cello, and piano) on the other ...

... rising from a whisper, the first movement of “sondern die stern sinds” slowly builds from a sustained bell-sound (with cymbal harmonics interjected into the electronically-created syntax) into fairly head-compressing mid-range drone ... this recedes & the gorgeous second movement kicks in, rife with more enharmonic relationships between the tones beating slowly in & out of phase before a slightly crispy wave of analogue tones ushers in & brings a subtle, bubbling rhythm (listen to the sound-sample for a taste of that section) ... finally, sparse, feedback-oriented “ringingsynthesized birdsong takes a few minutes to clear the air before a big, pulsating wall of screaming high-res filter smear & augmented pulse-wave stasis bring in a big ‘ol miasma of electronic drone ...

this whole piece has the energy of gunner møller pedersen & roland kayn’s extended work, albeit edited down for a more palatable, session-able length ; it’s a great slab of electronic drone-sound that seems to have slipped through the cracks un-checked ; kudos to mr. p.c. c.p. for the un-earth ...
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

click the image above
to add this to your
shopping cart
 $10.05

new to stock as of
january 8th, 2010


threads:
1980s-electronic
analogue-synth
beat-research
electro-acoustic-composition
minimalism-drones

creel pone (usa) #cp 105 cd

tom cameronmusic to wash dishes by” compact disc-recordable

  • balsa
  • another question
  • zoot

  • toy cannon
  • music to wash dishes by*syn
... nice to see this 1982private press” lp by chicagoland’s tom cameron in the program ; i’ve long felt this was one of the betterone man against the world ... with synthesizer” lp’s self-financed during the late-70’s / early-80’s ...

... each side features an extended, gorgeous take on analogueautomation” book-ended by two, shorter, more “accessible” numbers ; the a-side’s “another question” is an impeccably gaseous, floating void of minimal diminished-minor filigree that rates up there with the best of j.d. emanuel & steve birchall’s variegated work while avoiding straight “ambient float” tactics ... and the b-side’s title-track works a heavy array of bubbling minor arpeggiations, killer tape-echo’ed rhythm-box flair (with tons of metrically modulating lines & neat poly-rhythmic programming) & terminator-style malaise culminating in a cascading bubble-wave ...

... on top of the excellent, regional, private-universe zeal of the music, this has both one of my favorite album covers of all time (a portrait set on raicevic-ian landscape-voids drawn by mr. cameron himself) as well as back-cover (a “money shot” featuring mr. cameron lounging in oak park amidst a full shure vocal master p.a. & a series of emlelectrocomp” systems, all set in motion, transcribing his brain-wave activity ala alvin lucier & converting it to sound) ::


creel pone press release...
this creel pone edition includes:
1 x crystal-clear resealable polypropylene cd sleeve with a green / gold foil stamp affixed to the exterior
1 x double-sided professionally-printed linen-stock booklet
1 x six-color inkjet-printed compact disc recordable in a high-density round-bottom cd sleeve

(c) tom cameron 1982

music composed, performed and recorded by tom cameron, produced by ed pignataro and mastered at diskwerks in schaumberg, ill. by iain burgess. back photo by tom van eynde. cover painting by tom cameron.

* recorded live - no over dubs with the exception of the vocalization on music to wash dishes by

correspond through creative workshop, 1025 north blvd., oak park, ill 60301

click the image above
to add this to your
shopping cart
 $10.03

new to stock as of
november 6th, 2009


threads:
1980s-electronic
electro-acoustic-composition
modern-composition
minimalism-drones
analogue-synth

 best of 2009 !!! 
creel pone (usa) #cp 103 cd

gil trythallluxicon ii • echospace” compact disc-recordable

  • luxikon ii (14:39) 1980

  • echospace (12:34) 1980
... mr. trythall’s two late-60’scountry” themed moogsploitation lps are of course the gilded arches that keep the genre airborne, but it’s this 1980 collection (on the miniscule, west virginia-based pandora records imprint) that’s always been the real show of trythall’s creative vision ...

while “luxicon ii” ‘s gorgeous deep-bass filtering, runaway arpeggiations, & spot-onelectro” -tinged drum-machine gork is the stuff of legend ... i maintain that “echospacebeats a good chunk of time-lag architect terry riley’s synth/ organ / tape-echo work at it’s own game ; it’s a sublimely deep aggregate of flowing sections, each involving pristine, fluttering auto-quantized flights of fancy that “do it” for me on so many levels that it’s now one of my all-time favorite pieces of music in any genre ...

new creel pone spec involves not just a double-sided approach (offering a pixel-perfect repro of the record & labels themselves on the inside ; try scanning it under your jvc optical & you must might hear some sound) but a vastly improved audio restoration tech that results in a virtually spotless audio experience (just in time for 2010) ...
creel pone press release...
this creel pone edition includes:
1 x crystal-clear resealable polypropylene cd sleeve with a green / gold foil stamp affixed to the exterior
1 x double-sided professionally-printed linen-stock booklet
1 x six-color inkjet-printed compact disc recordable in a high-density round-bottom cd sleeve

gilbert trythall, synthesist and composer, was raised in knoxville, tennessee. after studying composition at the university of tennessee with david van vactor, northwestern university with wallingford riegger, and cornell university with robert palmer, gil began composing electronic music in 1966 using a war surplus oscillator, two home tape recorders, patch cords, and a splicing bar. he now teaches at west virginia university.

in 1970, gil synthesized an album of country music classics, country moog which reached the country charts. country moog, and a sequel, nashville gold, were synthesized with moog modular equipment.

here, gil synthesizes two original compositions, luxikon ii and echospace.

luxikon ii was commissioned as a multimedia dance composition by the georgia united arts conference and premiered in atlanta on february 2, 1980. the first performance included projected lissajous laser patterns with choreography by catherine schane of georgia state university.

principal instrumentation for luxikon ii includes: moog iiic modular synthesizer, two interconnected micromoogs, eml 400 sequential sequencer, multivox analog echo, and a farfisa combo organ.

the revised version recorded here was first presented june 21, 1980 in an evening outdoor performance by the parthenon in nashville's centennial park as a part of a multimedia concert featuring multiple films by don evans in a production by the little marrow bone repair corporation.

echospace was commissioned by the atlanta contemporary dance company, joanne mcghee, choreographer, and frequently performed by that group.

echospace is repetitive and trance like. short motives return through a tape delay system developing a rich sonority of multiple echoes. the composition consists of thirteen sections, each based upon a six-note chord which is systematically related to the next. when the pattern returns to the beginning chord (the thirteenth section), the piece is concluded.

instrumentation includes a moog illc modular synthesizer and a farfisa combo organ. a live performance score of echospace is published for brass instruments and tape by the brass press, 136 8th ave. north, nashville, tennessee 37203.

pandora records 801
p.o. box 2281
westover, wv 26505

click the image above
to add this to your
shopping cart
 $10.02

new to stock as of
october 23rd, 2009


threads:
electro-acoustic-composition
musique-concrète
1960s-electronic
modern-composition
field-recordings

 best of 2009 !!! 
creel pone (france) #cp 102 cd

paul boisseletle robot” compact disc-recordable

  • le robot (1) (12:04)

  • le robot (2) (15:24)
... at long last, here’s the companion piece to the “symphone jaune • symphonie rougecreel pone from way back when ; paul boisselet’s masterful 1965 suite le robot” ...

... aside from having inarguably the best record cover of all time ::



... this is one hell of a rare title, originally issued by the societe francaise de productions phonographigues (same imprint as the aforementioned boisselet lp, along with the original edition of jacques lejeune’s “blanche neige” suite) ; in short :: a musique concrète holy grail if ever there were one ...

like “jaune / rouge” this is a mix of futurism-inspired chamber-ensemble writing, concrète noises (love the demonic cackling at the end of the piece ; listen to the tail of the sound-sample) and garbled tape-speed morass that pushes all of the perfunctory buttons, perching atop the creel pone series as one of the lynch-pin titles ...
creel pone press release...
this creel pone edition includes:
1 x crystal-clear resealable polypropylene cd sleeve with a green / gold foil stamp affixed to the exterior
1 x double-sided professionally-printed linen-stock booklet
1 x six-color inkjet-printed compact disc recordable in a high-density round-bottom cd sleeve

paul boisselet

in the domain of sound, much terrain remains to be explored. between the red symphony (symphonie rouge 1944-49), the song of men (chant des hommes 1947-50) and the recent sonic realization of robot, a cinematic-choreograpic puzzle, almost 20 years have elapsed. despite the silence of the last ten years, those who believed in the star of paul boisselet are rejoicing. the robot is not only a success, it also makes a new path in the field of sound for our young explorers. and with good spirits... outstanding.

- jj canal

-- tempo is represented by the regular motion of a metronome.
-- space, by glissandos.
-- man, by the pulsations of a rhythmic life.
-- woman, by keyboard instruments and the full range of human emotion.
-- the composer gave the robot the role of champion of all sonic machinery

just as modern architecture, "that springs forth from the ground," and as contemporary sculpture is both "mobile and stabile," paul boisselet's robot humorously supports a climate within which we all try to survive.

- j.p. doering

with the robot we enter the domain of fantasy. like a mechanic, where the parts interlock, the composer produced music for robot whose elements fit together like a puzzle. p.b draws your attention to leitmotifs and allows your imagination to explore the exquisite point of the scene: listen to the record and hear your own history.

the robot cinematic-choreographic puzzle
listen to the robot music of our time

working sessions and recordings under the direction of p.b. author, composer, producer, co-performer and producer of this record. quoted from jean voilquin's translation of "on nature" by parmenides - "greek thinkers before socrates" garnier flammarion edition. original artwork - sculpture, installation, photography - a creation of d.j. allonsius.

for ballet, film, television please order copies of the audio tape (mono or stereo) from the societe francaise de productions phonographigues. 131 rue du cherche-midi - paris 15e - tel. : 306-26-83

click the image above
to add this to your
shopping cart
 $16.01

new to stock as of
october 9th, 2009


threads:
field-recordings
electro-acoustic-composition
musique-concrète
sound-poetry
site-specific
1970s-electronic
anti-music
modern-composition

 best of 2009 !!! 
creel pone (france) #cp 100-101 cd

knud viktorimages • ambiances” double compact disc-recordable set

  • image 1 (1) (3:02)
  • image 1 (2) (3:00)
  • image 1 (3) (3:40)
  • image 3 (8:23)
  • image 2 (10:37)
  • jeu 1 (4:13)

  • ambiance 1 (23:45)
  • ambiance 2 (28:02)
... mr p.c. c.p. ; back in action, doing justice to this pair of 1972private-press” sides by the danish composer knud viktor ...

i’ve long held these two sides in high esteem as they’re a gorgeous extension of the musique concrète tradition ; pretty much unparalleled then & since in that the economy of source material(s) used vs. the extended, flowing takes extruded surpass even concept-oriented pieces such as hugh lecaine’s “dripsody” in pure tonal-variation bliss ...

the first disc / lp offers a series of shorter vignettes, mostly involving raw water-drip sounds fed through a vicious cycle of tape-delay, vari-speed controls, and feedback-oriented processing ; the result(s) are as transfixing as they are impressive ... the second disc / lp works two much longer studies, each repeating 3 times & ultra-effective as listener-transport mechanisms ...

... perhaps it’s the occasional use of birdsong (the appearance of these two on the jean c. roche - as good a candidate as the actual creator of these two pseudonymous titles as any - curated l’oiseau musicien label) but i hear parallels to jim fassett’s “symphony of the birds” in some of the transformations ... but this is far from a purely academic / demonstrative work ; it’s deeply immersive and clearly the fruit(s) of many a month of careful assembly ...
creel pone press release...
this creel pone edition includes:
1 x crystal-clear resealable polypropylene cd sleeve with a green / gold foil stamp affixed to the exterior
2 x double-sided professionally-printed linen-stock booklets
2 x six-color inkjet-printed compact disc recordables in high-density round-bottom cd sleeves

knud viktor looks a little like an amazonian indian. the. first time i saw him he was in the vineyard close to his house ... a ruin he has rebuilt. with his own hands, and which is situated in a wild, narrow valley in the mountains of the luberon. a little later he offered me. a glass of wine, made by himself without chemical additives or the equipment, such additives as a wine press, usually associated with the process. the wine was exceptionally good, far better than many wines found in the local shops.

viktor's studio is like his cellar; there is absolutely nothing which one would normally think of as necessary for making or reproducing sound. a few old tape recorders, all of different makes, are spread on rickety shelving. in a corner under the stairs there is a loud-speaker which, one might have thought, had been found in a dust-bin. yards of wires and several pieces of equipiment found in junk shops and repaired, seem, at first sight, to serve no useful purpose. there is an indescribable disorder, and viktor seems· perfectly at ease. the single piece of furniture, a tottery chair, is reserved for the. visitor.

what has knud viktor done in his life? he has been builder, farmer, painter, print-maker, photographer, (one of his photographs appears on the sleeve of this record), film-maker. recently he has become interested in sound recording ... in the creation of "sound pictures", which he obstinately refuses to call "musique concrete" ... and this record is the first demonstration. viktor has both failed and succeeded. he has never made money, yet every one of his works is profoundly original and technically perfect.

in common with bird song viktor's "sound pictures" are made up of dissonances and arhythmic pulses and they are indescribable in musical terms. like bird song they have a strength and at times communicate a joy rarely found in modern instrumental music. how does viktor create this music? if you ask him, he makes no reply. i know that the sounds of water. have been used in the first "image" and then the chirping of crickets, a human voice, the flight of a bee ... i won’t say more.

aubenas-lies-alpes, august 72
jean c. roché

...

following up his first recording, "images", knud viktor now gives us more sound compositions whose title "ambiances" expresses. a very certain intent and conception.

an "image" is to be regarded attentively.

an "ambiance", on the contrary, is to be perceived almost unconsciously, leaving the attention free. in the united states there is at present a great vogue for all kinds of "ambiance" recordings, such as birdsong, the sounds of wind and water, or concrete music. all these aim at giving a simple background of sound, to induce relaxtion rather than concentrated attention.

we believe that in europe too there is a demand for recordings of this type.

the main characteristic of an "ambiance" is that ' it should last for some time. here, on each side, a single theme is repeated three times. the ideal would be to repeat it indefinitely. the composer deliberately chose these repetitions. he could . just as well have varied the motifs all along, but then his '" ambiance" would have become an "image", which is just what he wished to avoid. one must not try to compare "ambiances" with "images", as they are two completely different means of expression.

the "ambiance" on side one is composed of the song of two crickets.

that on side two of three short splashes made by a drop of water falling on water, and the beats of a stick on the side of a salad-bowl. each original sound does not last longer than about thirty seconds.

whithout pretending to reveal the secrets of how these "ambiances" were made, we can tell from the brevity of the original sound material that this work is a kind of weaving with threads of sound, executed with endless care and patience. in his studio knud viktor works on his tape for days on end, advancing centimetre by centimetre.

the dynamism and homogeneity of the work make us completely forget the detail in these interwoven sounds - a result that is more than astonishing.

aubenas-les-alp.es, september 72
jean c. roche

click the image above
to add this to your
shopping cart
 $9.99

new to stock as of
august 28th, 2009


threads:
1970s-electronic
electro-acoustic-composition
musique-concrète
sound-poetry

creel pone (germany) #cp 099 cd

reinhold weberelektronische und phonetische kompositionen” compact disc-recordable

  • phönix 4000 (2. fassung) (11:35) 1974
  • kosmische vision ii (6:35) 1973
  • kleines requiem zum gedenken der toten des 2. weltkrieges (5:00) 1974

  • protuberanzen (2. fassung) (5:00) 1974
  • rauschetüde (4:15) 1974
  • missa fonetica für eine elektronisch verfremdete stimme (9:15) 1973
  • gammaexpress (4:15) 1974
... superb set of “electronic & phonetic compositions” from german composer reinhold weber, replicating a 1974 corona-label pressing (his second for the label ; see the red lounge label “elektronische musik” collection for the first ... or c.p. #9) ...

realised at the studio for electronic music at karlsruhe university, these remarkably prescient compositions are largely by and of the wdr-school ethos of “pure synthesis” ; certainly the first five or so pieces, each extremely bleep-heavy, often featuring multiple, interlocking layers of self-oscillating patternage into a maze of heavily gained, reverb & tape-echo-soaked bliss ...

... but then there’s “missa fonetica für eine elektronisch verfremdete stimme” ; a voice-transformation piece (on pair with eimert’s earlier “epitaph for aikichi kuboyama” ; maybe even more scatter-shot and volume-damaged throughout) & the final, closing scroll of “gammaexpress” ; which contains more ideas-per-edit than than the entire bvhaast wdr overview combined ...

this is now the second time i’ve been bowled over by weber’s vision(s) ; dareisay even moreso ... definitely one for the early-bleep and/or short-attention-span set(s) ...
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.

click the image above
to add this to your
shopping cart
 $9.98

new to stock as of
august 14th, 2009


threads:
1960s-electronic
analogue-synth

creel pone (usa) #cp 098 cd

michael czajkowskipeople the sky” compact disc-recordable

  • people the sky (1) (20:28)

  • people the sky (2) (20:40)
... nicely timed replication of this 1969 vanguardcardinalseries lp, offering a pair of side-length “automaticbuchla pieces by composer / producer michael czajkowski (then and now known mostly in music circles for his odd, post-production contributions to buffy saint-marie’s “illuminations” lp) ...

recorded at nyu’s famed intermedia center (see: charlemagne palestine’s 60s electronic music, morton subotnick’s “silver apples,” etc ...) this one falls squarely into the “hands-offmaster-patch canon of synthesizer music (see: douglas leedy’s “entropical paradise”, george harrison “electronic sound”) ; using a stereo-panning “groove” as something of a leitmotif throughout, czajowski introduces a series of alternatingly dense / sparse patterns into the fray, all bathed in the buchla’s trademark “hotspring reverb ... even amidst the second side’s floating filter-blobs, there’s always a rhythmic underpinning that comes & goes, sometimes only as a master-clock click, but the re-appearing as crude drum-machine lineage patterns and stroboscopic filigree ...

one of the better recent c.p. titles for the “synth-mafiososet ; way more tapped-in to current sensibilities than anything subotnick ever wrested from the early buchla beast(s) ...
creel pone press release...
people the sky by michael czajkowski
music created on the buchla modular electronic music system

this score was realized in the electronic music studio of the composers' workshop at the new york university school of the arts' intermedia program.

vcs • 10069 ~stereo~
also playable mono

i
i am
i am trying
i am trying to
i am trying to make
i am trying to make music
i am trying to make music from sounds
          produced by electronic energies .
          made available through contemporary technology
          in the form of new musical instruments
          which make the composer
          composerperformerandaudience
          at one instant
          and provide mew techniques of composition
          com-pat-i-ble (kem-pat'e-b'l), adj. (fr.< ll.;
                    see compassion)

                    capable of living together
                    harmoniously
                    or getting along well with each othe ;
                    in agreement; congruous.

          with
          existing means of musical expression
m. c.

people the sky

he found the sky an empty air.
and loved it.
the silence reigned, no clouds alloyed,
a glassy pocket inside out.

.but quiet spawned dis-ease,
bog tide; scent of insect breath.
a nightmare twisted outside in.
perhaps a touch of loneliness?

a beacon, though
wisdom sifts like diamond flour.
lest in the lion's mouth you meet the lion's roar,
you must somehow people the sky.

marshall the marshmallow banjoes,
snip chimes from the wind glossy-bright,
yes drums, gold-foil horns, flutes,
build me a music to people the sky.

fred john bethke

michael czajkowski; born june 7, 1939 in milwaukee, wisconsin

currently

director of the composer's workshop - intermedia program; school of the arts, new york university
faculty member, julliard school extension division
director of electronic music workshop and teacher of music theory and history; aspen music school.


education:

undergraduate work in piano, voice, theory and composition, bfa (theory and composition), university of wisconsin
private study of composition with leo sowerby, american conservatory
member of conducting class under richard burgin and erich leinsdorf, tanglewood
teaching fellowship and studies with vincent persichetti, roger sessions and luciano berio
ms (composition), juilliard school
copley foundation grant to study with darius milhaud at aspen
teaching fellowship and graduate studies'in musicology, new york university


works include:

process, overture for orchestra
antithesis, string trio
love song dance, electronic score for jean erdman's dance troupe
king lear, electronic incidental music for roundabout theatre production
dialog, an intermedia work for solo dancer, film and electronic music in collaboration with art bauman and kirk smallman
sacred and secular choral works, solo songs, etc.
incidental electronic music for electric circus children's theatre road road show productions
electronic score for buffy sainte-marie's recording, illuminations
film scores including the dead - the living for jane speiser

vanguard cardinal series
vanguard recording society, inc.
71 west 23rd street,
new york, n.y. 10010
printed in u.s.a.

(c) copyright 1969 by ryerson music publishers, inc., bmi

manufactured under license issued by vanguard recording
society to record club of america, inc.

click the image above
to add this to your
shopping cart
 $9.97

new to stock as of
july 31st, 2009


threads:
electro-acoustic-composition
musique-concrète
1960s-electronic
modern-composition

 best of 2009 !!! 
creel pone (france) #cp 097 cd

andré almurol’envol • ambitus” compact disc-recordable

  • l’envol (29:30)

  • ambitus (18:13)
... perfectly timed replication of the other (ref: “musiques expérimentales” ; issued 30 or so ‘pones back) great andre almuro lp, initially issued by the oft-cited boîte a musique (aka disques bam) imprint at the tail-end of the 1960s ...

almuro started out with pierre schaeffer, producing radioplays for the club d’essai in the late 40s before joining the grm in 1958 ... he proceeded to produce dark, chilling musique concrète backings to recitations of work(s) by authors such as jean genet & antonin artaud, but by the late 60s he had already begun working on even more sparse & creepy music, paring down the traditional sound-on-sound approach to focus on combinations of single & paired instruments, edited to mask their natural timbres & bathed in a virtual sea of reverb & tape echo to blur the assembly stage(s), yielding a remarkably prescient approach to sound construction that set him apart considerably from his peers ...

the two pieces here, “l’envol(or “the take-off” ; clocking in at a remarkable 29 minutes ; amazing they could fit this on an lp side back then !!!) & “ambitus” are nothing if not trademarks of almuro’s style ... along with the aforementioned “musiques expérimentales” we begin to get a clearer picture of this otherwise neglected composer’s contributions & inventions within the early musique concrète scene ...

mr p.c. has done a fine job w/ the run here, again including detail from the lp itself in the “gatefold” ...
creel pone press release...
this creel pone edition includes:
1 x crystal-clear resealable polypropylene cd sleeve with a green / gold foil stamp affixed to the exterior
1 x double-sided professionally-printed linen-stock booklet
1 x six-color inkjet-printed compact disc recordable in a high-density round-bottom cd sleeve

the flight, the energy, or the dream which gives the impetus to the body, thrusts it upward, raises it. beginning of the ascent in and with the air. against it.

conflict of beings, of expression, a field of outrage: that of the arrow, of the askew skyward escape. refuge; nest of the eagle, place of rarefaction, crucible at the top. contact through the vacuum inhabited with the self. blooming ? anyway, the desire for a communication of exceptions.

confrontations. the brooms are already trajectory; birds: rending tensions of space; motions of trees : almost gyratory flights over any point of attraction; thistles, finally : area of waiting, of newly condensed reflexion. however, still too « vivid », suggestive. i sink under the burden of the vibrating aeolians; hence debauchery of ethereality, crystalline, « diaphanous opacity».

general repetition. decantation. suspension. tearing of the matter. appeals and exorcisms, so as to eradicate every hindrance. take off along every phrase, remove everything which might be contaminated in its turn by the impetus. litteraly breathed. reverse fall. fixity of the instant at this initial and decisive stage of the flight. dizziness.

period of indecision and stagnation. i waver, i pile up materials. fluttering of wings against the wind, stand- still, gliding. then at a stretch, the definitive start ; the whole trip at one go, - as usual. through a course however extremely anterior - of an extraordinary panorama, like on a negative proof.

hence: icarian mythical music sacralizing a flying buttress, : superman or caryatid.

ambitus notion of complete quartering, of painful and yet generating scores. «space encompassed between extreme values ». yes, still a little bit more of unreality in the very center of intricacy and compactness.

formerly, the desire to work on hand at once, really opposed materials, let's say : extraneous. i overcharge : a falsifying undulation where the abominable sinusoid might be vainquished; on the other side, a mess of synthetic strings, with too virtuous plectrums and bows. on the whole: wager of some trifle to test the poorness of sources ...

exil, an elementary month. schemes, inventory and solfeggio. i start again with an aim converging with the previous one, : every internal fluctuation, accent, flexional ending or alteration, recurrence will be erectile. that is able to set up for a privileged moment of a continous and total verticality. kinds of multicellular tropisms of the sound matter, or rather of the interstitial vacuum between the two confronting natures.

continuity in the flashing devastation of the opposites. a homogenous body is born of the disparity between causes. turgescence, unceasingly dying and resurrecting from the original principle: touch, contact, mutual embrace, merging, fainting. this owing of the lack of complementaries, and on the contrary exaltation of antagonisms. the identity is achieved in the midst of essential contradictions.

an expansion worked on the level of skeletal autonomies. to obtain the optimal tessitura of a fictitious instrument born of the very impenetrability of the poles. incandescent nucleus of opposite vibrations. the magnetic plexus in a desert of uncertainty.

click the image above
to add this to your
shopping cart
 $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.

click the image above
to add this to your
shopping cart
 $15.91

new to stock as of
october 3rd, 2008


threads:
analogue-synth
1970s-electronic
electro-acoustic-composition
live-electronic
minimalism-drones
sound-art
machine-music

creel pone (usa) #cp 090-091 cd

douglas leedyentropical paradise” double compact disc-recordable set

  • entropical paradise i (20:19)
  • entropical paradise ii (20:31)
  • white landscape (19:26)

  • the harmonarium (19:49)
  • star engine (21:06)
  • doria (21:02)
... hope you all had a fine summer off ... as an “autumn welcomehere’s a treat ; mr. p.c. c.p.’s reproduction of douglas leedy’s groundbreaking 1972 seraphim-label triple-lp “entropical paradise” ... in my mind, the lodestone of all moogsplotation lps in that it consists solely of side-length pieces not played by human hands on keyboards (or in fact any other gestural, real-time interface) but in fact produced “automatically” using control voltages assigned to the various functions (oscillator pitch, adsr envelopes, volume gating, stereo panning, etc ...) of moog & buchla modular systems ...

starting with the pause-pregnant “entropical paradise i,” we’re met with a dialogue of chattering atonal garble, accompanied only by an errant upper-register oscillator twitter, bathed in a fine mist of echo ... the second part cuts the decay out entirely, reveling in buzzing percussive figures moving around in stereo space ... by “white landscape” the pacing has slowed to a crawl as long segments of white noise fade in & move around in the spectrum extremely slowly, augmented only by a few lone ghost-notes, distant & rising up out of the mire ...

the second half of the set starts on a more uplifting note ; “the harmonarium” starts with a deep, slowly morphing low-end drone straight out of the eleh playbook (seriously ; the similarities are unavoidable ...) before, two-thirds of the way into the piece, a pair of flitting arpeggios work around the root-note, shifting the tonality just so ... the barren “star engine” recalls “white landscape,” only with quicker movements and a warbling guide-tone, filtered out to oblivion and all but buried in plate reverb ... finally, the haunting “dorian,” personally speaking the highlight of the set, takes a page from terry riley’s omniverse, working only a tonal straight-rhythm sample & hold pattern, spreading it in endless configurations over a root-note drone ...

the timing on this one really couldn’t be any better, esp. given the sheer number of static-feeling “automatic synthesizer” records that cross my folding iceberg table during any given month (see: pulse emitter, carlos giffoni, hive mind, monstruro, emeralds, etc ...) all of whom, in my mind, owe a great debt to the ideas laid out herein ... as a drone/stasis-heavy alternative to the whole subotnick / carlos early synthesizer spectrum, it really shouldn’t be understated ...
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
2 x six-color inkjet-printed compact disc recordables in high-density round-bottom cd sleeves

...

entropical paradise
six sonic environments created on the moog synthesizer and buchla modular electronic music system
by
douglas leedy

notes by douglas leedy

entropical paradise is different in concept, execution and purpose from most recordings of music. in fact, it isn't intended as music at all, but as sound, as acoustical environmental "programming" which should be heard but not necessarily listened to. (you may listen to it, however, as music, if you like.)

each record side is the result of a different "program" governing in a random way decisions of pitch, amplitude, duration and to a certain extent timbre, and each creates a different atmosphere when it is played. you may find some sides pleasant, others not, and your reaction may depend on external circumstances - the time of day, where you are, whose company you are in, and so on. you may play the records to your taste - in any order, loudly or softly, a whole side or just a part. if you want more than the twenty-or-so minutes per side and you have an automatic turntable, you may be able to set the mechanism to play one record again and again.

these audio environments, once programmed and set in motion on the moog and buchla electronic music systems, could theoretically run continuously but without repetition indefinitely. that is, the programs are non-repetitive since certain random characteristics have been introduced (owing to limitations of the equipment used, a small portion of several programs had to be realized manually.) there are many analogies in nature to this type of programming, and in fact it is the operation of nature after which these sound environments are patterned. one analogy is the breaking of waves upon an ocean shore: there is an endless succession of waves, and yet each wave is different, even unique. so constant repetition and constant change are one organic process.

entropy is what life and art are said to be continually battling - the inexorable tendency of forces everywhere in the universe, including those within our own bodies, to grow uniform, to come to rest, to achieve a state of equilibrium, to reach the final perfect calm of all things. a paradise, but for whom?

...

i won't attempt to describe in words, other than the titles, any of the six environments, since experiencing them makes description unnecessary. two programs, however, were influenced by personal readings in science fiction: "the harmonarium" was suggested by the creatures of which kurt vonnegut, jr., wrote in "the sirens of titan," creatures who lived in huge underground caverns on the planet mercury and fed upon that planet's musical vibrations. the creation of "star engine" brought back to my mind c. s. lewis's sci-fi novel, "out of the star planet."

the sounds on these records were made by the moog synthesizer and the buchla modular electronic music system of the electronic music studio at the university of california, los angeles. because of the nature of this recording, no attempt has been made to eliminate or reduce electronic background noises such as hiss, hum and occasional unexpected transients. these are ordinarily considered a plague in recording, but here they function as an integral part of the recorded experience.

i am indebted to chris shelton and wadley j. brood for technical assistance, and to the same two and gerald strang, steve soomil, craig buhler, ken yapkowitz, dennis matthews and bob richardson for inspiration, encouragement, cooperation, and for the free sharing of ideas and enthusiasm that has taken place at the ucla electronic music studio. though they may be unaware of it, they have all contributed a great deal to these recordings.

douglas leedy's works include theater pieces and intermedia compositions, choral and instrumental music, and electronic music for live performance, magnetic tape and programmed environments. two previous albums were released on capitol records, both long play discs and tape: "the electric zodiac" (st-368), and a whimsical program of synthesized christmas carols "a very merry electric christmas to you!" (st-339). leedy was for three years on the music faculty at ucla, where he supervised the design and construction of the ucla electronic music studio, and taught composition, music history and theory, and musical applications of electronics. in the fall of 1970, he joined the faculty of franconia college in new hampshire. leedy's instructors in composition have included karl kohn, lukas foss, andrew imbrie and seymour shifrin. he received a b.a. from pomona college and an m.a. from the university of california, berkeley. for four years he played french horn with the oakland symphony orchestra, and organized two performance groups: pin junction (electronic music) and the sagittarius ensemble (renaissance and baroque music). he also played french horn with the san francisco opera and ballet company orchestras.

leedy was born in portland, oregon, in 1938.

the moog synthesizer is an electronic instrument designed and built by the r.a. moog company of trumansburg, new york. it is a hybrid instrument, a cross between an electric organ and an electric sound generator. the buchla synthesizer is another packaged electronic musical instrument, developed about the same time as the moog, and designed and built by buchla associates in berkeley, california.

produced by roger karshner and george sponhaltz.

click the image above
to add this to your
shopping cart
 $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


click the image above
to add this to your
shopping cart
 $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

click the image above
to add this to your
shopping cart
 $9.77

new to stock as of
june 8th, 2007


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

creel pone (usa) #cp 077 cd

professor emerson meyers / haig mardirosian / frank heintzprovocative electronics (electronic constructions on traditional forms)” compact disc-recordable

  • rhythmus [meyers] (5:03) 1970
  • excitement [meyers] (1:27) 1968
  • in memoriam for soprano & tape [meyers/hansel] (4:46) 1965
  • chez dentiste [meyers] (3:36) 1967-68
  • moonflight sound pictures (excerpts) [meyers] (4:50) 1969

  • fantasia for organ & tape [mardirosian] (6:25) 1969
  • intervals i [meyers] (8:45) 1969
  • fanfare & raga for bassoon & tape [heintz] (6:24) 1970
creel pone treatment of this 1970 hidden jewel in the westminster gold catalogue (an imprint enjoying something of a cult following amongst record collectors due to their amazing & often ridiculous cover design(s) :



... not sure how marketing wagner / opera recordings via psychedelic-era cheesecake sensibilities was deemed “viable” by the abc-dunhill bigwigs, but then again there are scads of things about the late 60s/early 70s that i don’t, and most likely won’t ever, get...) featuring music composed by professor emerson meyers, haig mardirosian, and frank heintz composed/executed at the “electronic(s) music laboratory” at (wait for it...) - the catholic university of america.

... that there even was an “electronic(s) music laboratory” at the catholic university of america (instigated in 1961, no less...) comes as something of a surprise ... that it yielded this fine collection of lo-fi zonked/distorted moogknuckelry (pretty much all of the emerson meyers material), homemade musique concrète (frank heintz’s synth-less “fanfare & raga for bassoon & tape” - working a combination of snaking lines, extended-breathing technique drones & instrument-body percussion noises) and even a set of ruth white-esque possessed vocal-overdub clusters (meyers & katherine hansel’s “im memoriam for soprano & tape”) is proof that early electronic music knew few barriers ... (well, outside of the academic/economic ones natch...)

a really great set of pieces; (mis) firing moog blasts & noise / tape-hiss abound... a must for any fan of early synthesizer weirdness & i don’t see why this shouldn’t appeal to the same folks who convulse over all that xian-psych private-press gold...
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 booklet
1 x four-color inkjet-printed compact disc recordable in a high-density round-bottom cd sleeve

...

westminster gold
wgs-8129

provocative electronics
(electronic constructions on traditional forms)

electronic music laboratory of the catholic university of america
emerson meyers, director

rhythmus is receiving its premiere on this disc. composed in april, 1970, it is a study of perpetual moving rhythmic complexities in toccata form. its construction is completely electronic; even the occasionally punctuating "bells" are synthesized. none of the other timbres are meant to remind one of orchestral instruments though it would be quite compatible to imagine certain sections being performed on them.

excitement dates from 1968 and is a wry comment upon the futility of becoming excited unless one knows what the outcome will be.

in memoriam for soprano and tape, was composed in 1965 for katharine hansel to sing at a concert given in connection with the annual meeting of the american society for aesthetics held in january 1966, in washington, d.c. the soprano sings a poem by wilfred owen while (seemingly) many voices recite the same text. the recitation, as it happens, was recorded entirely by mrs. hansel then multiplied, dubbed and treated in an electronic music studio.

chez dentiste was composed in brussels on a portable moog synthesizer specially constructed for emerson meyers to use during his 1967-68 sabbatical year. the piece is written as the narrative of a man who, having a most painful toothache, decides to go to the dentist. naturally, the closer he gets to that office, the less the tooth aches. in the waiting room he is interviewed by the nurse and then must listen to the sounds coming from the inner room while awaiting his turn. only a brief conversation with the dentist precedes the low and high-speed drilling. the ordeal over things end happily with a peaceful - and relieved - quiet major chord.

moonflight sound pictures (excerpts) was composed at the request of the national gallery of art, washington, d.c., to provide a background of sound to an exhibition of works produced for the national aeronautics and space agency entitled the artist in space. originally scheduled to be heard only on the opening day of the exhibition, december 6, 1969, the sounds were so succesful that arrangements were made to play them throughout the exhibition period which ended january 4, 1970. it is estimated that moonflight sound pictures was played 416 times during that period. since then, the voice of america has broadcast segments of it during 36 different language programs.

moonflight sound pictures begins with electronic simulation of the sounds of a rocket on its pad, engine ignition, lift-off and fading into space. a peaceful view of earth and the beauty and wonder of the firmament are expressed in sound as are also portrayed the small particles seen through the windows of the command module but one always is aware, in the background, of the string binding the astronauts to earth - communications. this piece is constructed upon a fragment of the requiem mass "dies irae." originally thirty minutes in length, moonflight sound pictures is here presented in a capsulized version which preserves its highlights.

fantasia for organ and tape was composed by haig mardirosian in 1969. the performance on this disc was recorded at the first union methodist church of hyattsville, md. on an m.p. mooler organ of 68 ranks with the composer at the console. written as a project in electronic composition at the catholic university, haig mardirosian's fantasia for organ and tape represents an effort to unite both media into a cohesive sonic whole while retaining the unique identities of the electronically generated and organ sounds. although the overall desired effect was one of a virtuoso piece with massive sound and much motion, the compositional process yielded a fundamental three-part form based upon a handful of motivic units. these units were composed electronically at the outset. from them both tape and organ portions were simultaneously written employing techniques of motivic transformation and elaboration. these units were organized according to timbre, density, and energy and used where required, in whatever combinations, to create tension and repose. the primary units are accompanied by broader spectrum of sound; in the tape, "fields" of color or bands of pitches; in the organ, clusters of precisely notated pitches. all notation in the organ score is exact. all registration is exactly specified. the organist is allowed freedom only in the interpretation of the spatial rhythmic notion of the freer sections of the fantasia.

the use of the organ is somewhat unorthodox. as the key action has always been considered the "playing mechanism", here the stop action and mechanical registrational aids are also considered a way of "playing" the instrument. certain timbral effects unique to the organ are exploited: the messiaen-like polarity of manual 16' pitches against the mutations; the subtle color possibilities of sustaining a note arid adding or retiring stops; the versatility of the pedal division in providing high as well as low pitches.

intervals i received its title from a series of paintings by claire ferriter and was constructed to accompany an exhibition of those paintings in june, 1969 in washington, d.c. intervals i represents the quieter paintings while intervals ii (not included on this disc) represent the more active ones. both musical representations explore the vertical and linear relationships of 6 sets of pitched intervals and in various transpositions. the intermodulation electronically (which some might call distortion) of these intervals is purposefully employed. this piece was the classical "alpha and omega" idea of form. it is subtitled hommage a debussy.”

fanfare and raga for bassoon and tape was composed by frank heintz in january, 1970, as a project in tape music composition without using laboratory facilities. mr. heintz, deeply interested in ethnomusicology and an expert bassoonist, decided to combine those interests to produce this piece using microphones, tape recorders and the bassoon. all sounds in this piece originated from that instrument. to achieve some of the sounds, a small microphone was lowered inside the bassoon.

...

the electronics music laboratory of the catholic university of america had its beginnings in 1961 when professor h. emerson meyers assisted by one of his graduate piano students, richard lockhart, used recording equipment of the then department of music to experiment with musique concrete. from these small beginnings and following meyers' visits to the major electronic music centers on this continent and in europe, the laboratory has grown to be one of the finest on the east coast. it received its first moog synthesizer units in 1964 and now has over 40 of them - with more to be added soon.

teaching in the field of music produced by electronics began in 1964 and now three courses are offered to students including an introductory course open to all students. facilities of the laboratory are available to established composers and the laboratory has collaborated with television, film and radio producers.

art direction: peter whorf
photography: fred poore
design: christopher whorf / see hear! & how!


click the image above
to add this to your
shopping cart
 $9.74

new to stock as of
april 27th, 2007


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

click the image above
to add this to your
shopping cart
 $9.72

new to stock as of
february 23rd, 2007


 best of 2007 !!! 
creel pone (usa) #cp 072 cd

ruth white7 trumps from the tarot cards • pinions” compact disc-recordable

  • ruth white’s first lp !!!
side 1 7 trumps from the tarot cards
  • wheel of fortune 3:24
  • magician 2:25
  • hanged man 3:26
  • sun 2:15
  • tower 3:24
  • lovers/world 6:00
side 2 pinions ... a choreography about symbolic flight
  • beginnings (prototypes) 2:39
  • no wings (without imagination/no desire for flight) 2:33
  • wings clipped (too many external involvements/flight stopped) 6:08
  • wanting wings (limited capacity/no flight possible) 3 :42
  • love gives wings (with wings) 8:49
... yet another follow-up; actually in this case a precursor to a prior creel pone: ruth white’s “7 trumps from the tarot carts pinions” (ls 86066) - originally released just eight notches before her “flowers of evil” (ls 86058) in the discography of the now-legendary mercury limelight series (in between: pierre henry’s “mass for today • the green queen” (ls 86065), the percussion of strasborg’s “signals” (ls 86064) , fifty foot hose’s “cauldron” (ls 86062), “response: electronic music from norway” (ls 86061), and pierre henry’s “variations foor a door and a sigh” (ls 86059) - in good company if there ever was such !!! ...

... notably absent are ms. white’s terrifying deer-in-the-headlights vocals, but this only leaves room for all kinds of late-60’s psychedelic electronic treatments, ranging from atonal clavinet stabs to all kinds of home-brew & modular synthesizer glorp & even a bit of proto drum-machine... of course with tons of tape echo and reverb on everything, yeilding a murky fog of dissonance that’s just right for your evening seance ...

... just a superb and stultifying set of mood pieces; absolutely essential ...
creel pone press release...
this creel pone edition includes:
1 x crystal-clear resealable polypropylene cd sleeve with a black / gold foil stamp affixed to the exterior
1 x double-sided six-color inkjet-printed hand-cut glossy/matte photo-stock booklet
1 x six-color inkjet-printed compact disc recordable in a high-density round-bottom cd sleeve

...

included are some comments which give the background ideas to my excursions into electronic music. i am also sending some random information about my studio, my work and leisure time activities . . . . . . . . . ruth white

re my studio ... it is my own personal place. no one else works in it. i spend from 10-12 hours in it daily, approximately 9 months out of the year. it is fairly well equipped. several multi-channel tape recorders (including 2 new ampex ag 440 machines), a, moog synthesizer, oscillators, modulators, electronic organ and electronic clavichord, two pianos, a harpsichord and variable speed and reverberation devices are only a part of the list of machines that i have gathered.

the studio is housed in a building in los angeles, which i have purchased especially to house same. 0 re my other affairs . . . i do make my living mainly as a producer of educational records, which we distribute to schools in the u.s. this gives me the most uninterrupted time for myself as composer. in the past, i have been involved with teaching (ucla), television, motion pictures, radio ... all of which were corrosive to my composing time. 0 personally ... composing with electricity is very wearing.

for relief, i swim a half mile daily. on weekends, i go to the nearby desert and ocean to get as close to nature as possible. in between compositions, i take longer trips ... always camping if possible. i have camped in europe, hawaii, mexico, alaska, canada and western united states. 0 i also like bicycles and my fast jaguar.

...

when i first heard it, i was curious but did not consider using electronic music in my own music. the medium seemed too far from the ideas of composition i had. probably, i took what i had heard too literally as music. one day (in about 1960), it occurred/to me that i was really hearing pure experiments with noise ... or unorganized sound. the break-through of the noise concept was very important. i began to realize the fantastic potential for expanding our musical vocabulary if we could draw upon the new techniques for capturing and making noise. if we could find ways to manipulate these materials, it seemed we could bring them into the musical language in a meaningful way. this could be a breath of fresh air ... new life for our musical systems, which had for a long time felt thin and lifeless to me.

i am a classicist. i prefer to work within certain types of ideas and their resulting structural forms. my first electronic works were sound scores (in concrete) in which i tried to create order in noise by using it as descriptive background to narrative and literary ideas. i worked in such areas as the origins of the solar system, etc. these were effective, but they were limited in musical concept. i finally decided that to develop the proper theoretical basis for the new organizations in sound, i needed to apply elements that were historically common to, and important in conventional expressions of the arts.

the largest common and basic idea i could discover was that of tension. this is the force which grows out of the pull between opposites, or contrasting elements. it is the great regulator. in music, tension is the pull between tonic and dominant chords or the contrast of melodic line against melodic line.

tensions are the basis upon which the architectural . structures of homophonic music have been built ... from antecedent and consequent phrase, to the sonata allegro form and even that of the symphonic plan. dynamically, it is the degree of loudness which makes the degree of softness evident.

so i had the idea ... to organize the new sound according to these same principles. but the way was quite another matter. to organize, you need controls. i hardly knew how to make the sounds, let alone control them. i had heard about the synthesizer which was on the east coast. it was part of a university complex and it cost more money than i could ever hope to have. i also heard about some of the philosophies emanating from this and similar complexes. my approach was very different.

i set about trying to solve each musical problem by experimenting. in time, i found the techniques of composing with electricity and sound by myself. along the way, information was difficult to find. on the west coast, we were isolated and consequently behind. i never saw another live electronic music studio until last year. most of the instruments in my own studio were devices built for me by friends in the audio industry whom i met through my work as record producer. fortunately, hollywood is a recording center and we have some of the best technicians in the world

last year, we began to get instruments into this area ... wonderful new machines, some of which i have been able to put into my own studio. my new, more sophisticated instruments now give me controls to realize more of my ideas. but, interestingly enough, i have found these instruments perform " basically most of the same functions as the instruments we developed ourselves. this is exciting. it means to me, that the new musical community . . . and each composer in his own way . . . has begun to develop along a characteristic path. we are looking for the same things, and in a common era, we are typical.

as we solve the immediate musical and technical problems, the boundaries of our older art forms' have begun to slip away.

...

we have new horizons; we have begun to move into areas that will offer us incredible opportunities as creators. in the future, we will alter environments and interact with audiences in ways that are just beginning to be seen today and about which we are just beginning to hear. the new environments will be created in centers of new architectural shapes. they will be controlled by computors. we will see new sights and old treasures as if they actually existed in real dimension via holography. we will hear music that travels and sound illusions that shrink and expand space. rooms will be covered with skins of liquid crystals and electrical circuits. electric couches will shock and move, and ceilings will rotate. it is possible that we may be evolving toward art or sensations to be absorbed in a comatose state ... and all to pass the light years away as we travel in our space chambers to distant points. ruth white

...

historically, the origin of tarots is as elusive as their meaning seems to be. the traditional tarot pack consists of 78 cards: 21 atouts (trumps), a king, queen, knight and page as well as 10 numeral cards in each of the four suits of coins, cups, swords and batons. the unnumbered extra card is called le mat, le fou or "the fool", and more or less developed into the joker as we know it today.

it is from these cards-the "trumps" of the major arcana-that the seven elements of this album's composition have been drawn.

some authorities attribute the symbolism of tarot cards to ancient egypt, maintaining that the symbols of the major arcana are virtually the same as certain hieroglyphic designs of that civilization. in essence, they theorize that the designs were created to preserve, yet veil in great secrecy, great spiritual truths. only a knowledgeable elect can interpret them.

other historians of cartomancy, i.e., the art of reading the cards, assert the cards are of chaldean, chinese, or indian origin, while still others suggest, however improbably, the lost continent of atlantis as the ultima thule of the tarot.

in point of fact, the earliest extant versions of the cards date from 14th century italy, made in lombardy, and probably copied from cards brought to venice by trading ships from the near east. whatever their hidden origin, the tarot cards are said to embody symbolically certain universal ideas beyond which lie all the manifestations of human knowledge.

...

pinions was commissioned by choreographer eugene loring for the university of california. first performed february, 1968 at irvine, california.

"in every sense the central work was pinions, to a really exciting, organically musical, electronic score by ruth white. not only the soloists, but all the participants, seemed to draw heat from this score, wedded to loring's fluent choreography so convincingly one could not guess which came first. ... " los angeles times.

"choreographed on contrasting planes, pinions comments on the wings of imagination and love, the shackles of philistinism. and always, ruth white's specially written and especially eloquent score heightens the drama of the dance while plumbing its depths .... " dance magazine, 1968.

...

front cover: un jeu de tarots (early 18th century). 78 card pack. hand stenciled and hand colored woodcuts. designed by j. jerger. made by renault at besanc;on, france. from the collection of dorothy powills, director and editor of chicago playing card collectors, inc.

back cover: french tarots (circa 1820). designed by j. gaudais, paris. reversible atouts and courts, engraved and color stenciled. from the collection of dorothy powills, director and editor of chicago playing card collectors, inc.

inside illustration: japanese stencil design.

click the image above
to add this to your
shopping cart
 $9.47

new to stock as of
june 23rd, 2006


threads:
1960s-electornic
analogue-synth
musique-concrète
psych-prog
sound-poetry

creel pone (usa) #cp 047 cd

ruth whiteflowers of evil” compact disc-recordable

  • the clock (3:00)
  • evening harmony (4:02)
  • lover’s wine (2:57)
  • owls (2:45)
  • mists and rains (2:06)
  • the irremediable (4:55)
  • the cat (3:27)
  • spleen (2:50)
  • the litanies of satan (6:50)
... back again after last week’s mishap (don’t ask) with an absolute corker of a creel pone - the setting of a set of poems by charles baudelaire to electronic instrumentation & vocal treatments, as realized by ms. ruth white in mid-1969 ...

a sampling of any of the text(s) below (baudelaire was heavy, man...) should tip you to just how creepy & dark the vibes emanating from within this record are exactly ... ms. white’s possessed monotone-through-echoplex-through-vclfo’ed-gate throughout is just bone-chilling, her howling synth & noise backdrops so perfectly capturing the southern essence of the text that it’s hard to believe that these poems weren’t conceived in the era they were realized here (the just pre-altamontdownerhippie zenith) but in fact in the middle of the 19th century ...

certainly a creel pone more on the psych-end of things, but nonetheless a bizarre and terrifying vision into futures / past-futures that should speak to the inner satanist ... those who felt the “doomy” waves warping out of the warner jepson creel pone should follow suit herein ...
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 double-sided six-color inkjet-printed hand-cut card-stock booklet
1 x six-color inkjet-printed compact disc recordable in a high-density round-bottom cd sleeve

flowers of evil
an electronic setting of the poems of charles baudelaire composed and realized by ruth white




the clock (l'horloge)

the clock, evil, terrifying, inscrutable god whose menacing finger warns us, crying remember! - throbbing pains will soon stab your quivering heart as into a target.

"pleasure will vanish like a cloud over the horizon, like a sylph vanishing into the wings of a stage. each moment is devouring some portion of that delight which is granted to every man for his season of existence

"three thousand and six hundred times an hour, the second whispers: ‘remember!' swiftly, with the voice of an insect, the present says: 'i'm already your past, and i have drained your life with my loathewme suckers!'

remember! souviens-loi, o prodigal! esto memor! (my metal throat can speak all languages.) the minutes, 0 foolish mortal, are like ore from which the precious metal must be wrung.

"do not forget. time is a greedy gambler who wins at every turn of the wheel without cheating. such is the law. the day declines, the night deepens. the thirst of the abyss knows no end; the hourglass drains.

"the hour will soon strike wheu divine chance or austere virtue (your still virgin spouse) or even repentence (your last refuge), in fact all three will tell you, 'die, old coward. it's too late.'"




evening harmony (harmonie du soir)

now is the time when, throbbing on its stem, each flower sheds its perfume like incense. sounds and scents spiral in the evening air in a melancholy waltz, a slow sensual turning.

each flower sheds its perfume like incense: the violin trembles like a wounded heart, in a melancholy waltz, a slow, sensual turning. the sky is sad and beautiful, like a vast altar.

the violin trembles like a wounded heart, a tender heart that hates lhe huge black void. the sky is sad and beautiful like a vast altar. the sun has drowned in its congealing blood.

a tender heart that hates the huge, black void, is gathering from the luminous past, what dreams remain. the sun has drowned in its congealing blood, and like a glowing marvel, your memory shines in me.




lovers' wine (le vin des amants)

how splendid is space today. without spu's, bit or bridle, let us mount this wine like a horse and ride to heaven, enchanted and divine.

like two angels goaded by some delirious fantasy, let us pursue the distant mirage into the blue crystal of the morning.

gently balanced on the wing of the fleet whirlwind, in parallel desire, swimming side by side, we will fly, without rest or respite, straight into the paradise of my dreams.




owls (les hiboux)

in the shelter of the yews, owls stand in a row like foreign gods. their red eyes dart. they meditate.

they ,will remain, motionless, until the melancholy hour when the shadows push down the slanting sun and settle into place.

their attitude teaches wise men that in our world, tumult and strife are to be feared; for man, intoxicated by the fleeting shadows, is always punished for his desire to roam.




mists and rains (brumes et pluies)

late autunns, winters, springtimes steeped in mud, o drowsy seasons! i love and i praise you for enfolding my heart and my brain in a misty shroud, a cloudy tomb. in this great plain, where the cold south wind plays, where through the long night the weather-cock shrieks himself hoarse, my soul, far better than in the days of warm renewal, will spread wide its raven's wings.

nothing is more dear to my chilled and gloomy heart, 0 dismal seasons, queens of our sad climate, than the changeless aspect of your pale shadows... unless it be, on a moonless night, two by two, to lay our suffering to sleep on a perilous bed.




the irremediable (l' irremediable)

i - an idea, a form, a being, parted from the azure and fallen into the slough of some leaden stix where no eye of heaven can penetrate.

an angel, rash wanderer, tempted by the love of ugliness, lashing out like a swimmer in the depths of a huge njghtmare... and struggling (o fierce anguish) against a gigantic undertow which goes singing like a horde of madmen and pirouetting in the gloom.

an unfortunate man, groping futilely, seeking the light and the key to escape from a hole full of reptiles.

a damned man descending endless, bannisterless stairs, going lampless down the brink of a pit whose stench betrays its watery depths, where slimy monsters glare with great phosphorescent eyes that deepen the darkness of the night and make nothing but themselves visible.

a ship held in a crystal trap, icebound at the pole, seeking the fatal passage by which it reached that prison.

all these are clear emblems, perfect pictures of an unchangeable fate. they make us think that whatever he does, the devil does well.

ii - there is a dark and lucid exchange when the heart becomes its own mirror... a clear, black well of truth through which glimmers a livid star, an ironic beacon, a torch of satanic grace... man's sole relief and his glory... consciousness in evil.

* i and ii are reversed on this realization.




the cat (le chat)

i - a handsome cat., strong, gentle and charming, prowls along my brain as though in his own home. when he mews, we hardly hear, so tender and discreet is his tone. but. whether his voice is mild or vexed, it is always rich and deep. that is his special talent and his charm. this voice, which pearls and seeps down into the depths of my being, expands in me like a harmonious verse and delights me like a magic philter. it soothes the cruelest sufferings and is filled with every ecstasy. it needs no language to capture the deepest meanings. there is no bow that can sweep my heart, the perfect instrument, more richly drawing song from even its most sensitive string, than your voice, o mysteriuus, strange cat, in whom everything, as in an angel, is as subtle as it is harmonious

ii - from his blonde and brown fur comes a perfume so sweet that one night, i was caught in its balm by having caressed it once, only once. he is the familiar spirit of the house, judging, presiding, inspiring all things within his empire. is he magician or god? when my eyes are drawn, as by a magnet, towards my beloved cat and i obediently look upon him, i look into myself, and i am amazed to see the fire of his pale pupils, bright lamps, having opals, hypnotically fixed on me.




spleen (spleen)

when the low, heavy sky weighs like a lid on the spirit aching for the light... and when, embracing the horizon, it pours on us a black day which is sadder than any night; when the earth is turned into a dripping dungeon in which hope, like a hat, flutters blindly and bruises its timid wing and tender head against the walls and rotted ceilings;

when the rain, stretching down its long streaks of water, imitates the bars of an enormous prison... and a silent throng of loathesome spiders come and weave their webs inside our brains;

then suddenly... the bells swing angrily and hurl their hideous uproar into the sky like a band of wandering spirits who wail relentlessly.

and long hearses, without drums or music, move in a slow procession through my soul

and defeated hope bursts into tears

and the fierce tyrant angoish sets his hlack hanner on my bowed head.




the litanies of satan (les litanies de satan)

o wisest and most beautiful of angels, god betrayed by destiny and shorn of praises
o satan have pily on my long misery

o prince of exile who has suffered injustice and who, in defeat, grows even stronger
o satan have pity on my long misery

you who know all, great king of the underworld, ancient healer of human anguish
o satan have pity on my long misery

you who even to lepers and accursed outcasts, teach us through passion the taste for paradise
o satan have pity on my long misery

o you who through your old and powerful mistress, death, begot that charming insanity, hope
o satan have pity on my long misery

you who give the outlaw that serene and haughty smile that damns an entire nation thronging round the guillotine
o satan have pily on my long misery

you who know in what corners of the greedy earth the jealous god hid precious stones
o satan have pity on my long misery

you whose bright eye knows the deep arsenals where slumbers the race of metals
o satan have pity on my long misery

you whose vast hand guards the sleepwalker from the precipice as he strays on the brink of lofty buildings
o satan have pity on my long misery

you who, by magic, make supple the bones of the old drunkard, trampled heneath hooves of horses
o satan have pity on my long misery

you who, to console, man in his suffering and weakness, taught us to mix saltpetre and sulphur
o satan have pity on my long misery

you who placed your mark, 0 subtle accomplice, on the forehead of the vile and pitiless rich
o satan have pity on my long misery

y.u who turn women's hearts and eyes to the cult of the wounded and the love of rags
o satan have pity on my long misery

staff of the exiled, lamp of inventors, confessor of the hanged and of the conspirators
o satan have pity on my long misery

adoptive father of those whom, in his black rage, god the father drove from the earthly paradise
o satan have pity on my long misery

(prayer)

praise to you, satan, in the heights of heaven where once you were king, and in the depths of hell where, vanquished, you dream in silence.

grant that some day my soul may rest beside you under the tree of knowledge, at that hour when its branches shoot forth to grace your royal brow like a new temple.




charles baudelaire (1821-1867) was born in paris, france. his 163 short poems were published in three different editions under the title, les fleurs du mal. after the publication of the second edition, the minister of justice confiscated the book, and both the poet and his publisher were fined. six of the poems were condemned as "an offense against morality and decency." years later, near the end of his life, baudelaire said of the work, “... in this atrocious book, i put all my heart, all my tenderness, all my religion...


100%>


to me, baudelaire's poems are of such unique power that they always seem to rise above the level of the personal and sometimes existential nature of their content. in this composition, i have attempted to parallel the transcendental qualities of the poetry through electronic means.

for the words, i used my own voice as the generator of the original sound to be altered or "dehumanized." this seemed practical since my experiments with the medium were too time consuming to have been easily accomplished with a collaborator.

to modulate my voice, i used a variety of techniques. changes of timbre were achieved with filters. tape speed changes were used to control pitch. into the shape of some words, i injected sound waves and white noise, thus changing the quality of their sound hut not the flow of their delivery. by adding reyerberation, i varied atmospheres and decreased or increased space illusions. to accent special words or phrases, i used controlled tape delays. choruses were created by combining slight delays with multiple track recordings.

the musical settings around the voice were made with music concrète materials, a moog synthesizer, other electronic generators and conventional instruments, which were usually altered electronically.

in the translations, there was no attempt to rhyme the verse as in the original french poems. i tried only to keep the language as direct and simple as possible, for i always found that the dominating power of baudelaire's ideas 'were in themselves of electrifying force.

ruth white





music and translations @ 1969 ruth white.

produced by ruth white.

click the image above
to add this to your
shopping cart
 $9.44

new to stock as of
june 2nd, 2006


threads:
1970s-electronic
analogue-synth
musique-concrète
australia

creel pone (australia) #cp 044 cd

electronic music university of melbourne” compact disc-recordable

  • impulse gary wright (2.34)
  • conversations 1 chris wyatt (7.53)
  • panels v paul turner (4.06)
  • dedicated to a perceptive experience greg ridell (8.36)

  • mirrors ken guntar (7.34)
  • three mobiles peter tahourdin (14.15)
... remarkably consistent collection of pieces composed / executed between 1973 and 1979 by students at the university of melbourne on the megabeast of modulars: the ems synthi 100 (now residing, unplugged and finally at peace, at the percy grainger museum) ...

... why is the synthi 100 so impressive ? simply put, volume ::



... would you look at that thing !!! daunting ... i can only imagine the amount of headaches and brain-stem rot that went on went on whilst uni students tried to get their heads around the twin patch-matrices ...

... the 6 composers on this disc all put in fine efforts making sense of the intricacies of this then-new technology, with all turning in excellent pieces ranging from the tick-tock krautrock of gary wright’s “impulse” to the kosugi / c. spencer-yeh-ish violin-noise / synthi freakout of chris wyatt’s “conversations” to ... however the hell one would describe / compare the dense / freaked-out analogue mess of ken guntar’s “three mobiles(okay; ill try... douglas leedy’s ghost bathed in balvenie 17 yearvery old”, imbibed by akos rozmann - is that esoteric enough for you?) ...

... just dripping vintage-era electronic soul out of every orifice ... behemoth.
creel pone press release...
this creel pone edition includes:1 x crystal-clear resealable polypropylene cd sleeve with a black / silver foil stamp affixed to the exterior1 x single-sided six-color inkjet-printed hand-cut glossy-photo-stock booklet1 x four-color inkjet-printed compact disc recordable in a high-density round-bottom cd sleeve...

side 1

1 impulse gary wright (2.34)
2 conversations 1 chris wyatt (7.53)
3 panels v paul turner (4.06)
4 dedicated to a perceptive experience greg riddell (8.36)

side 2

1 mirrors ken guntar (7.34)
2 three mobiles peter tahourdin (14.15)

the electronic music studio of the university of melbourne was established in its present form in 1973 with the aid of a grant from the gulbenkian foundation. at its heart is a synthi100 analogue synthesizer, made by ems of london, linked to a pdp 11/10 computer. the studio serves as a workshop for composers, as well as providing a teaching facility for the university's faculty of music; in addition, research is undertaken into analogue, hybrid and direct sound synthesis. the works on this record are representative of the output from the studio between 1973 and 1979.

[] gary wright, born in montreal, canada, in 1956, settled in australia in 1975. he is a trumpet player of considerable ability as well as a composer. impulse (1978) captures the sound of several late night garden sprinklers running simultaneously. five independent tracks of filtered white noise are mixed together to produce the effect of syncopation and interaction.

[] chris wyatt was born in melbourne in 1955. conversations 1 (1976) is an expression of the composer's interest in the manipulation of acoustic material through audio synthesis. in this work the material was derived from the violin and from the human voice, manipulated by means of filtering and ring modulation, then further treated through the use of tape delay techniques.

[] paul turner was born in 1948 and grew up in the country in gippsland, victoria. in all there are six pieces to which the composer has given the general title panels. panels iv and v are both electronic and both were composed in 1975. though the two works explore the device of using static sound material juxtaposed and overlapping in various ways, they are markedly different in effect. panels v is the more lighthearted of the two. the choice of the talk back radio excerpt was fortuitous: an extract from a parliamentary debate, an advertising jingle, or the voice of a disc-jockey wou id have served equally well.

[] greg riddell was born in melbourne in 1957. his interest in composition was stimulated through his studies at the university of melbourne between 1974 and 1978. whilst there he helped to form an ensemble known as the composers collective, which is concerned with the presentation of music by its members within the musical environment of melbourne. dedicated to a perceptive experience (1978) sprang from a year of experimentation in electronic music and, as the title indicates, is a direct outcome of that experience.

[] ken guntar was born in 1951 in greta, new south wales, of austrian and italian parents. he is largely self-taught as a composer and his musical interests include works for the theatre and for dance, as well as for fil m and video presentation. mirrors (1979) grew from the idea of reflected mirror images. in this case the images translate into sounds that in turn reflect a period of growth and change in a person's life. however, a mirror may reflect not only an overall image, but also smaller, fleeting reflections. there is a distortion, too, in that a mirror turns left into right and right into left, though not top to bottom.

[] peter tahourdin was born in england in 1928. he is currently a senior lecturer in composition at the university of melbourne. of his three mobiles the composer writes: "the work was composed during the latter part of 1973 and early 1974, soon after i came to melbourne; it was a means of getting to know the newly acquired synthi100 - all the sounds were produced and treated electronically on the synthesizer. the original tape is in four channels and has been condensed to two for this record. the title and the concept sprang from the visual image of a sculptured mobile suspended in space, turning through the movement of air around it, and so presenting different facets of itself as it revolves; sometimes the transition is abrupt, sometimes gradual. each of the three mobiles has its own individual character, but each adheres to that principle for the presentation and evolution of the musical materials from which it is made."

click the image above
to add this to your
shopping cart
 $9.34

new to stock as of
march 10th, 2006


threads:
1960s-electornic
electro-acoustic-composition
analogue-synth
musique-concrète
1960s-electronic
machine-music
live-electronic
plunder-phonic
modern-composition
psych-prog
folk

creel pone (greece) #cp 034 cd

greek electronic music-1” compact disc-recordable

  • michael adamis - metallika glypta iii (5:45) (metal sculptures iii)
  • dmitris terzakis - to allithoro psari (6:34) (the squinty fish)
  • stephanos vassiliadis - kouklokosmos (9:43) (puppet world)

  • nikos mamangakis - olofyrmos (9:03) (lamentation)
  • charis xanthoudakis - study ii (4:40)
  • yannis vlachopolous - morphes ii (7:10) (forms ii)
jeeeezus ... so here’s just about the best record ever ; a collection of late 60s pieces from 6 hellenic composers ; only one of which even rates a single listing in the hugh davies book (that would be michael adamis) ... see that on the cover ? ::




... it’s the patch-bay of an ems vcs3, arguably the most legendary/ covetable analogue synthesizer. here is exchange that i’ve fabricated as a possible explanation of how this record came to be ::

adamis : “i’ve just come back from london and look what i have: it’s an ems vcs3. it’s a(n) electronic sound synthesizer

adamis’ five closest composer-friends : “let us each compose one piece using said electronic sound synthesizer, mixing insane analogian noises with concrète sounds, greek traditional music, and other sundry sound-detritus all while refusing to cease or even slow down the intake of various native spores that make us see colors that really don’t exist in earth’s spectrum

greek branch of major label emi to adamis : “in other parts of the world, major-label record companies are releasing lp’s of local electronic music. electronic music is the next big youth trend and we wish to capitalize on it. using our secret-spy practices we’ve learned that you’ve recently acquired an electronic sound synthesizer. please present us with six examples of this so-called electronic music by yourself and your 5 closest composer-friends... and please can i take few of those spores back to the office ?

... and so the rest is now history ; the lp came out in 1967, sold 20 copies, the rest were destroyed, only to have those fateful 20 re-surface almost 40 years later on ebay and sell for over $200 !!! and so the cycle remains unbroken ... until mr. p.c. c.p. steps in, spends $200 on ink-jet cartridges and paper, and reproduces 50 copies of this fateful artifact for the sensible connoisseur ... and how this sensible connoisseur is rewarded ? the ways are infinite ...
creel pone press release...
this creel pone edition includes:
1 x crystal-clear resealable polypropylene cd sleeve with a green / gold foil stamp affixed to the exterior
1 x double-sided professionally printed semi-gloss photo-stock booklet
1 x six-color inkjet-printed compact disc-recordable in a high-density round-bottom cd sleeve

programming and presentation of this record : hellenic association for contemporary music (hacm.)

cover picture : the 16 x 16 connexion matrix of the vcs 3 electronic music studio (ems, england.)

click the image above
to add this to your
shopping cart
 $9.32

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
1 x 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.

click the image above
to add this to your
shopping cart
 $9.22

new to stock as of
november 4th, 2005


threads:
outsiders-artists-deviants1970s-electronic
guitar-themed
psych-prog
machine-music
electro-acoustic-composition

creel pone (usa) #cp 022 cd

cellutron / the invisiblereflecting on the first watch, we uncover treasure buried for the blind” compact disc-recordable

  • alien activity from the 45th parallel (13:50)
  • john 3:16 (1:43)

  • parisian frequency shift (8:10)
  • reap the whirlwind (9:47)
... once again, leave it to mr. p.c. c.p. to unearth yet another recording that not only haven’t i heard; i hadn’t even heard of it until the faithful thursday afternoon box from reykjavik ...

... originally released in 1978 on the northfield, vermont based green mountain records, “cellutron & the invisible” is (apparently) the brain-child of one robert s. greely ... i’ve tried my usual sources for more information, but all i get are dead links and references to the lp itself ...

... in my mind, this is right up there with the continuum of weirdo 60’s / 70’s outsider private-press electronic-psych fuh - think intersystems (specifically), spoils of war, nikpascalraicevic, etc ... plenty of basement modular-synth spew coupled with chemically-derived “outsider poetry” and a few flourishes of psych-guitar for the “heads” ...

... if synth-drippings & zonked guitar / wordplay from a northern / deep woods dwelling longhair doesn’t sound like a variant on your ideal thing”, well, then i’ll be a digital readout hum...
creel pone press release...
this creel pone edition includes
1 x crystal-clear resealable polypropylene cd sleeve with a green / silver foil stamp affixed to the exterior
1 x single-sided one-color laser-printed hand-cut card-stock insert
1 x one-color inkjet-printed compact disc recordable in a high-density round-bottom cd sleeve

cellutron - oberheim digital sequencer
indiana straight - electric guitars
rsg - electric and acoustic guitar and utterings
spaceboy - external source modulation - treatment of guitar
d. tsiorbas - arp 2600 & percussion
a. tsiorbas - arp 2600 & vocal

“o said the children with flying saucer eyesthey’re changing into birds by daythe alien ships glidevoid of soundtheir black wings reflect unearthly huesthey invert a modulating pulsewidths of 46% and splitmaterializing above cracking the skydigital readout hums”

click the image above
to add this to your
shopping cart
 $9.19

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.

click the image above
to add this to your
shopping cart
 $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.

click the image above
to add this to your
shopping cart
 $9.16

new to stock as of
august 12th, 2005


threads:
1970s-electronic
electro-acoustic-composition
machine-music
musique-concrète

 best of 2005 !!! 
creel pone (italy) #cp 016 cd

zanagoriainsight modulation” compact disc-recordable

  • mono-tone (2:54)
  • condensazioni i (3:27)
  • condensazioni ii (3:20)
  • frase in metallo (2:25)
  • diorama e recitativo (4:03)

  • cancrizzante in ritmo (2:55)
  • cancrizzante a solo (2:18)
  • kilomb (2:33)
  • su 60 impulsi i (2:45)
  • su 60 impulsi ii (4:12)
  • jazz modulation (3:10)
... secondzcreel pone in a row (don’t worry folks, there are plenty more from whence these came) ... to start off, here’s a blurb i wrote for pitchfork a few years back that i feel sums this record up on a qualitative scale ::


not much information on this one to work with. no year, no biography, google searches yield ... nothing further. it's italian ... sounds like a fabled nurse with wound 'list item'. although it's not on 'the list' (skips from lamonte young to frank zappa). the last track on the first side consists of four minutes of a flat jazz combo fed in bulk through a stuck-frequency ring modulator. the rest is this warbling falsetto with repeated machine rhythms for like ten minutes at a time (people used to edit themselves less... times were better...). could be a library-record of some mev or sonic arts union out-takes. could be hnas. could even be maurizio bianchi. but could just as easily be ohioan teenagers recording boiler-room ambience ca. 1996. we'll never know. mysterious.


...really wish i knew more about this one as it’s an intense blast of weirdness from the “empty scrapyard at midnight” camp ... i do know this ; zanagoria is reported to be an alias of italian film composer & morricone sideman giorgio carnini, who scored the music for “dead end” in ‘69... then took a few years off during which he recorded a few library lps for cam and (his own) gemelli before resurfacing in the late 80’s with yet more film scores & a few classical compositions ...

from the sounds & overall assembly method of this record i’m guessing it’s from the early to mid 70s (the two cam lps i know of are from 1971/1976) ; everything’s bathed in thick reverb, synth blat is happening ... somewhere ... miles away from the studio / recording apparatus ... slowly getting marginally closer then fading out again, far away ...

proof in the pudding ; there’s a whole world of unexplored early electronic music out there waiting to be found ...
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

italian of origin, has formed itself musically in argentine, country where has begun its concert career like pianist. after to have studied pianoforte, organ, composition and choral direction and are graduated near the national conservatory of music of buenos aires, have gained various important competitions.

moved in europe it has been dedicated mainly to the organ after a period of improvement with ferruccio vignanelli. considered e' one of the more organisti important than today; it has been exhibited in the greater italian and european musical institutions between which the theatre to the scale, roman the filarmonica academy, rai, the festival of the two worlds of spoleto, the arena of verona, the festival di montreux, the mozarteum di salisburgo and the musical weeks of stresa.

as director has toed make one's debut in 1983 with the orchestra from room of padova, alternating therefore regularly the two activities. many its concerts have been transmitted from the three national television nets and in eurovision. it has recorded for the memories, the new was and emi. it has to its assets numerous first executions of contemporary authors who have written for he concerts for organ and orchestra. teaching e' of main organ near the conservatory of the aquila, and has held course of improvement to the mozarteum di salisburgo, the national academy of cecilia saint, to the musical academy chigiana of siena and, currently, to academy aida.

click the image above
to add this to your
shopping cart
 $9.15

new to stock as of
august 5th, 2005


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

creel pone (usa) #cp 015 cd

edward m. zajdaindependent electronic music composer” compact disc-recordable

  • study no. 10 (9:57) 1965-66
  • in march for ann (5:05) 1967
  • points (6:57) 1968

  • magnificent desolation (16:52) 1968
  • study no. 3 (3:20) 1968
... now that the creel-pone series is in its teens; time for an irreverent late-60s blast of heavy synth-freakout / tape-psych weirdness from this cicero, illinois based composer, about whom i can’t find a single bit of information (other than that he has a piece included in a 1964 radio program called “electronic music in america” that’s archived in the brandeis library) ...

originally self-released (on what i assume is zajda’s “ars nova / ars antiqua” label), “independent” stars out with a bit of midrange oscillating synth clusters abetted by moaning “psych” vocals ; then for some reason an opera bellow cuts through ... then ... a snatch of late 60s psych-guitar fuzz (??? !!!) that wouldn’t be out of place on the plastic cloud lp before descending back into further logically-removed synth fuzzler aktion ...

from there on it just gets more and more out; some really fantastic edit-heavy ring-modulated noise one second, then an 8-voice drone cloud the next. a couple of pieces on the b-side mix voices from the apollo mission with some of the most absolutely fried pontillist blat i think i’ve ever heard ...

of the creel pones that have surfaced as of yet, this could very well be my favorite (i’m basing that status on the fact that i had never even heard of this lp prior to receiving the creel pone of it coupled with the fact that its so boss) ; entirely necessary, especially if the combination of a) early synthesizer manipulation b) home-studio strangeness c) late 60s midwest “psych” connotations floats your respective tugboat. capital-z zonked ...
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 double-sided six-color inkjet-printed hand-cut card-stock booklet
1 x six-color inkjet-printed compact disc recordable in a high-density round-bottom cd sleeve

...

stereo

side one:
  study no 10
:  in march for ann
:  points

side two:
  magnificent desolation
  study no. 3

library of congress catalogue card number: 78-751132
printed in u.s.a.

produced by ars nova ars antiqua recordings, inc.
606 raleigh p1ace, s.e. ,washington, d.c. 20032

the composer says:

"i was born in chicago in 1941 and took my bachelor's and master's degrees in music at depaul university, studying traditional music composition under donald jenni and leon stein. even then, however, the strongest influences on me came from people like john cage and gordon mumma, and around 1962 i was sure that i wanted to make electronic music - but there was nowhere to go. i was far away from the big centers of study in the field.

i had no choice. i had to build my own studio, bit by bit-perhaps the first studio for electronic music in chicago. i began with hi-fi components and graduated fairly quickly to building my own equipment. after a while i found that i was spending more time putting together equipment than composing music on it, so in 1967 i began using a moog synthesizer. along the way i got a lot of help from bob ashley, bill ribbens and gordon mumma ; gordon in particular contributed not only technical advice but personal and musical inspiration during those early years.

this album reads like a chronology of events in my composing, study no.3 was one of my earliest attempts, while magnificent desolation was organized during the first lunar landing. both are included for the sake of a bit of perspective on my development as a composer.

study no. 10 (1965-66), which opens side one, uses, for the most part, electronically generated sounds (sine and square waves that have been modified by a ring modulation process). some of the sound sources, however, are "real" ones; i'll leave it to the listener to identify them.

“in march for ann (1967) is dedicated to ann waterman, who's done a jot to 'liberate' my thoughts about people. it's a bleak sort of piece that reflects my feelings about chicago in march-an ugly, dreary time and place.

points (1968). the first of my pieces to be created entirety on the moog synthesizer, was conceived as music for music's sake. on second thought, however, its piercing sound may be a reminder of midwinter, 1968, when it was organized the time of year when the snow crunches under your feet, and when the evenings are crystalclear. .

about the music:

... for a finale there was edward zajda's study no. 10, a bit of musique concrete indebted to varese, but which juggled its vocabulary with more than the usual tape-composer's sense of variety... - donal j. henahan, chicago daily news

... first performance is actually a misnomer for the second item, for this was an electronic piece entitled points by edward zajda, composer-in-residence at chicago's new electric theater. the performance element, therefore, was restricted to the composer's sitting on the platform and switching the tape machine on and off.

for the first minute or so, it seemed as though points were going to be one of those agreeable but unnecessary tape pieces that limit themselves to effects equally within the capacities of ordinary instruments. this is a weakness observable in much electronic music in these still early days of the art's development just as, in the infancy of photography, it took practitioners a while to shed the habit of merely simulating the effects of painting.

the impression, this time, was quickly dispersed the spectrum of sonorities expanded widely, and combined with some genuinely creative rhythmic effects to hold the interest throughout. indeed, the only weakness of the pieces was its seeming desire to cover every conceivable electronic effect within its short compass." -bernard jacobson, chicago daily news

cover design: jacqueline lafleur

click the image above
to add this to your
shopping cart
 $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

click the image above
to add this to your
shopping cart
 $9.02

new to stock as of
may 13th, 2005


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

 best of 2005 !!! 
creel pone (france) #cp 002 cd

pierre henrymise en musique du corticalart de roger lafosse” compact disc-recordable

  • lévitation (7:25)
  • pénetration (4:55)
  • cortisouk (5:41)
  • electro-genèse (7:34)

  • voyage (6:12)
  • sauts (3:49)
  • hellzapop (6:25)
  • limonaire (3:31)
  • fantasia (5:11)
... a bit more information re: the creel pone puzzle ...

these are and will continue to be small-batch cdr editions reproducing highly covetable (and otherwise un-available) early-electronic and synth-freakout lps from the private collection of one mr. p.c. c.p. (some of you reckankomplex followers might remember he was our prior webmaster and in-house dj) ...

each creel pone comes complete in a 5 crystal clear resealable polypropylene jacket containing a high-quality full-color photo-stock print of the original lp sleeve and a cool inkjet printed white top / black bottom disc housed in its own high density round bottom cd sleeve ... the audio in each case has been expertly restored from the original vinyl source at 24-bit resolution, removing all non-essential surface noise and ground-hum (although, and certainly in the case of this title given the original lps’s scarcity, there will be a click / pop or two from time to time.) ; so ... not your average cheap cdr reissues but in fact something much, much nicer (the love certainly does shine through) ...

... and the hits keep on coming ... long my favorite pierre henry record, baffling that it was never included in one of those umpteen multi-disc box-sets on philips from the late 90s ... in the twilight days of the 1970’s henry, with the assistance of the mysterious roger lafosse, built a brainwave-conduction system which he placed on the head(s) of various individuals, feeding the resultant voltages into a giant synthesizer ... the concept being that the “composer” of the music was the one to whom the transducers were affixed ... hearing the music (inarguably henry’s fiercest and most unrelenting bit of pure analog skree) it’s understandable that this process never sparked an auto-electroacoustic-composition movement ...

... originally issued in a beautiful silver / black foil-stamped sleeve (reproduced wonderfully here) as part of the illustrious prospective 21e siècle series on philips ; mind-slaying and so incredibly aggressive for a record from 1970 ... fans of the current wave of free-electronic noise-blat (wolf eyes, peter b., nautical almanac, et.al) will find much herein to convulse over ...
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 double-sided six-color inkjet-printed hand-cut card-stock booklet
2 x single-sided one-color laser-printed hand-cut vellum translation sheets
1 x six-color inkjet-printed compact disc recordable in a high-density round-bottom cd sleeve

prospective 21st century

pierre henry
music made with roger lafosse's corticalart


variations and sonic improvisations on the electric waves of the brain, recorded live at concerts at the museum of modern art in the city of paris in february 1971

technical production of corticalart
groupe artec (bordeaux)

electroacoustic production
apsome and j. heuze

improvisations and sonic direction
pierre henry

right, illustration: christian morin
left, photo: david henry

universal engraving
stereo / mono : 6521.022

thanks to a new technique, this stereophonic recording can be played on any modern record player with a light head. however, the stereo effect will only be reproduced on stereophonic equipment.


pierre henry, a man who has lived in a den of microphones and loudspeakers for more than 20 years, doesn't take the power of technology lightly. he uses technology as a tool to further his investigation of sounds yet unheard. pierre henry's electroacoustic catalog is the largest, most pure and determinant of it's kind. throughout his work he displays a delicate symbiosis between a craftsman and his tool and his electronic-art equipment as he acts as a precise and deliberate sculptor of sound.

in corticalart (literally: the art of the cortex), the relationship between the artist and his instrument is a thousand times closer; much faster and more direct. the mental acts of creation, capturing and amplification all happen in an instant using direct psychological mechanisms. to a composer seeking new experiences, one who is always impassioned by new inventions, organic micro-sounds and electroacoustic techniques that go beyond the fixed world of magnetic tape, the device created by roger lafosse, avant-garde cultural pioneer, founder and director of sigma arts and contemporary trends of bordeaux, researcher and musician, promises a thrilling adventure.

a system of electrodes similar to those used in electroencephalography affixed to the musician's head, can detect three kinds of electrical signals emanating from the cerebral cortex: alpha waves (relaxation, inattention, rest), beta waves (arousal, attention, activity, response) and artifact signals that are linked to eye movement. seven distinct sound sources, that is to say, seven electronic sound generators, are modulated by these infinitesimal waves. they offer the composer, who is both his own material and it's master, a musical substance that may be manipulated, combined and amplified at will in a direct and spontaneous improvisation hitherto unheard of in the electroacoustic field.

maurice fleuret

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 
.home..artists..labels..new..restocks..best..faq.
.soon.
... this page was last updated on wednesday, august 27th, 2014 @ 9:21 am