Reissues
Live Electronic
After a long winter-hiatus, Creel Pone returns anew in fine form w /a reproduction of this 1979 Hungaroton-label burner, covering a series of "Live Electronic" pieces composed by Laszlo Dubrovay during the mid-late 70s. After an extended "Modern Composition" -leaning ensemble-bleep venture - i.e. heavily filtered / ring-modulated piano, strings, cimbalom, and percussion playing in a sparse, pointillist manner - the album progresses into deeper waters, first with a sorted piano / synthesizer due…
Elektronische Musik, Konkret - Instrumental - Vokal
1982 compilation of late 70s & early 80s "Konkret - Instrumental - Vokal" work composed at the Studio für Elektronische Musik der Staatlichen Hochschule für Musik und Darstellende Kunst Stuttgart. Includes pieces by Jürgen Bäuninger (incredible transformations of “Tam Tam”, or gong smash / grabbings,) Klaus Fessman (re-pitched string grabs, Partch-like prepared piano & deep ominous bass cloudings, cut with random bleep,) Ulrich Süsse (tongue-in-cheek narrations jump-cut at a rapid pace analog za…
Organum Quadruplum
Here’s a special one: the 1974 “Edizioni Musicali e Discografiche Pubbliart” - essentially, a private imprint - issue of Vittorio Gelmetti’s electronic music, including the extended 1969 piece “L'Opera Abbandonata,” composed at the Studio Eksperymentalne of the Polish radio in Krakow with Bohdan Mazurek - an incredible 23-minute collage of radio static & plundered audio material - plus the 1967 "Organum Quadruplum” - oddly, a “Live Recording” - chair-shuffles & stifled coughs dot the transcripti…
Dimensione Sogno
Despite being something of a self-professed “Enthusiast” of exactly this kind of thing - privately-released LPs of minimal, experimental electronic music from the 1970s - I had literally never heard head nor hide of the storied Italian actor - he was in Roger Vadim’s wonderful Barbarella, Tinto Brass’ Attraction, and Vittorio de Sica’s Sunflower, something of a holy trifecta right there - Umberto di Grazia’s lone musical outing, featuring a series of minimal, experimental electronic etudes real…
Íslensk Raftónlist / Electronic Music From Iceland
Ah, yes ; here's Mr. P.C. C.P.'s treatment of the other known Icelandic Early Electronic music LP - the first, while not really Icelandic in the sense that it was composed @ UCSD :: Thorkell Sigurbjrnsson's "La Jolla Good Friday;" Creel Pone #52 - but then again these two pieces were composed in Holland and Sweden, respectively. Despite that each side-length piece - composed, respectively, by Llárus Halldór Grímsson & Thorsteinn Hauksson - was composed at the dawn of the 1980s, the music here ha…
Música Nueva Latinoamericana
Creel Pone treatment of four LPs, privately released (on the Tacuabé label) in Uruguay in the mid-to-late 70s, “Música Nueva Latinamericana 1 • Cuatro Composiciones Electroacusticas • Bazan / Bolaños / Kusnir / Neves,” “Música Nueva Latinamericana 2 • Tres Composiciones Electroacusticas • Bertola / Nova / Orellana,” “Música Nueva Latinamericana 3 • Tres Composiciones Instrumentales (Grabado en Vivo) • Etkin / Gandini / Iturriberry,” and “Música Nueva Latinamericana 4 • Tres Composiciones Electro…
Prismes
Previously, Mr. P.C. C.P. had the wise idea to replicate the two “Corticalart” Pierre Henry titles, considered by many as the most wild & woolly amongst the French Musique Concrète master’s vast discography. Personally, I’ve long been puzzled by the “Corticalart III” title ; was there a “Corticalart II” that we somehow missed? Lo and behold, here it is, in the form of a “Second” concert utilizing the system, again done in collaboration with Bernard Bonnier, assembled at the Studio Apsome then pr…
Elektronische Musik
Mr. P.C. C.P.’s handling of this 1981 “Private-Press” (c/o the Internationales Musikstudio - aka the Nürnberg vinyl pressing plant) abstract-synth stunner, comprised of three pieces composed during the mid 70s & early 80s by “Elektronische Musik im Unterricht” & “Musik aus Strom : Eine Einfuhrung in die Elektronische Musik” author & 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 “Doppelring…
SMI, Sozialistische Musiker Initiative
Creel Pone here resuming the regular one-a-week schedule for the next few weeks / months, starting off here with easily the noisiest entrant since Pierre Henry’s “Mise en Musique” - possibly even moreso! - a split LP of Socialist Text-Sound & Musique Concrète works by composers Max Keller and Martin Schwarzenlander. The A-side piece, Keller’s “Sicher Sein...” interjects continuous, ululated German / Austrian texts with jabs of random, synthesized noise, sample-and-hold bleeping, and piercing hig…
Discurso aos Objectos #2
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 “pure” electronic & synthesizer blurst - into a relatively short 8 minutes. Then, the second…
Fugue of Light
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 - “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 …
Nana
Drummer Edward Vesala was an early Finnish pioneer of avant garde jazz, and he managed to release this lovely LP that has to be considered the first proper Finnish free jazz album in 1970. The Vesala trio was supposed to be a quartet, but trumpetist Mike Koskinen fell ill, and the remaining exploratory trio (Vesala, saxophonist Juhani Aaltonen and bassist Arild Andersen) recorded the album in a short, fiery session. The album Nana is an absolute rarity as well as an absolute beauty. As with many…
Ragas And Talas (1959)
One of his earliest LPs in its entirety, Ragas & Talas (origibally on His Master’s Voice ALP1665), issued in 1959 is finally available again. All played with a hypnotic quality that's really wonderful! Indian musician Ravi Shankar (1920–2012) was one of the best-known exponents of the sitar in the second half of the 20th century. In 1956, he began to tour Europe and the Americas playing Indian classical music and increased its popularity there in the 1960s through teaching, performance, and his …
Transparent
Double LP version. Comes in a gatefold sleeve with a 12" booklet of unseen images and includes a download card. The entire Transparent recordings released for the first time, completely remastered from the unedited tapes. Zos Kia was formed by John Gosling (Mekon), John Balance (Coil) and Min - with guest Peter 'Sleazy' Christopherson (Throbbing Gristle). Their one and only album, Transparent, was released on August 23rd, 1983 in a cassette only edition on the now defunct Austria label Nekroph…
Cinema Music & Wallpaper Sounds
Lost for years, and then found. A recently re-discovered seminal 1976 synth/electronic work from the Buzzcocks vocalist and synthpop pioneer. From the period before “Homosapien” this album is at the root of Pete Shelley’s journey toward his later solo electronic works. Unearthed by writer, critic and cultural commentator Jon Savage, the album is disseminated in the release sleeve notes. As he suggests “It contains nods towards muzak, the modulations of electronic disco (“I Feel Love”)”. T…
Inventions For Radio: The Dreams
One of the coolest compositions we've ever heard from Delia Derbyshire – a special set of electronic compositions based around dreams, with lots of tape work and electronics from Delia, plus loads of eerie recitations as well! Each track features someone describing a dream – at a level that would be spooky enough on its own – but then the voice is often manipulated slightly, sometimes repeated – and mixed with the kind of dark, moody elements we love in some of Derbyshire's more instrume…
Divine Music
History can be a motherfucker - its authors vindictive and deeply unfair. Though Jazz - long heralded as the great American art form, got its due, buried within its canon are the legacies of systemic neglect. Its narrative is a mere shadow of the truth. Robert Northern is a lost giant - a name that almost no one has heard - a prodigy once recruited by Miles Davis, John Coltrane, Thelonious Monk, Roland Kirk, Donald Byrd, Charlie Haden, Don Cherry, Freddie Hubbard, Eric Dolphy, and Sun Ra, who ve…
Tempo Sospeso
Bruno Nicolai is a leading figure in the world of Italian soundtracks although he is primarily known for being the most important of Ennio Morricone’s collaborators and his orchestra conductor in the period of Morricone's greatest production (60‘ and 70’s). But Nicolai's solo works are certainly not of lesser artistic relevance. Tempo sospeso (Suspended Time) is one of the most representative albums in this sense that it was produced by Nicolai in 1975 without any filters or restrictions,…
Fourth Sensation
First ever reissue of the sought after album Fourth Sensation, originally released in 1970. The band was formed by Ares Tavolazzi (I Giganti, Area) - who later was an active session musician as well as being a leading figure in the Italian jazz scene, accompanying Gil Evans, Steve Lacy, Max Roach, Lee Konitz, Phil Woods and many others - on guitar, Ellade Bandini on drums, keyboardist Vince Tempera - who, a few years later formed the progressive supergroup Il Volo with Mario Lavezzi and Al…
Il Gatto dagli Occhi di Giada
After 40 years since its theatrical release, presented here for the first time on vinyl is the phenomenal soundtrack for Il Gatto dagli Occhi di Giada (also known as ‘Watch Me When I Kill’) - directed by Antonio Bido (director of THE BLOODSTAINED SHADOW). This top-notch score is undeniably catchy, yet has its creepy moments.The film’s score was created by a supergroup specifically formed for this project and consisted of Adriano Monteduro (vocals and guitar; known for his 1974 record in which h…