Creel Pone #4: Take me to Electronic Heaven
This post is part of a series. Read the earlier posts for more on Creel Pone.
My Creel Pone post is a real treat this week. I actually wrote this one on the back of the other because the music was too exciting to leave for a few weeks. We have 100 (or so) albums to get through anyway – who cares if I jump the gun out of sheer excitement.
Problems with these posts include not being able to source tracks for your listening pleasure. Where possible (if my lamo music abilities allow) I upload a track to soundcloud or I grab a small portion if that’s all I can gather. I do my best but as you will see below in this particular selection, my best isn’t near good enough.
That being said, all the albums are available if you care enough to seek them out. I’m beginning to think I may need a collection of these CD’s – and here I was going to go purely digital. It’s just that they’re so dam beautiful, and so stunning to hear, I have this strong urge to hold the object. You know, that existential anxiety about the barrier between me and the not me and what I can hold I can own and all that. I’m thinking it maybe necessary here. (sigh)
Enjoy this small offering. It doesn’t get more beautiful than this.
14. Carrefore – Musique Electro-Acoustique / Electroacoustic Music – Canada
This small collection by Otto Joachim, Paul Pedersen, M. Coulombe, Peter Huse, Michel Longtin, Hugh Lacaine and David Paul seem to have almost no connection other than the fact they appear on this release together. The track list is as follows:
Otto Joachim – 5.9 5:54
2 Paul Pedersen – For Margaret, Motherhood And Mendelssohn 4:20
3 Micheline Coulombe Saint-Marcoux – Zones 9:00
4 Peter Huse – Space Play 3:30
5 Michel Longtin – La Mort Du Pierrot 5:20
6 Hugh Le Caine – Mobile 1:50
7 David Paul (2) – Eruption
The standout for me being Paul Pedersen’s piece that combines voice over on the importance of raising children with harsh electronic sounds and abrupt halts in play interpspersed with screeching interruptions. The entire album is fresh – sections of the Peter Huse sound almost like cars racing past on a track while the Michel Longtin builds to a crescendo that reminds me of a helicopter taking off. These are all illustrious Canadian composers, all with their own histories and various far-reaching talents in sound. This collection is richer than much of the previous works, reflecting highly experimental styles with more natural and field type sounds. It was difficult to get some tracks of this one, but they can all be listened to here.
15. Edward M. Zajda – Independant Electronic Music Composer (1968)
Ok – so this one is REALLY difficult to find any information on. I THINK this is a one-off synth recording that Creel Pone have nabbed up – it’s far more Prog than what comes before it. We’re heavy on the synth here and its that tape-psych wierdness that’s on display. Again, we’ve got that You’re from another planet feel, but this time it’s coupled with some pelting background drone holding you down to mother earth. According to Mimaroglu Music Sales Zajda has a piece included in a 1964 radio program called “electronic music in america” that’s archived in the brandeis library.
I like the review they’ve done on the album here, so I’ll continue with their quote:
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-removedsynth fuzzler aktion … from there on it just gets more and more out; some really fantastic edit-heavy ring-modulated noiseone second, then an 8-voice drone cloud the next. a couple of pieces on the b-side mix voices from theapollo mission with some of the most absolutely fried pontillist blat i think i’ve ever heard …
This is a great album because it is laced with home-made weirdness that is completely appealing and not at all alienating. Some albums on the Creel Pone release list are accessible staples of the electronic music genre. Some are just pure pleasure and outsider art. This album falls into the latter category.
16. Zangoria – Insight Modulation 1972
This is one of the best albums in the collection so far. Wanna hear something freaky? There is one (yes ONE) google image for the album and three google posts on the web search. I have never seen anything with so little net exposure in my life. And why? That I can’t work out. Get a load of this – track six, Jazz Modulation.
I read on the one other post I could find about this brilliant album that it is the work of Giorgio Carnini operating under a pseudonym. It’s possible. The quality is so high on this album. For me, it is one of the stand outs of the Creel Pone collection.
17. Iowa Ear Music
This is a beautiful beautiful album, and another that I listen to frequently. Its mostly improvised and turns out to be mostly a sampler of tracks from many different sources. Discogs has a great in-depth run down of whose who on this brilliant album that you can check out. The musciains (as far as I can tell) are not related and the tracks span a healthy time period (1967 – 1976) but they come together in a sublime listening expereince. Mended Records had this to say: Not jazz, though it got max rating in Downbeat magazine, closer to the free spirit of the Tuscaloosa, Alabama scene of the time (Trans Museq, Blue Denim Deals, Raudelunas). A never reissued artifact from the time when musical experimentation was truly exciting and groundbreaking and also a great listening pleasure.
I also found an in-depth review at Sonic Asymmetry that had to be included here.
One of the interesting features on this record is that often the pieces quiet down, masked by louder sections presented as separate tracks. However, the preceding composition does continue underneath, drowned by the successor bolstered with higher decibel content. Instruments whose projection is stronger in an orchestral setting – both acoustic and electronic – sometimes betray this ingenious proceeding. The stratiform treatment never disturbs, on the contrary. Little else has been heard from these musicians. I suppose that some of them ended up in academic circles. Michael Lytle moved to New York, just in time, and caught up with George Cartwright and Mark Dresser. He deserves his share of the fame and respect lavished over the years on Doctor Nerve. His clarinet contributions made Didkovsky’s project sound like a hyperspeed big band.