Creel Pone #5 : Who are they, where do they come from, why are they here?
I have a lovely little line up of electronic music from the uber label Creel Pone here for you this time. We’re on a journey through the label – earlier posts start here if you want to take a peek. I only discovered electronic music last year, but since I have I haven’t looked back! The music that flows to me now is one of the most incredible things this world can know, and my attachment to the electronic is a big part of that.
I hope you enjoy the selection below. I’ve got the next 4 amazing albums in the count down to the 99 albums that make up the Creel Pine collection. In this selection we have musique concrete for kids – AT LAST I hear you cry! Ha! Take a listen – it’s so worth it. Download a copy of this beautiful, interesting work and play it to your kids. Have a moment when they look at you like your mad. I bet they come around to loving it eventually.
# 18 – George Engler – The Inside Of The Outside / Or The Outside Of The Inside – Who Are They? Where Do They Come From? Why Are They Here?
Composed By – Heinz Karl Gruber*
2 Ghostly Drumming 2:45
3 Echo 1:25
4 Swarm Of Insects 1:40
5 Industry 1:05
6 Metallurgy 1:40
7 Work In Space 1:20
8 Destruction 2:20
9 Saturn 2:00
10 Thunder And Lightning 2:25
11 Dance Of The Unknown 2:35
12 Terror 2:15
13 Spherical Exotic 1:35
14 Hectic 1:15
15 Sparkling Particles 1:35
16 Steel-Harp 1:00
17 Lunacy 1:07
18 Tears 0:25
19 Sounds On Venus
This amazing collection of experimental musique concrete strikes at the very heart of what we think electronic music should be. Originally released in 1965, this reproduction is in excellent shape and supposedly inspired george Harrison on his electronic sounds release, but of course Harrison never went this far – the music literally curving itself up toward space. One can glean all sorts of hypochondroid vibes from the title & liners 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. Echo is the stand out for me, but I can’t find a copy of it to play play play you. But you can get the download here anyway.
# 19 – PHILIPPE ARTHUYS – LE CRABE QUI JOUAIT AVEC LA MER (1955)
1 Le Crabe Qui Jouait Avec La Mer 13:46
2 Le Crabe Qui Jouait Avec La Mer 11:24
Narrator – Jacques Gripel , Pierre Conte , Sylvine Delannoy
Recorded in the studios of the Groupe de Recherce de Musique Concrète de la R.T.F.
Text is an extract from “Histoires Comme Ca” of Rudyard Kipling, translated into French by M.L. Fabulet and R. d’Humieres.
MUSIQUE CONCRETE FOR CHILDREN !
This is literally, as cute as cute gets! Of course it’s all in french, but play it for your kids. Its gorgeous! A beautiful animated story with gorgeous electronic sounds in the background to delight and excite children. What an incredible gift to give your kids! The gift of alternative music.
#20 – Anthology of dutch electronic tape music v2 (1966-1977)
Jacob Cats – Cadence-1 6:10
1-2 Tera De Marez Oyens – Safed 7:33
1-3 Jos Kunst – Exterieur 9:36
1-4 Gilius Van Bergeijk – D.E.S. 7:46
1-5 Frans Van Doorn – Minnuet 9:05
1-6 Thomas Arras – A.B.C. 8:33
2-1 Simeon Ten Holt – I Am Sylvia 15:30
2-2 Victor Wentink – Discours 13:20
2-3 Louis Andriessen – In Memoriam 5:06
2-4 Peter Smith (2) – Etude-1 8:58
2-5 Tony Van Campen – Sintering
The second volume to the divinely alive Dutch electronic series. I have this and volume one on my i pod and I LOVE to do a freak out shuffle on my way to work on the train. the music hides behind, beneath and above me and the sounds blend with everything around me. I get lost in this timeish sort of pocket to which there is no start and no end. Just listen to this:
Hows that for a mind-fuck? Grab a listen here. For this volume I have been able to get a hold of the liner notes. Check it out:
Electronic music has been the subject of intense activity in the Netherlands since 1955, and the variety of this activity is reflected in the histories of the large number of electronic studios. The aim of Anthology I is to illustrate both the work of the various studios and that of individual composers; we have tried to represent as many composers from each studio as possible with preferably their earliest and most characteristic works. The majority are exercises and étude-like pieces with exception of No. 8, a composition for instruments and tape; No. 5, music for a television play; No. 6, a ballet score; and No. 14, music for a stage play.
In Holland, as in other countries, it was mainly tape music for concerts that was produced until 1966. After that date electronic music expanded: advanced computer techniques were developed, live electronic music received more attention, electronic music penetrated into conservatory and university syllabuses, and above all private studios were set up by and for groups of improvising musicians. The year 1966, the watershed in the history of Dutch electronic music, accordingly marks the limit of this collection: Volume I is built around tape music from 1955 to 1966, and Volume II documents tape music from the ‘open studios’ from 1966 to 1978.
Erwin Roebroeks wrote a review on the anthologies which was published in in Neuw Zeitschrift Musik 2009
#21 – Cellutron and the Invisible – Reflecting on the First Watch, We Uncover Treasure Buried for the Blind.
So… oh my god… get your head around this. Purely for the vanity of being able to sit back with a smooth red and look and feel like hot shit, I would LOVE this collection on vinyl. This LP is amazing. Whirling and spinning us out of the context of that quirky stab thing, this album moves into different directions again.
Side A is a bees swarm of massive enveloping sound, analog cut with a frosty and (to quote Mutant Sounds) slightly curdled tone somewhere between Schnitzler-esque dystopian abstraction and the interstellar voids emitted by Nik Raicevic or Tangerine Dream circa Alpha Cerntauri.
Once we’re done with that abstraction, side B moves us into even more curious zones. ” First is Parisian frequency Shift”, which moves some reverb into the feel and adds some cosmic hippie style voice.
Reap the whirlwind is the best track on the album, a weave of antiquated and hollowly bonking sequencer that Mutant Sounds suggested reminds us of Mort Garson or Tom Dissevelt. I could hear the TD in the track – and it certainly is one to listen to. Grab your download of the album here or listen to the final track on the you tube below.