Creel Pone #7 – Vocals and Electronic noise.
It was the 1960’s that brought electronic music to the masses. Suddenly anyone could have a listen – add to that, its prevalence in cinema, and this type of music actually started to attract fans. However, it was in the paper, “A Sketch of a new Esthetic of Music” written by Ferruccio Busoni in 1907 that the discussion of electronic sounds as part of the music landscape first appear. In that paper he writes:
“Only a long and careful series of experiments, and a continued training of the ear, can render this unfamiliar material approachable and plastic for the coming generation, and for Art.”
a quote quite close to my heart!
He also wrote:
Music as an art, our so-called occidental music, is hardly four hundred years old; its state is one of development, perhaps the very first stage of a development beyond present conception, and we—we talk of “classics” and “hallowed traditions”! And we have talked of them for a long time! We have formulated rules, stated principles, laid down laws;—we apply laws made for maturity to a child that knows nothing of responsibility!
Young as it is, this child, we already recognize that it possesses one radiant attribute which signalizes it beyond all its elder sisters. And the lawgivers will not see this marvellous attribute, lest their laws should be thrown to the winds. This child—it floats on air! It touches not the earth with its feet. It knows no law of gravitation. It is well nigh incorporeal. Its material is transparent. It is sonorous air. It is almost Nature herself. It is—free!
But freedom is something that mankind have never wholly comprehended, never realized to the full. They can neither recognize or acknowledge it.
They disavow the mission of this child; they hang weights upon it. This buoyant creature must walk decently, like anybody else. It may scarcely be allowed to leap—when it were its joy to follow the line of the rainbow, and to break sunbeams with the clouds.
So very beautiful.
So very true.
Enjoy today’s selection of the Creel Pone Label.
#32 Jocy de Oliveira
Historias para voz instrumentos acusticos e eletronicos 1967
From the Wiki: Jocy de Oliveira was born in Curitiba and grew up in São Paulo, Brazil. She studied in São Paulo with Joseph Kliass, in Paris with Marguerite Long, and in St. Louis with Robert Wykes. She received a Master of Arts from Washington University in St. Louis. De Oliveira became a concert pianist as a child, playing internationally with artists including Stravinsky and John Cage. She married conductor Eleazar de Carvalho but later divorced, and lived in St. Louis, New York City and Rio de Janeiro. She is a member of the Brazilian Academy of Music, and is the author of four books.
This is an incredibly interesting album. Her vocal experimentation is fascinating and surprisingly engaging. Track two is a slow drone-ish build while track three moves into an experimental piano and track four you can sense below. A beautiful rich exciting album, throughout you have very subtle vocal ticks expanded and layered in patterns. Voice is the insrument above all else here, along side the electronic ambience of course. Unfortunately this is out of stock – unless of course you can find it on a Creel Pone list.
#33 Pierre Henry
Cortical art iii (1973)
Another one by the master. Audio improvisations recorded during the opening of the 8th International Conference of Electro-Encephalography and Clinical Neurophysiology in Marseille, France, on 5th September 1973. Facsimile edition limited to 50 copies. Originally released in 1973. That is what the release notes tell us. Track one is a swirling frenzy of siren like sounds that all start with a slow march toward noise. Track two starts with a similar quiet though this is a track with a heavy droning base and the trill and frills of light playful sounds above it. Like the first track it builds and sways to its own momentum gathering a whirlpool of sound as it grows toward a steady climax. Track three is his well deserved applause. I can’t think of a better way to start a conference on Clinical Neurophysiology.
#34 Greek electronic music (1974)
A collection of intense mind bending sound famous for being the first electronic album recorded in Greece when it was difficult politically to do so. Xenakis, Christou and other known Greek composers of this kind of music made records before this album, this is the first recorded in Greece all the other composers were recording out of the Greek borders. In Greece at that time electronic equipment was hardly available and of a poor quality. The album is very special for these reasons – as well as the brilliant mind-fuck a good listen can give you.
#35 Luis DE PABLO
We (Nosotros) Electronic Music
Home studio sampleriffic tape klug and plog from Spain. Low-fi overload with lots of talking and radio zap. A 1969 plunderphonic/musique concrete epic, with just the right combination of woozy weirdness and sonic insanity. Lots of music mind messing with pop tunes and folk being thrown in for good measure. Certainly one of my all time favourite record covers. The wiki tells us a little more about him: He was born in Bilbao, living in Madrid from age six and starting to compose aged 12. Although he received composition lessons from Maurice Ohana and Max Deutsch, he was essentially an autodidact in composition. His participation at the Darmstadt courses in 1959 led to the performance of some of his works under Boulez and Maderna. He was awarded Spain’s Premio Nacional de Música for composition in 1991. In Spain, he founded several organizations: Nueva Música, Tiempo y Música, and Alea and organized several contemporary music concert series. He is much in demand as a teacher, both in Spain and internationally.
#37 Anestis Logothetis
The first two tracks are women and men’s voices respectively, but my German is completely non-existent so I can’t give any enlightenment on what is being said or how it may be relevant to its own recording of itself. Its a great listen even if its a trick to work out. The third track (below) is the real meat in the sandwich, being the hard edged electronica. The voices hold fascination for me however, especially the woman’s voice in track one as her inflections and the impact they have on the recording are highly emotive.
#38 Dub Taylor
Lumière for synthesized & concrète sound (1973)
Im going to copy / paste the blurb off the Mimaroglu Music sitebecause their blurb is pretty legendary:
june 2011 release ; extremely well-handled vinyl reissue of this legendary bit of american “private press” electronic music, initially readied via the varese international (later, sarabande) label in 1972 by founders chris kuckler & dub taylor at the fledgling imprint’s debut release … i’ll let fly the description of the creel pone reproduction, as it sums up my feelings re: the music :: zonked – you’d probably yield about half of the titles here on the mms site if you entered that term into the (r.i.p.) search engine. it’s a nice catch-all adjective that i use to denote sound-projects that cause the fluids in my central-vocabulary-lobe to dry up just as i’m gearing to describe them in words. so handy… this record is zonked. and by that i don’t mean that i can’t conjure up other adjectives (i most certainly can; fried, surrealist, inept, genius, etc…), just that i can’t get my head around describing what it is mr. taylor is doing exactly. it almost sounds like someone… as the brits say “taking the piss” out of musique concrète … but then again there’s this twisted logic to the construction of the whole thing that’s just so… out… (i.e. “i know… let’s just pile everything up on top of itself and not edit it at all …”) – the sound-combinations so seemingly random that’s it’s hard to believe a conscious composer / technician type didn’t lay this to tape back in 1972 … my favorite bits are when a voice (i assume it’s the composer’s) comes in near the beginning, half-buried: “sounds good …” ; from there a wave of surging / burbling synths and filtered white noise let loose on the whole frequency range, leaving little in the way of … you know … “musical sense”… there are some bike-horns, what sounds like someone dialing in an fm radio (then leaving it between stations), a jet passing overhead, a guitar-amp feeding back while someone “snaps” into a microphone, etc… sounds are panned hard left / right for entire sides at a time. some backwards speaking kind of rises to the top, then it’s back to “normal” … and that’s just the first side … from here on out, any time someone plays me a record like the shaggs or y. bhekhirst, reveling in the fact that it got made in the first place, i’m going to play them this, as it’s so much better of an example. i’m just completely dumbfounded that the sentient folks over at varese went the distance… kudos! note: their are a bunch of drop-outs on the b-side that are, (un)surprisingly, part of the sonic stew, not any weird mastering issues on p.c.’s part (wouldn’t be the first time he’s fallen asleep at the console though! that lout…)
#39 electronic music – experimental studios in … (1968)
Review taken from Australian Music Library: “This compilation, “Electronic Music Experimental Studios In Prague, Bratislava, Munich, University Of Illinois, Warsaw, Paris” by various, released on Supraphon in 1968, was added to my music catalog in July 2008. “Electronic Music Experimental Studios In Prague, Bratislava, Munich, University Of Illinois, Warsaw, Paris” is made in the genre of experimental. This compilation is below average — rated 2.5 stars out of 5. “Electronic Music Experimental Studios In Prague, Bratislava, Munich, University Of Illinois, Warsaw, Paris” is related to the regions of Czech Republic, Paris, France, Munich, Germany, Warsaw, Poland, Slovakia and Chicago, United States; it belongs to the eastern european, francophone, western-european, german, anglo-saxon and north american cultural world zones. There are certain records that are similar to “Electronic Music Experimental Studios In Prague, Bratislava, Munich, University Of Illinois, Warsaw, Paris”, like “Mise En Musique Du Corticalart De Roger Lafosse” by Pierre Henry, “The Body” by Roger Waters, “Wonderwall Music” (George Harrison) and “Unfinished Music No.1. Two Virgins” (John Lennon). Last track of this record that I listened to was “The Veil Of Orpheus” more than four years ago.”
I, however, liked it much much more. 🙂 Enjoy!