2017 "upgrade" of this early Creel Pone title; this replica edition includes all of the material from Reinhold Weber's two Corona-label LPs, "Elektronische Musik" & "Elektronische + Phonetische Kompositionen" - Creel Pones #009 & #099, respectively - along with everything from his two later Sound Star Ton LPs (again) "Elektronische Musik" & "Computermusik", all on four separate discs.
Those who have already acquired the first two titles in earlier sweeps can simply purchase the CP 009-099.2 package to acquire the remainder; similarly those wanting only his formative work are welcome to purchase the CP-009-099.1 set. Individual assessments are as follows:
"Elektronische Musik" (Corona)
Here’s the ninth entry in the Creel Pone series; an obscure title even for followers of post Eimert / Beyer “Elektronische Musik.” This covers a wide range of concepts that make it perfect for the series, ones which I will now outline:
1). Composed & recorded in 1968-1970
2). Consisting of crude, Lo-Fi Tape Manipulation and Tone Generation studies which
3). Deal both with the implications of the Creation Myth and the Music of the Spheres.
The first piece contains a bit of spoken German text delivered in a sort of “Academic Dead-Pan” through a Tape Delay, but these are all short iterations interspersed with some clearly demonically-possessed “Ghost in the Machine” type Synthesis & Feedback histrionics generated in a traditional WDR-lineage fashion - surplus Tone Generators and Signal Modifiers. The second piece is pure gold with its “Runaway Train” Tape-Speed manipulations & loud atonal blasts of Random Bleeping, rife with messy edits and saturated / overloaded fidelity throughout.
"Elektronische + Phonetische Kompositionen" (Corona)
Superb set of “Electronic & Phonetic Compositions” from German composer Reinhold Weber, replicating a 1974 Corona-label pressing - his second for the label. Realized 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.
Then there’s “Missa Fonetica für Eine Elektronisch Verfremdete Stimme" - a voice-transformation piece on pair with Eimert’s earlier “Epitaph für Aikichi Kuboyama” - maybe even more scatter-shot and volume-damaged throughout - & the final, closing scroll of “Gammaexpress” - containing 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 - dareisay even moreso. Definitely one for the early-bleep and/or short-attention-span sets.
"Elektronische Musik" (Sound-Star-Ton)
Released in 1988 & covering his later works from 1982-1987, the proceedings still maintain the astonishing grasp Weber displays on his Analogue Electronic Music home studio across 8 discrete pieces, albeit with an upgraded timbral spec. A more clinical air prevails, although there are many great detours into more psychedelic sensibilities.
Released on vinyl, oddly, in 1994, this LP covers Weber's Computer Music works across an astonishing 64-minute playing time - on a single-LP no less! Consisting largely of two suites from 1989 & 1991, this is prime late 80s digital-FM bonk & scatter, with riffs on "Music of the Spheres" and a jaunty little number called "Dance of the Trolls".