Reissues

Jeeeezus ... so here’s just about the best record ever, a collection of late 60s pieces from 6 Hellenic composers, only one of which even rates a single listing in the Hugh Davies book, Michael Adamis. See that on the cover? it’s the patch-bay of an EMS VCS3, arguably the most legendary / covetable analogue synthesizer. Here is an exchange that i’ve fabricated as a possible explanation of how this record came to be: Adamis: “I’ve just come back from London and look what i have: it’s an EMS VCS3.…

Wow, just wow. One of the dynamics at play in the C.P. program that has been all but absent in the recent catalogue is the "one man against the world" spec. These politically-charged times make me hesitant to use the catch-all "outsider", although, in the case of upstate-New York Composer Glenn Williams, it's clear that a palpable distance from the greater world was, indeed, in effect. Let's first focus on the music; the A-side's side-length title piece works a long-form take of the exact sort o…

Spot-on reproduction of this mythical 1969 TVMusic library (TVM 102, right after TVM 101’s “Cosmic Sounds b/w Electro Sounds”) offering a side of “Weird sounds” by Georges Teperino (again, aka Nino Nardini, Peter Bonello) & one of “Crazy Sounds” by Roger “Cecil Leuter” Roger (aka Archie Gun, Eric Swan.) While “Cosmic b/w Electro” has some nice moments of “lyrical” electronic music that presage pretty much the entire “Library” spec, this one is completely bonkers, throwing any & all “Groovy” conn…

I hope you're been enjoying the Creel Pone 19x "Doubles" series; some great multi-disc titles that simply couldn't wait for their usual "every ten catalogue number" positions, especially as the series is running out of spots approaching its intended 200-title terminus. Here we've got an absolute corker, offering a mid-50s, private-press 10" release by Swiss sound engineer Francis Jeannin, who, verbally, takes us through the techniques of making Tape Music before letting loose with a side of home…

Creel Pone replication of this wonderful 1979 Chicagoland "Paste-on" Private Press LP offering a single "Electronic Composition" in two parts, "Kriegspiel" & "Eropoc," intended at the soundtrack "for the first 2 sections of 'OMNICIRCUS', a theatre piece for electronic music, computer graphics, video synthesis, dance, sculpture, architecture, and drama" by one Frank Garvey. Garvey is an intriguing character; born & raised in Urbana in an artistic family - his father was a close collaborator of Ha…

Composed at the GRM - the two B-side pieces, both in 1972 - & at his own “Private” studio in Porto - the A-side, 1979 - this trilogy of Musique Concrète pieces by the Portugese composer Filipe Pires was initially issued in 1980 as part of Imavox’s “Discoteca Básica Nacional” series - #13, alongside Jorge Peixinho’s epic “Elegia a Amílcar Cabral” - #6.“Canto Ecuméncio” is a beautifully chaotic & extended ride, wherein we’re taken through a brutalist, man-on-the-street voyage through various folk-…

Issued simultaneously in 1967 as eye-popping Musique pour l’Image - subtitled “Espace Hostilité Apesanteur Sciences • Danger” - & Music De Wolfe 10”s, this collection of Musique Concrète & experimental compositions marked the vinyl debut - discounting the “internal” release of excerpts of his work via the “Solfège de l’Objet Sonore” 3LP the same year - of François Bayle - pre-dating his Philips Prospective 21º Siècle lp “l’Oiseau Chanteur” by a good year - issuing two pieces of formative Musique…

Holy Grail territory right here from Cometa imprint, finally bringing you this incredible album of previously unreleased suspense-themed recordings made by two obscure composers Luigi Zito and Vittorio Nadalin, also responsible of the super rare "Telemusica n. 4" on Lupus label (same as Psycheground). Complex and hard jazz rhythmics  made with an arsenal of phased and distorted electronic fx, keyboards (fender rhodes, harpsichord, psychedelic hammond and Piero Umiliani style warped moog) with …

Cinedelic Records present the first-ever reissue of Ramasandiran Somusundaram's Skinny Woman, originally released in 1974. Skinny Woman is the only solo album by Indian percussionist Ramasandiran Somusundaram, a former member of Bambibanda E Melodie (post-Garybaldi band of Bambi Fossati), Maya, and New Trolls' Atomic System (1973). Produced and played along with a large portion of New Trolls - the De Scalzi brothers, Gianni Belleno, and Giorgio Usai - Skinny Woman is an absolute anomaly of an al…

Shining sounds from the dawn of the Sun Ra Arkestra. "El is A Sound of Joy" was recorded in 1956 and appeared the following year on the very first Saturn LP, Super-Sonic Jazz. Incredible is the fact that saxophonist Charles Davis, here providing the soulful baritone anchor line (counterpoint to Ra's formidable left hand), remains in the front-line of today's Sun Ra Arkestra directed by Marshall Allen. Shuffle swing breakdown jets leisurely, casually, masterfully, painting lush, post-modern impre…

Sun Ra's angular yet strident and soulful "Saturn,” recorded in 1958, displays bluesy cubist bop in perfect alter-dimensional extension of Fletcher Henderson. It's also a showcase for John Gilmore's sax acrobatics and supersonic swing. Gilmore dove deep into the Ra Omniverse; "got the concept" - as Coltrane described the tenor giant - hooked by this composition, and never left. Dual baritones of Pat Patrick and Charles Davis (who continues in the front line of the living, glowing Arkestra of 201…

The first ever vinyl reissue of an extraordinarily-unique space-age educational LP. Includes the oft-covered “A Shooting Star Is Not A Star” and “Why Does The Sun Shine?” Featuring Leo Leonni cover art and taken from the original atomic-era 1959 master tapes. Written by Hy Zaret and sung by Tom Glazer & Dottie Evans. Zaret (co-author of “Unchained Melody”) turned his attention to educational children’s music in the late 1950s, collaborating with Lou Singer on a six-album series called “Ballads f…

1975 collection, the first to offer pieces from the Serbian electronic music studio “Elektronski Studio Radio Beograda,” with work from Paul Pignon (his “Hardware Performance” trilogy, split across two sides - supreme, distant analogian bleep of the highest order), Vladan Radovanovic (high-spec mutating bell-klang orbits & chopped-up ghost-vocal rituals), Natko Devcic (aleatoric clusterings of scattered stereo-field bleep), and Josip Kalcic (dark, filtered-out buzz, culminating into a dense bed …

Remarkably consistent collection of pieces composed / executed between 1973 and 1979 by students at the University of Melbourne on the megabeast of modulars: the EMS Synthi 100 - now residing, unplugged and finally at peace, at the Percy Grainger museum. Why is the Synthi 100 so impressive? Simply put, volume; I can only imagine the amount of headaches and brain-stem rot that went on went on whilst Uni students tried to get their heads around the twin patch-matrices.The 6 composers on this disc …

Welcome back everyone! Hope you enjoyed those few weeks off from the natural Creel Pone "Cycle." We continue, as promised by Mr. P.C. C.P., "Unabated throughout the end of the summer." First up, "Electronic Music - Experimental Studios in Prague, Bratislava, Munich, University of Illinois, Warsaw, Paris" - this is just a great compilation, assembled by one Vladimir Lébl and released on the Czech Supraphon label in 1968 - on glorious, crackly Eastern-European wafer-thin vinyl no less - featuring …

Reproduction of this 1981 collection, issued by McGill University (making it the other covetable French-Canadian collegiate-issue Electro-Acoustic side ... along with the Bengt Hambraeus “Concrète & Synthesizer Music” set) covering the work of three Québécois composers :: Claude Caron, Serge Perron, and Ted Dawson.Caron’s side-length “Japa” is a gorgeous (extended) stretch of post-Philip Glass modal fury, replete with churning arpeggiated analogue synths & a nice, light, wafting tonality. On the…

Creel Pone treatment of two issues of Chilean Composer Edgardo N. Canton’s Early Electro-Acoustic music, entirely composed & executed during a residency at the GRM that started in 1959 & ended in 1965 - although he stayed on as an adjunct composer until 1973 - inlcuding a hen’s-teeth rare 1984 Moshe-Naim label collection, then two variants of his score to Serge Roullet's film of Sartre's "Le Mur" on Disques Ades.As the central & southern-american territories have been fairly under-documented - a…

After a fruitful think-tank session (during which a selection of the european faction of the C.P. cognoscenti met in one of Berlin’s seedier bars to brainstorm new “candidates” for inclusion in the series, now in its 8th year) a couple of great titles were unearthed, the first of which is this fine outing, originally issued by the Columbia, MO -based Garuda label in the mid-80s consisting of a selection of “Imaginary Electroacoustics” by the composer Ed Herrmann, primarily composed utilizing the…

Trucking right along, here’s the 1974 second entrant from British library Studio G’s “Avant Garde” series, featuring a trilogy of pieces composed by none other than “Acezantez” head Dubravko Detoni - only his second LP release following the storied “Graphie I.II.III / Phonomorphia 1.2.3” LP for Philips’ Prospective 21e Siècle series from a few short years prior.Laid out with familiar Library-lexicon panache - the three pieces are described as “Acoustics for Piano Effects and Cello,” “Piano Effec…

The official release of the semi-official, legendary 1000 only vinyl from 1985, now a highly sought-after collectors piece. This album finds LAIBACH at their most powerful, orchestral and anthemic! Cold Spring released the CD version (2003, repressed 2006) and are now proud to release this gem on a stunning picture disc with new artwork, based on the traditional German ehrenscheibe style. Ltd x 1000 copies on full colour picture disc.

Hope you all had a fine summer off. As something of an “Autumn Welcome” here’s a treat - Mr. P.C. C.P.’s reproduction of Douglas Leedy’s groundbreaking 1972 Seraphim-label triple-LP boxed set “Entropical Paradise” - in my mind, the lodestone of all Moogsplotation LPs in that it consists solely of side-length pieces not played by human hands on keyboards - or in fact any other gestural, real-time interface - but in fact produced “Automatically” using Control Voltages assigned to the various funct…

Issued by the mythical “Musikalische Jugend Österreichs” (the same who bestowed Anestis Logothetis’ “Hör!-Spiel / Nekrologlog 1961 / Fantasmata 1960” LP onto a confused, irradiated public a few years later) in 1972, this, frankly, batshit outing of Sound-Poetry lineage vocal gymnastics (courtesy of the composer’s wife - noted actress Gunda König) & analogue blat ℅ Dieter Kaufmann hits an ardent stride during the A-side’s Rilke adaptation before launching into the stratosphere via the B-side’s ex…

Impeccable short-stab collection of bizarrely prescient rhythmic synthesizer metallics from Amedeo “Di Jarrell” Tommasi (rumor has it that Di Jarrell is his wife’s maiden) - an Italian jazz pianist that, from the mid-70s on, dabbled in crushing analogue devastation(s) and assorted proto-industrial moves across a series of libraries for Cenacolo, Orly, Costanza, and CBS Disques France’s “April Orchestra” series.Each side here presents three more “lyrical” numbers (still quite well produced & arra…

Creel Pone treatment of this Private-Press LP of late-70s spectral computer music by Daniel Arfib. Aside from Conrad Cummings’ review of the LP in the fall 1981 issue of Computer Music Journal, I’ve seen nary a mention of Mssr. Arfib’s early Digital Synthesis work, which seems something of a glaring omission in the historical annals given the particularly misted nature of these pieces, often utilizing an upgraded spec of Stockhausen’s rhythm-to-pitch methodologies & sharing something in common w…

A pair of albums at the absolute extreme edge of what can rightfully be considered "Berlin School" Electronic Music music, conjured by the core duo of Walter Heinisch & Karl Kronfeld - with Gerhard Lisy participating only in the former - released in 1980 & 1984, respectively, on (oddly) CBS Austria, and the pair's own Synoptik imprint. Coming from an aesthetic waypoint far closer to Seeselberg's "Synthetik-1" than anything from the cosmos-gazing Schülze / TD canon, the (burnt) offerings herein, …

To celebrate the 50th Creel Pone release - damn; that blew right by us, didn't it?! - Mr. P.C. C.P. has prepared for us this extremely attractive & quite special triple-disc compilation, which reproduces scads of early-electronic seven inch single records (Disc 1), individual pieces from otherwise non-Creel-Pone worthy LP records (Disc 2), and full LP sides (Disc 3).Looking at the tracklisting, it's clear that someone has done his homework - inside we get obscure pieces by Michael Adamis, André …

OK, this one takes a little bit of explaining - on the surface, yes, another set of Moogsploitation joints, but closer in fact to the Holy Grail of said. Released in 1972 & 1975, this pair of obscure, self-released LPs issues some of the first “Pop” music ever made on the Moog Synthesizer by one of the first people to own a system - famously, choreographer Alwin Nikolais got the first off the line, but library music composer Eric Siday & the subject here were among Moog’s initial customers - Jaz…

Once again, leave it to Mr. P.C. C.P. to unearth yet another recording that not only haven’t I heard; I hadn’t even heard of it until the faithful Thursday afternoon box from Reykjavik. Originally released in 1978 on the Northfield, Vermont based Green Mountain records, “Cellutron & the Invisible” is (apparently) the brain-child of one Robert S. Greely. I’ve tried my usual sources for more information, but all i get are dead links and references to the LP itself.In my mind, this is right up ther…

Creel Pone here returning from a two-month hiatus with this superb collection of minimal bleepery from noted library music composer Cecil Leuter - aka Roger Roger - originally issued by the Neuilly label in 1971. This isn't exactly the funk & bleep fest of Leuter's recently reissued "Pop Électronique," instead a set of short, thematic pieces consisting of abstract electronics, gated vocals, rudimentary rhythm-box studies, and some inspired Sun Ra / Cecil Taylor lineage keyboard abuse.Impressivel…

First Creel Pone double-artist twofer - odd, considering how many opportunities to handle things this way have arisen over the years - topically linked by the label that initially released them, Empresa Grabaciones R E M, or EGREM's Areito, and the topic & time-period in question; Electro-Acoustic Music in Cuba, early 80s edition. First up is Carlos Fariñas' "Aguas Territoriales" - two side-length pieces for errant electronics & Concrète sounds. While the A-side's minimal, misted "Madrigal" cove…

While Creel Pone has done a bang-up job at documenting non-Subotnick alternatives such as Michael Czajkowski's "People the Sky," Douglas Leedy's "Entropical Paradise", etc. there's, simply, not a lot of music out there made on the early Buchla systems; which makes this hiterhto undiscussed collection of pieces by the composer Carter Thomas, all recorded between 1971 & 1977, then issued in 1985, something of a unheralded gem. Starting with "800th Lifetime" - an 11-minute suite for Buchla 100 & 20…

Here’s a fine set of pieces, each showcasing the Buchla electric music box. Daria Semegen’s harmonic-series-rich “Arc” - composed at SUNY Stonybrook’s electronic music studio, established by mr. Arel in 1971 - at times recalls other era electronic “Spectralists” like Daniel Arfib, yet works across a more spare iterative space, often recycling short micro-melodies cut with the unmistakable thwack of the Buchla’s vactrol-based gates. It’s an incredible, patient piece of music that begs the questio…

After something of a break, Creel Pone returns, borne anew, with this reproduction of an obscure 1975 Standard Library offering (#ESL-133), dovetailing tracks by the BBC Radiophonic Workshop / White Noise member Brian Hodgson & previous Creel Pone "graduate" John Lewis (whose lengthy collaboration with composer John Keliehor, "Schizophrenia" closes out the otherwise all-Dubravko Detoni "Avantgarde" volume from Studio G, issued the previous year) - both founders of Electrophon studios & the lone …

After a short break - during which we all celebrated Creel Pone's 10th year of existence in style & the PTB worked quite hard at keeping the program's core largely available for a stretch - here's a reproduction of an unheard-of 1981 set of Electronic Music by the Chicagoland Composer Beverly De Fries D'Albert privately issued via the Columbus, OH pressing-plant / private imprint Coronet. Subtitled "Electronic Music Album Number 1," the album is split between three shorter pieces recorded at the…

Long one of my all-time Holy Grail cannot-find-a-copy titles is the LP in question here; the 1969 EMI-label Arlette Sibon-Simonovitch recital / vehicle “Espaces Sonores Nº 1”, offering a side of specially-commissioned pieces each by spanish composer Josep(h)-Maria Mestres-Quadreny & INA-GRM heavy Bernard Parmegiani.Just the idea that Parmegiani had composed a tape piece using only Sibon-Simonovitch’s virtuoso Ondes Martenot playing was enough to make me sweat; that it ended up being one of his f…

Augustyn Bloch was a Polish Organist & Composer largely known in these circles for his extended tenure chairing the "Warszawska Jesień," or "Warsaw Autumn" International Festival of Contemporary Music - you've likely come across one of the myriad "Yearly" Polskie Nagrania Muza compilations bearing the names of the Polish late 20th Century Avant Garde's elite - Włodzimierz Kotoński, Bohdan Mazurek, Andrzej Dobrowolski, Zygmunt Krauze, Bogusław Schaeffer, etc.Working comfortably across different d…

Privately pressed on his Sandy Springs-based Horizons label in 1974, this is the sole release of Georgian home-studio Electronic Music maestro Tom Behrens. Hiding behind a glorious op-art sleeve, the music contained here is an inspired blend of noisy, free-synth filigree & the kind of anthemic, rising chord shapes more attuned to something like doom metal than the tried & true "Berlin School" methods which are often the launching-off point.  Aesthetically similar to Lorq Damon's "Journey to the …

Ever since the Creel-production of Douglas Leedy’s “Entropical Paradise,” I’ve been wondering about the existence of any other “Automatic Electronic Music” released during the “Classic Era.” Lo & behold, Mr. P.C. C.P. has unearthed this “Private-ly” released chestnut from 1980, covering four of obscure Belgian composer Arnold Aard’s experiments with self-generating electronic music systems. The results fall somewhere between Leedy’s elegant side-long tonality studies & the oddly miscreantic cree…

While we're knocking off personal Holy Grail titles, here's an absolute corker; Ann Southam's 1973 Electronic Realization of the poet sean o huigin's "Sky-Sails." A continuous melding of o huigin's recitation against a coterie of keening, upper-register tweeter-zap electronics - theoretically largely c/o the Moog equipment installed in the University of Toronto's UTEMS - this floats on atonal clusters before erupting into "Persona" -esque thunderclaps of Ring-Modulated & Envelope-Followed voice …

Issued in 1982 as a pair of separate lp’s by Hemis Ferio, this set covers the bulk of Spanish composer Andrés Lewin Richter’s Electro-Acoustic music (as opposed to his Library work - issued by Cam as a one-two-three punch of masterful mood-pieces under the “Space Electronics” moniker in 1977) segregated by his work with vocalist Anna Ricci (the first LP) and without (the second.)Incorporating a wide range of source materials (aside from Ricci’s operatic & at times psychedelic splendour, we’re tr…