Bulent Arel, Daria Semegen, Electronic Music for Dance [CP-121] Alpha State NYC • Keith Fullerton Whitman 2026-09-17 | Bulent Arel, Daria Semegen, Electronic Music for Dance [CP-121]
Willa Gibson & Calder Whitman Chicken Tenders Alpha State NYC • Keith Fullerton Whitman 2026-04-22 | ...
Master Wilburn Burchettes Psychic Meditation Music+ (Complete Electronic Music Recordings) [CP-172] Alpha State NYC • Keith Fullerton Whitman 2020-09-19 | After a series largely guitar-centric releases - with titles like "Master Wilburn Burchette Opens The Seven Gates Of Transcendental Consciousness" & "Occult Concert" - "Psychic Meditation Music" was the 1974 debut of obscure Psychedelic tradesman Burchette's Electronic Music, realized by the Composer himself on an array of early Analog Synthesizers & taking form as a pair of side-length extrapolations on a continuous modal tonality.Much like the "Pythagoron™" outing - with which this shares more than just a passing aesthetic resemblance - the use of this music for purposes of healing & recovery is its sole purpose; its enjoyment as music secondary. As Burchette's digits coax out chill runs of overdubbed, echo-laden figures - all hand-played & in a rather lovely rubato not unlike a more severe Angel Rada - his own Alpha-waves & Theta-rhythm energies are transmitted via sound into your cortex where they take root, forming images & concepts - such as the cover-image's third-eyed Strieber-lineage alien-fellow - & ultimately sending your consciousness into the background.Musically, the gently wafting tonalities have a darker edge to them; while I'm reminded of fellow C.P. alum Steve Birchall's epic "Reality Gates," I can also hear a kindred approach to Maurizio Bianchi's more chilled-out early 80s work. Regardless, this is a fascinating and elusive entrant into the canon of self-issued, "Private" Electronic Music that should appeal to the more Psychedelically-minded.This 2015 edition includes all four of Burchette's synth-centric privately-issued LPs on two handy discs, adding "Music of the Godhead", "Transcendental Music for Meditation", and "Mind Storm".Further reading:http://www.keithfullertonwhitman.com/creel-ponePurchase Creel Pone replica editions:https://alphastate.nyc/collections/vendors?q=Creel%20PoneRare & covetable Early Electronic & Avant-Garde LPs for sale:discogs.com/seller/AlphaStateMusic/profile
Tokyo (2014) Alpha State NYC • Keith Fullerton Whitman 2020-02-20 | "Tokyo" largely utilizes heavily transfigured atmospheric location recordings made in & around the Shin-Ōkubo & Shinjuku neighborhoods, folding them into a heavily post-processed variant of an extended performance given at the "Tokyo Festival of Modular" at Super Deluxe on June 7th, 2014.It starts out a bit lighter than "Vittorio" & peaks with a fine bit of crackling beat-less Modular drone-worship that's not far away from elements of "Disingenuousness," although the most direct predecessor would be "Dartmouth Street Underpass;" there's a very similar focus on a particular spectral element in an otherwise banal-seeming field of everyday activities - the vaguely tonal hum of a construction vehicle blocks away - that, after being subjected to analysis, noise-gating, isolation / extraction & ultimately negation & re-instation becomes a rich web of buzzing overtones & sliding pitch-scale harmonies that slowly reveal a multi-layered cloud of animated micro-events.I was thinking of pieces such as Ferrari's "Music Promenade" when constructing this bit - and in fact many aspects to the series are indebted to this phase in Luc's work - but in application this approach has taken on a completely separate life of its own; the results couldn't be any more different.The first "Movement" was premiered in Paris on March 6th of this year at the GRM's annual "PRÉSENCES électronique" in all of its 16-channel glory, although the stereo reduction of it here works just as beautifully on the 2-channel system of your choosing.
Vittorio (2014) Alpha State NYC • Keith Fullerton Whitman 2020-02-20 | "Vittorio" folds a series of sonifications of photographs of the grisly war-memorial sculptures out in front of the Commune di Vittorio Veneto in & around a recording of a performance given at the Codalunga space on October 12th, 2014.The result of a process-music experiment with a reciprocal, "Round Trip" side-chained feedback routing, the difference-tone-heavy, low-end drone created through the transformation from image to sound weaves in & around the concert audio - at times completely obliterating it, at others giving way to the mid & high-range elements - before nestling into the evenly rhythmic & melodic segment that closed out the concert itself.Musically, it's far darker & way more spaced-out than anything I've issued in some time - somewhere between Roland Kayn's long-form "Cybernetic" work & both the geographically apropos lurch of Maurizio "M.B." Bianchi & any number of late-70s / early 80s Giallo scores - enjoy.
Ontario (2014) Alpha State NYC • Keith Fullerton Whitman 2020-02-20 | Third title in the "Traveloglog" series documenting a trip to Canada to "Close Out" screenings of the "I Dream Of Wires" Documentary at the Museum London and the Bloor Hot Docs Cinema on August 22nd & 23rd, 2014. Thanks to Jason Amm & Robert Fantinatto.
Private, Performance, Public, Rehearsal (2017) Alpha State NYC • Keith Fullerton Whitman 2020-02-16 | This suite of music, conceived, actualized, spatialized, & recorded in Quad over a Funktion-One array in a room in Athens' Exarchia district over a 3-day period, is an attempt to blur the hard, systemic lines between focused & unfocused listening.Presenting two programs; one realized purely for the sake of the "public" in-situ spectacle, the other an entirely revisionist affair based on the "private" experience of having played & recorded a separate, unheard set of music for an empty room later to be assessed & finalized, the master narrative arc folds from solace to chaos, fully embracing the bipolar nature of musical & artistic practice as a means of expression.All of the music heard here shares the same genetic makeup: "Generative" 4-voice ASR oscillator canons & "Redacted" source materials gathered in & around the environment in question, including contributions by Chris Chondropoulos & elements gathered during one of Christina Kubisch's Electrical Walks, utilizing her proprietary receiver headphones.Prior to the audience's gathering for the "public" event, the same configuration was performed to an empty room for approximately one hour; the first segment of the second tape captures the moments right before & after the doors to the venue were unlocked, the final segment the transition back to "private".Recorded at Romantso, Athens, Greece, May 23rd, 24th, and 25th, 2017 as part of documenta 14. Mixed and Mastered at GRM, Paris, France on November 14th, 2017. Thanks to Paolo Thorsten-Nagel, Dmitri Papadatos, Bill Kouligas, Christos Chondropoulos, Stratos Bichakis, Constant Dice, Nektarios Papadimitriou, Yorgos Yeorgiou, Christina Kubisch, Alan Bishop, & François Bonnet.
Gaso #2 (2012) Alpha State NYC • Keith Fullerton Whitman 2020-02-15 | Second appearance at the Gaso, October 12th, 2012, opening for d'Eon.
Coastline (2018) Alpha State NYC • Keith Fullerton Whitman 2020-02-15 | Under the weight of water.Against nature, we are no match.Images & Sound captured at Brighton Beach, Scarborough, WA, December 30th, 2017.Music composed at Banff Centre for Arts and Creativity, Banff, AB, March 15th, 2016.
September 27th, 1960 (Based on TNBs Changez les Blockeurs) Alpha State NYC • Keith Fullerton Whitman 2020-02-14 | This was a tape-piece commissioned by Richard & Frank Bull of Vinyl-on-Demand, who issued it as the second track on the "Viva Negativa!" 4LP set in 2006. The date refers to the invention of the moving walkway, which is the main sonic element here, recorded at Heathrow in 2005 en route to Morden Tower in Newcastle (where, famously, The New Blockaders played a pair of concerts in July & October of 1983).
Tetuzi Akiyama, Dont Forget To Boogie (Reconstructions/Remixes) Alpha State NYC • Keith Fullerton Whitman 2020-02-14 | Going through old/abandoned hard drives this week & was surprised to come across these recordings, which were carried out in late 2002/early 2003 to be included as an intended "Bonus Single" with the initial pressing of Tetuzi Akiyama's incredible "Don't Forget To Boogie" LP on Idea (long story short, they were not). I remember Troy getting in touch about this. jumped at the chance; a few of the LPs he'd released had these bonus singles (Oren Ambarchi's "Triste" for example came with an EP of Tom Recchion reworkings) but likely this was something (like so many from this era) I recorded, assessed, then scrapped/never submitted. There's quite a bit of material; the first 1/7th or so runs the Tetuzi audio through the same Webcor tape machine setup as used in the Bao Ding Tape film & Fritz Dietl disc; the rest is all real-time Max-MSP manipulations of the same. In retrospect, some of this is quite nice, although it would have been a real slog whittling it all down to a pair of ~5 minute excerpts (which is likely what it has stayed dormant for the past ~20 years).I love the Tetuzi LP so much, and I'm very glad it came out without these versions clogging up the works as the conceptual/aesthetic game of that whole package was just so strong. Tetuzi & I did play together in a free improv quartet about a year after this in Boston & it was really special; this was a nice moment in time, glad to have this as a reminder.
Hrvatski, Remixplosion, Compilatrix Alpha State NYC • Keith Fullerton Whitman 2020-02-14 | "Private" edition (ca. 2001) compiling the various remixes & compilation tracks I'd recorded up until that point as Hrvatski, just before "Swarm & Dither" came out. Ran across this rip (one of many versions of this set I handed out to people as something of a "business card" to drum up further remix work) on a torrent site recently & was surprised how little of it had made its way onto the internet! Remixes of tracks by God Is My Co-Pilot (for a Dark Beloved Cloud 3"CD), Themselves (Anticon), Sam "Soplerfo" Brelsfoard (for a Zod 12"), Sun (aka Oren Ambarchi & Chris Townsend for their Staubgold 2CD), two different Merzbow projects (one for Important, the other for Misanthropic Agenda), Jace "DJ /Rupture" Clayton (for a 12" on TheAgriculture), Japanese group no.9 (for a CD-single on Locust), Kim Cascone, Salvo Beta, Conrad Schnitzler, Black Faction, and two separate Voice Crack remixes.The compilation disc has pieces from later releases on Tigerbeat6, Carpark, Planet µ, Diskono, Ache, Kranky, and many others along with a couple of pieces that remain unreleased otherwise. Tracklisting is:1-01 God Is My Co-Pilot.mp31-02 Themselves.mp31-03 Soplerfo.mp31-04 Sun.mp31-05 Merzbow.mp31-06 DJ Rupture.mp31-07 No.9.mp31-08 Merzbow.mp31-09 Kim Cascone.mp31-10 Salvo Beta.mp31-11 Conrad Schnitzler.mp31-12 Black Faction.mp31-13 Voice Crack.mp31-14 Voice Crack.mp32-01 Soulpride 220.mp32-02 Glamp Instrumental.mp32-03 Sucka Alt.mp32-04 Buchla Beat.mp32-05 Organix.mp32-06 Bontempt.mp32-07 Equinox.mp32-08 Schnee.mp32-09 Lullaby.mp32-10 Bed Springs.mp32-11 Mic Artifact.mp32-12 Glass.mp32-13 Wombat Clock.mp32-14 Our Turn.mp32-15 Thursday Noise Guitar Bit.mp32-16 Live In Tokyo.mp32-17 ________.mp3(the last track appears to be the vaunted "House Remix" of Amen, Brother w/o the break replaced by a corrupted, headerless Sun/ NeXT Au encode of it).
Red (2004) Alpha State NYC • Keith Fullerton Whitman 2020-02-14 | Early version of the "Blue", made with found-footage & a slightly extended score.
Modena (2002) Alpha State NYC • Keith Fullerton Whitman 2020-02-14 | Music performed live to glass using a Max-MSP patch devised by Keith Fullerton Whitman. All sounds are derived in real-time from an Italia Modena Electric Guitar. Video shot over Iceland November 2002 with a Canon G2 camera in 240p. Originally assembled in Adobe Premiere December 2002, remastered, processed, and upscaled to 1920p in Davinci Resolve, February, 2020. Thanks to Iceland Air, the Impakt Festival, Bruce & Joel @ Kranky, and Petra-Pixmaven.From the Kranky Compact Disc "Playthroughs" (KRANK-055).
Feedback (2010) [Synthesizer Score] Alpha State NYC • Keith Fullerton Whitman 2020-02-13 | Non-real time video feedback experiments filmed at 193 School Street, Somerville, MA, 2010. Synthesizer Score recorded on a Doepfer A-100 modular system at the Reckankomplex, 2005 while working on a realization of a Dick Raaijmakers piece. 960p upscale, February 2020.
Feedback (2010) [Concrète Score] Alpha State NYC • Keith Fullerton Whitman 2020-02-13 | Non-real time video feedback experiments filmed at 193 School Street, Somerville, MA, 2010. Musique Concrète Score assembled from previously recorded materials at Mimaroglu, 2010. EMS VCS3 recorded at SOMA, Chicago, 2002. Field recordings (Minidisc) made on the boat between Haugesund & Rovaer in the rain, 2002. Thanks to Lasse Marhaug, John McEntire, Casey Rice. 960p upscale, February 2020.
Three Turntable Films (2005) Alpha State NYC • Keith Fullerton Whitman 2020-02-13 | Three stop-motion turntable films made at the Reckanomplex in March 2005. Electric Guitar score (aka "Echelle d'Etape") recorded contemporaneously. 960p upscale, February 2020.
Blue (2011) Alpha State NYC • Keith Fullerton Whitman 2020-02-12 | Video shot at New England Aquarium, 2011.Music by Keith Fullerton Whitman, 2002.
Gaso #1 (2012) Alpha State NYC • Keith Fullerton Whitman 2020-02-12 | First appearance at the Gaso, July 21st, 2012.
An Alternate History of Canadian Electronic Music (1956–1981) Alpha State NYC • Keith Fullerton Whitman 2020-02-11 | An Alternate History of Canadian Electronic Music (1956–1981)Curated by Keith Fullerton Whitman (US/AU)Presented by send + receive: a festival of sound v20Poolside Gallery | Video Pool Media Arts Centre221-100 Arthur Street, 2nd Floor | Wednesday–Saturday12:00–5:00 PMBroadcasts on CKUW 95.9 FM, Sundays at 5:00 PM beginning October 14During the course of this three-hour program, the listener will be drawn into the deepest recesses of early electronic music in Canada. The focus of this program is on obscure and transgressive pieces found outside of the usual academic lanes, all from the nascent days where psychedelia, sound poetry, experimental film and emerging audio and video technologies were all being explored with equal aplomb. The work of composers and musicians such as Wayne Carr, Robert Bauer, Lloyd Burritt, and Marcelle Deschênes will be explored, along with seldom-heard pieces by storied figures such as Micheline Coulombe Saint-Marcoux, Rudolf Komorous, Ann Southam, Alain Clavier, Michel Longtin, and Norman McLaren.This project was curated and coordinated by American artist and enthusiastic music researcher Keith Fullerton Whitman. From 2003 to 2015, he helmed the highly specialized experimental music distributor Mimaroglu Music and since 2016 has run online distribution Broken-Music.This playlist will also be presented as a Sunday series on CKUW 95.9 FM through October and November beginning on October 14.This exhibition is presented in partnership with Video Pool Media Art Centre and CKUW.Special thanks to Nils Vik and EQ3 for the generous donation of furnishings for this special listening lounge space.
Travel/Phase (2006) Alpha State NYC • Keith Fullerton Whitman 2020-02-11 | The complete version of "Travel/Phase", purpose-shot as a series of roughly 85,000 still images between 2001 & 2005 both domestically (many scenes & vivid memories captured at & near the Reckanomplex house on the Cambridge/Somerville border) and abroad (this period covers several trips to Europe to perform music as I was winding down my Hrvatski project and beginning to play guitar & computer-music under my own name).The themes at play revolve around the natural cadences one adheres to when they're not "on the clock" vs. the insane demands placed on the professional traveler, in this case the touring musician. The score was composed during this period & consists of several long stretches of instrumental & electronic music for piano, accordion, realized at the MIT Media Lab, Harvard's HUSEAC, and at home at the Reckomplex. An early version of this film was exhibited at the MIT List Visual Arts Center (promotional materials below)https://listart.mit.edu/exhibitions/keith-fullerton-whitman-travelMIT List Visual Arts Center’s Media Test Wall presentsTravel by Keith Fullerton Whitman (2005, DVD video, 13 min.) November 22, 2006 – January 19, 2007Viewing Hours: Daily 24 hours Cambridge, MA – December 2006. The MIT List Visual Arts Center (LVAC) is pleased to announce a presentation of Keith Fullerton Whitman’s Travel. The inspiration for Whitman’s Travel is today’s frenetic lifestyle: as distances across the world shrink, they are also becoming more condensed and confusing. The music and visual images in Whitman’s thirteen-minute-long video constantly keep the viewer moving between the state of arrival and departure. A personal and introspective work, Travel is a diary of Whitman’s globetrotting lifestyle, a consequence of his career as a noted artist in the field of electronic music. Views of landscapes, cityscapes, station platforms, and arrival halls represent a constant state of disorientation—a permanent condition of travel and motion. The thirteen-minute piece is a prototype for a forthcoming one hour-long version. About the artist: Keith Fullerton Whitman was born in 1973 and currently lives and works in Somerville, MA. Whitman started his career in the 1990s after graduating from Berklee College of Music, and his first acclaimed work was produced under the pseudonym Hrvatski. In 2004 Whitman worked in the MIT Media Lab while working on Multiples, a three-year-long project that explored the nature of electronic sound. Many artists have influenced Whitman throughout his career including Pierre Schaeffer, who in the 1950s pioneered Music Concrete—the practice of making music not only from sounds made by musical instruments but using real world sounds as well. Whitman’s practice was also influenced by Arto Lindsay’s No Wave sound experiments with his DNA band, along with works by Rudolph Grey, Sonny Sharrock, Michael Karoli, Richard Pinhas, and others. As Hrvatski, Whitman released two albums of sample-based IDM (Intelligence Dance Music). Since then, Whitman has performed under half a dozen pseudonyms, including Gai/Jin, DJ Hekla, F88vidently, and others. Like a chameleon, Whitman utilizes as many personality swaps as he needs for his experiments. After working under many aliases, he has begun releasing recordings under his own name including: EP 21:30 for Acoustic Guitar (Apartment B) in 2001, Playthroughs in 2002, and a live EP, Lisbon, that was released in -more- April 2006. He is currently a curator for a portion of a Damon Krukowski-led project that is to be debuted at the ICA in Boston. Whitman is also working on the third Hrvatski album, Meubles • Møbler • Muebles • etc..., which will begin its release schedule in early 2007. This presentation of the Media Test Wall is generously supported by the Massachusetts Cultural Council and the Council for the Arts at MIT. The Media Test Wall, an ongoing series of contemporary video exhibitions, is located in the Whitaker Building (21 Ames St., Bldg. 56) on the MIT campus.
Electronic Music from York [CP-250/251] Alpha State NYC • Keith Fullerton Whitman 2020-02-11 | On the Creel Pone short-list for easily as long as #200's William S. Fischer title, this 1973 compilation of music, all composed at York University's Electronic Music Studio (YES) during the late 60s & early 70s has been a real white whale for ages & ages, until composer Martin Wesley-Smith's personal copy landed (literally) in the lap of the core C.P. cognoscenti earlier this year. Consisting of three sides (1, 3, 5, appearing here as disc one) of music by resident composers, staff, and hangers-on at York University, including Andrew Bentley, Martin Gellhorn, John Cardale, Richard Orton, Martin Wesley-Smith, & Richard Pickett, then three sides (ditto, 2, 4, 6) offering a single, extended, hour-long piece by Trevor Wishart, this extended set absolutely drips with era & geographic charm. Andrey Bentley's "Moan" starts with perhaps the most apropos interpretation of this title, in the form of a barely contained feedback cluster that slowly transmutes into a burbling whisper of oscillator drift; Martin Gelhorn's "Compression" (incidentally composed for Harvey Matusow's epic ICES '72 festival) spikes up in terms of energy-delivery with a scattershot grind of mutating, filtered noise; John Cardale's "Dionysus" spurs a dareisay melodic fragment through its paces before the whole enterprise is detuned, echoes of the recent CP of Antero Honkanen & Ake Andersson's work for Reidar Särestöniemi's paintings. The next three are all by Richard Orton, whose name should be familiar from his appearance on the "New Music from London" set in Earle Brown's Mainstream series; "Kiss" is perhaps his most famous Electronic work, having been performed in several festivals in the early 70s (including Keith Humble's 1971 "Electronic Music Seminar & International Sampling" here in Melbourne) - it's bubbling, liquid connotations are clear; "For The Time Being" offering wispy layers of spectral crackle, delicate & direct; "Clock Farm", similarly, utilizes only stray mechanism & gear noises to punctuate the literality of the title, albeit in a wildly imaginative way. Martin Wesley-Smith's "Media Music" is perhaps the real surprise of the set - I'd only heard the Australian Composer's later Fairlight-era work, but this early piece is a masterstroke in finely tuned runaway tape echo & punctuating real-world interjections, merging the "Acoustic Concrète" of Josef Anton Riedl with an almost proto-Industrial sensibility, remarkable; and finally, Richard Pickett's "Light Black" posits two slightly detuned, filtered-out modular synth lines into a stereo field, where they are slowly overcome by distance & a resonant, metallic whisper...This Creel Pone edition comes complete with both discs housed inside a gatefold booklet recreating the label art (& even the inside of the box) along with a recreation of the 4-panel booklet offering technical insight & conceptual musings by each of the Composers present. An absolute joy to have this on offer, again, with all original aesthetics remaining intact.Purchase Creel Pone editions:https://alphastate.nyc/collections/vendors?q=Creel%20PoneRare & covetable Early Electronic & Avant-Garde LPs for sale:discogs.com/seller/AlphaStateMusic/profileFurther reading:http://www.keithfullertonwhitman.com/creel-pone
Radiophonic Tape Compositions [CP-244] Alpha State NYC • Keith Fullerton Whitman 2020-02-11 | Replica edition of this impossible-to-find, internal compilation of early-mid-80s Australian Tape Collage & Digital Assemblage, issued privately by Sydney Classical radio station 2MBS & consisting of five extended pieces; one each by Composers Peter Mumme, Peter Schaefer, Robert Douglas, Jon Rose, & Michael Hannan. There is a fair deal of the Fairlight's timbral & formal palette across the album's otherwise conceptually disparate offerings; understandable given the era & geographic associations at play, making this as something of a calling card for the instrument in more Academic & Avant-Garde contexts outside of its storied use across the myriad early Genesis member's contemporaneous solo work. Think of it as the Fairlight "Creation du Monde" to the various Jellybean Benitez Publison-laced productions.Peter Mumme's "Veronica Takes A Bath" opens with an assemblage of water sounds not too far removed from Knud Viktor's "Images" & "Ambiances"; this gives way to a section of rather Dockstader-esque space bleep before more humanistic endeavors enter the fold. It's one of the more nuanced pieces on the record, and reminds me in spots of the whole Quebecois Empreintes Digitales scene; pristine, digital-leaning Concrète. Conversely, Peter Schaefer's "See" introduces harmonics & enharmonic intervals to a rising jagged-edged waveform in a manner befitting Roland Kayn's work, before a regular pulse is introduced, lending the piece a sense of momentum; gorgeous.The second half is dedicated to more overtly digital music, with Robert Douglas' "Homage To Bessemer" offering the sort of carnival-esque chuff & wonky rhythmic etudes that one would more regularly associate with the Fairlight. Jon Rose' "Colony: Survival In The Right Hemisphere" works an Anton Bruhin-esque vocal gurgle through it's buzzing, low-bit paces, & the Liquid-Sky-esque drumatics of Michael Hannan's "Callisto" close things out in fine form. One of my personal long-term Australian want-list titles; very glad to have this in the program - it offers a fine counterpoint to the "University of Melbourne Electronic Music" set, pushing forward a decade into the country's embryonic digital-music possibilities. Purchase Creel Pone editions:https://alphastate.nyc/collections/vendors?q=Creel%20PoneRare & covetable Early Electronic & Avant-Garde LPs for sale:discogs.com/seller/AlphaStateMusic/profileFurther reading:http://www.keithfullertonwhitman.com/creel-pone
Polyagogy, Keyboard Music [CP-240/241] Alpha State NYC • Keith Fullerton Whitman 2020-02-11 | Handy, double-pack reproduction offering a pair of Compilations on the Greek Music Box label, the first comprised of key Magnetic Tape & Spectral Computer Music pieces by Iannis Xenakis, Dimitris Kamarotos, Xaris Xanthoudakis, & Vasilis Riziotis, the latter of, essentially, Dark Ambient & assorted "Wave" & "Age" fare by Vangelis Katsoulis, Lena Platonos, "Antitheseis" alum Michael Grigoriou, & Minas Alexiades, each on its own disc inside a "Gatefold" booklet.Released pretty much back-to-back - consecutive catalogue numbers and all - these two provide a clear picture of the state of Electronic Music in Greece in those early, just-post-EU days, and whereas the former disc's tone tends towards the academic & the latter the aesthetic, the bleed between the timbral & formal palettes used throughout is palpable.This, along with the recent Sfetsas & Rotas sets, and the classic "Greek Electronic Music-1" & "Works of Electronic Music" reassesses the majority of the island's formative work; a fascinating survey of Hellenic topologies & a great bridge into the more unknown factions of 80s Greek Experimental Music.Purchase Creel Pone editions:https://alphastate.nyc/collections/vendors?q=Creel%20PoneRare & covetable Early Electronic & Avant-Garde LPs for sale:discogs.com/seller/AlphaStateMusic/profileFurther reading:http://www.keithfullertonwhitman.com/creel-pone
Nicolae Brînduș, Soliloque I, Soliloque IV, Match, Antifonia [CP-236] Alpha State NYC • Keith Fullerton Whitman 2020-02-10 | Nicolae Brînduș was born in Bucharest in 1935 and swiftly matriculated through his studies in Piano & Composition at the National University of Music before embarking on the life-changing seminars at the Internationale Ferienkurse für Neue Musik, Darmstadt throughout the late 60s & early 70s; even working at IRCAM for a spell in the mid-1980s.How this formative music, composed & recorded largely during his Darmstadt phase, has remained so relatively unknown is insane to me; it has all of the hallmarks of the exact configuration of elements that we hold dear: excessive use of gain, tape-speed effects and dozens of sound-on-sound layerings of acoustic instrumentation, errant electronics, & even extra-musical materials. There's something just so indefinably off-the-rails about it all, and this extends through all four pieces; careening, energetic tape assemblage with little to no compare. These are absolutely spellbinding, clangorous pile-ups rivaling Anestis Logothetis at his most wild & woolly, the discovery of which led to a thorough investigation down through the deepest recesses / wormholes of the Electrecord catalogue, which unearthed a veritable treasure trove of amazing work, all virtually unknown outside of Romania, with several titles yet to come across this 23x sub-series. Hold on to your hats!Purchase Creel Pone editions:https://alphastate.nyc/collections/vendors?q=Creel%20PoneRare & covetable Early Electronic & Avant-Garde LPs for sale:discogs.com/seller/AlphaStateMusic/profileFurther reading:http://www.keithfullertonwhitman.com/creel-pone
Dinu Petrescu, Ciclul COSMOFONIE+ [CP-235] Alpha State NYC • Keith Fullerton Whitman 2020-02-10 | The fourth title in Creel Pone's 23x survey of Romanian Early Electronic Music, offering both pieces from the lone Electrecord LP by Composer Dinu Petrescu, along with a composition from one of the many Corul Madrigal offerings, here conducted by Marin Constantin. "Space Doina", or possibly "Doina Space (1978)", "music for symphony orchestra, mixed choir, children's choir, synthesizer, magnetic tape and electronic modulation" starts off with a gaseous drone of distant reverberance, segueing cleanly into the sort of free clang/clatter & errant electronics one would expect from a contemporaneous Stockhausen piece, and yet the instrumentation & general sensibility is unmistakably Eastern European, with a series of flute & electronic codas that remind heavily of Artemiev's score to Stalker. "Continuum II (1980)", "music for mixed chamber choir, percussion, synthesizer, magnetic tape and electronic modulation" progresses at a far more glacial pace, gradually growing in energy & number into a series of sliding-scale vocal & electronic cadences that are both otherworldly & grounded in massed group dynamics. The original LP issue is abetted by a separate, extended Petrescu piece, Continuum I (1979)", which is a direct precedent in that the Composer utilizes "11 choral groups (expressing the word "Continuum" in 11 languages), two percussion groups, and an electronic device aimed at modulating and unifying these two contrasting sources of sounds"; the effect is singularly heavy, full of bombast.Among the recent, late-stage Creel Pone activities, I'm enjoying this series the most, which has opened up this particularly insular area of Early Electronic Music to those interested in exploring it further. Plenty more to come in future batches.Purchase Creel Pone editions:https://alphastate.nyc/collections/vendors?q=Creel%20PoneRare & covetable Early Electronic & Avant-Garde LPs for sale:discogs.com/seller/AlphaStateMusic/profileFurther reading:http://www.keithfullertonwhitman.com/creel-pone
Octavian Nemescu, Gradeatia, Natural [CP-234] Alpha State NYC • Keith Fullerton Whitman 2020-02-10 | Creelproduction of Nemescu's 1984 Concrète-Drone masterpiece, which rounds-out this CP-23x run of incredible Romanian Avant-Electronic sides rarely heard outside of Bucharest (or other European cultural centers such as Paris, the intended destinations of these State-funded Electrecord pressings). Two pieces, Gradeatia & Natural, both intimately aware of the infinite.Purchase Creel Pone editions:https://alphastate.nyc/collections/vendors?q=Creel%20PoneRare & covetable Early Electronic & Avant-Garde LPs for sale:discogs.com/seller/AlphaStateMusic/profileFurther reading:http://www.keithfullertonwhitman.com/creel-pone
Călin Ioachimescu, Șerban Nichifor, Oratio II, Magic Spell, Miss Christina [CP-233] Alpha State NYC • Keith Fullerton Whitman 2020-02-10 | Continuing in this insanely eye-ear-opening campaign of gems buried deep in the Romanian Electrecord catalogue, years in the making and my main personal contribution to the series in recent years, is this split release. offering a side each of pieces by Composers Călin Ioachimescu & Șerban Nichifor. Comprised of two selections, "Magic Spell (1973) for 8 soloists, strings and percussion instruments" & ""Oratio II (1981) for wind instruments, percussion and electronic sources" Ioachimescu's sound-world arrives fully formed, Conversely, Nichifor's ongoing lyric suite "Miss Christina (1980-82)" was endlessly revised in the intervening years, but appears here in embryonic form replete with its Mircea Eliade libretto & featuring the Composer himself on aberrant ARP Synthesizer interjections.Purchase Creel Pone editions:https://alphastate.nyc/collections/vendors?q=Creel%20PoneRare & covetable Early Electronic & Avant-Garde LPs for sale:discogs.com/seller/AlphaStateMusic/profileFurther reading:http://www.keithfullertonwhitman.com/creel-pone
Nikiforos Rotas (Νικηφόρος Ρώτας), Kavafis Songs, Antiphonies [CP-230/231] Alpha State NYC • Keith Fullerton Whitman 2020-02-10 | Incredible, unheralded set of music by Νικηφόρος Ρώτας (Nikiforos Rotas), incorporating Electronic & Experimental modes into mid-70s Éntekhno & Sound-Poetry forms.The first record, "Τραγούδια Καβάφη" (Kavafis Songs) sets works by early 20th Century Alexandrian poet Constantine P. Cavafy to music. Much in the vein of "Works of Electronic Music" contributor Thanos Mikroutsikos' experiments formulating a more Avant-Garde strain of Éntekhno from the mid-70s onwards, Rotas' use of non-musical sounds, Electronics, prepared instrumentation, and an almost Dubuffet-esque Art Brut sensibility ushers in a style reminiscent of the Experimental protest folk of Kan Mikami & Kazuki Tomokawa. The second, "Αντιφωνίες" (Antiphonies) works a searing combination of bewitched vocals, Sound-Poetry, droning, crackling Electronics and tape-loops, coming in somewhere between Luc Ferrari's travelogues and the tape-echo pileups of Khan Jamal's "Drumdance to the Motherland" - astonishing, unheralded music that furthers the need for the Creel Pone program; single-handedly this was the impetus for the Core C.P. Cabal's late-stage decision to continue the series past its intended Bicentennial, albeit somewhat abated from its previous pace. Here's to another decade!Purchase Creel Pone editions:https://alphastate.nyc/collections/vendors?q=Creel%20PoneRare & covetable Early Electronic & Avant-Garde LPs for sale:discogs.com/seller/AlphaStateMusic/profileFurther reading:http://www.keithfullertonwhitman.com/creel-pone
Daniel Vallancien, Philippe Maté, Maté/Vallancien [CP-223] Alpha State NYC • Keith Fullerton Whitman 2020-02-10 | One thing I've learned as I've grown and progressed through music is that there is an incredible wealth of largely unheralded & seldom-heard music buried deep in the expansive Saravah catalogue, largely due to the street-level largesse of in-house engineer Daniel Vallencien, who aside from engineering a large portion of the canonic BYG catalogue - Don Cherry, Anthony Braxton, Musica Elettronica Viva, Sonny Sharrock, Sunny Murray, etc. - was crucial in the development of the label's sound & aesthetic.Much like fellow French "Opérateur de Prise du Son" Bruno Menny, Vallencien did occasionally wear his Composer hat, and similarly has but one outing credited under his own name; a session with Saxophonist Philippe Maté that, had it been issued solely under the latter's name, would have been a criminal case - Vallencien's touch goes far beyond that of a typical engineer; he has recast Mate's playing via extensive studio techniques, feedback, tape echo, & re-synthesis, into a monster of a live-electronic hybrid. What's most fascinating about this record is that, despite the era, geography, & the associations, very little of this (well, actually one track does have its similarities) descends into the sort of Terry Riley "Time-Lag Accumulator" effect a typical early 70s European Sax & Electronics session would imply; this is by & large a proto noise-drone affair, making heavy use of gain-staging & filtering effects to yield an often overblown & careening sound that is both powerfully psychedelic & wildly claustrophobic.This 2017 edition reproduces the gatefold imagery in all of its glory; a fine addition to the program, one for fans of the recent Regrelh, Philippe Doray, & André Jaume & Michel Redolfi sides.Purchase Creel Pone editions:https://alphastate.nyc/collections/vendors?q=Creel%20PoneRare & covetable Early Electronic & Avant-Garde LPs for sale:discogs.com/seller/AlphaStateMusic/profileFurther reading:http://www.keithfullertonwhitman.com/creel-pone
Steve Dunstan, Magnetic Fields [CP-222] Alpha State NYC • Keith Fullerton Whitman 2020-02-10 | Reproduction of this obscure 1977 Private Press stunner by Extradition, Company Caine, & Phyl Vinnecombe sideman & early 18th Century Quartet member Stephen Dunstan, a key part of Australia's Electronic Music history alongside Val Stephen, Bruce Clarke, Keith Humble, Felix Werder, & Ian Bonighton. Steve was a tragic figure; operating across multiple disciplines before disappearing under suspicious circumstances in the mid-80s while out retrieving a Moog Modular system, Dunstan was both a creative outsider & financial insider. This, his lone outing as a bandleader. starts off with a couple of Electronic-Psych moves that come squarely out of the 50 Foot Hose / Silver Apples / Spoils of War / United States of America playbook; fairly bog standard singer-songwriter heavy-psych flourish is cut with increasingly aberrant Electronic touches; a few tracks in, all traces of the original structures have been eroded, and by side two the machinations are purely synthetic in nature. Owing to Tod Dockstader's late-night home-spun solutions, the proceedings across both the extended "Space Journey" & "Autumn In Antares" show a mature, fully fleshed-out approach towards sound-assemblage. This Creel Pone replica edition recreates the original pressing, down to the quite visible ring-burned sleeve, adding nothing but charm.Purchase Creel Pone editions:https://alphastate.nyc/collections/vendors?q=Creel%20PoneRare & covetable Early Electronic & Avant-Garde LPs for sale:discogs.com/seller/AlphaStateMusic/profileFurther reading:http://www.keithfullertonwhitman.com/creel-pone
Found On The Elevator, 205 W. 57, 2/11/69 [CP-221] Alpha State NYC • Keith Fullerton Whitman 2020-02-10 | Replica edition, the first 3" disc since the "Bonus" disc in the Pietro Grossi set roughly 180 "Dots" ago, recreating this mythic 1969 "Private Press" 10", widely believed to be the brainchild of voice-actor Clark Gesner.Across the two, roughly 10-minute pieces, a narrative unfolds around the plight of a lone interdimensional traveler, locked inside a comms booth on an undisclosed vessel. Themes of paranoia, absurdly future-retro science, and ultimately despair creep in in an effective way. What makes this relevant to the CP program are the sound designs, born of a certain "Cinema Pour L'Oreille" spec, consisting largely of the sort of interface pings & tiny electronic chimes that would have populated any number of sci-fi affairs, yet all done inside the sound design of the piece itself; all totally believable as even contemporary sounds, 50+ years later. As a narrative audio experience, it's an incredibly singular one, rife with exactly the sort of posited alternate realities that Electronic Music itself often explores. This edition comes inside a six-panel "Gatefold" booklet, which reprints both the included ephemera & a two-page, cryptic dossier unleashed independently of the 10" itself via the Summer 1973 Beryl Korot's Radical Software.Purchase Creel Pone replica editions:https://alphastate.nyc/Rare & covetable Early Electronic & Avant-Garde LPs for sale:discogs.com/seller/AlphaStateMusic/profileFurther reading:http://www.keithfullertonwhitman.com/creel-pone
Creelpolation 2.1-1 [CP-113.1] Alpha State NYC • Keith Fullerton Whitman 2020-02-10 | Of the proposed 6 (!!!!!!) discs that were to make up the second installment of the 100th Creel Pone release, this was the only one to get finalized/manufactured - the first of two discs of "Singles" (followed by two discs of individual piecess, then two discs of isolated sides, naturally).Here you will find both sides of the "Yabunirami-No-Concert" single (tracks 1/2), which came with the 1966 Yoji Kuri "cartoon2 c007" book & features the then-couple of Toshi Ichiyanagi & Yoko Ono (on incredible proto-noise ring-modulator harsh noise-blast vocals). This is followed by the Juan Blanco side (track 3) of the privately released 1966 "Estructuras Conmutaciones" single w/ Leo Brouwer, then both sides (tracks 4/5) of Erkki Salmenhaara's 1967 Love-label single "Information Explosion". Right after that (track 6) is the single-side of Kari Rydman's "45 Kierrosta Minuutissa" (1967), covering "HE WHO TWIST" & "Akustinen Harjoitelma". Then (track 7) it's the first side of the single that came w/ Elisabet Hermodsson's "Mänskligt Landskap Orättvist Fördelat" book, featuring Electronic Music backing by Kurt Lindgren under Hermodsson's poetry. This is immediately followed by both sides (tracks 8/9) of the Jean-Etienne Marie 7" on Disque Ades' singles-series, and it ends with both sides (tracks 10/11) of Jacques Aubert & René Lindekens' "Er Is Altijd Een Vogel In De Ochtend."At some stage, this entire 6-disc enterprise will be committed to finality, but for now, consider this the Amuse-Gueule of the 5-course meal to come.Purchase Creel Pone editions:https://alphastate.nyc/collections/vendors?q=Creel%20PoneRare & covetable Early Electronic & Avant-Garde LPs for sale:discogs.com/seller/AlphaStateMusic/profileFurther reading:http://www.keithfullertonwhitman.com/creel-pone
Carlos Fariñas, Juan Marcos Blanco, Aguas Territoriales, Caballos [CP-220/220.5] Alpha State NYC • Keith Fullerton Whitman 2020-02-10 | 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" covers a wide range of ground, it's the echo-plexed water-drip ruminations of the title piece that bowl me over; equal parts Walter Marchetti's "Per La Sete Dell'Orecchio", Knud Viktor's "Ambiances" and Craig Leon's "Nommos" - out of sight. The rest of the disc is handed over to Juan Marcos Blanco - incidentally, the son of EGREM / Creel Pone graduate Juan Blanco - whose suite of equine-themed pieces works incidental farm noises into a thunderclap-rich suite of classic Cuban tape music. There's some great harmonic-series synthesis that strongly reminds of Daniel Arfib's "Musique Numérique", plus some great stray plonk that wouldn't be out of place on Nuno Canvarro's "Plux Quba" or even Igor Savin's "Childhood", cut with some fine, warped jubilant Berlin School sequences & stray frog song, very unusual.Between this collection, the Juan Blanco "Contemporaneos 4, Musica Electroacustica" two-fer, and the "Música Electroacústica, Música Electroacústica (Time) - Jóvenes Compositores Cubanos" set, you have virtually every officially released piece of Cuban Electronic Music from the classic era; glad to complete the trifecta here.Purchase Creel Pone editions:https://alphastate.nyc/collections/vendors?q=Creel%20PoneRare & covetable Early Electronic & Avant-Garde LPs for sale:discogs.com/seller/AlphaStateMusic/profileFurther reading:http://www.keithfullertonwhitman.com/creel-pone
Jan Beran, Aniseikonia, Zeitsplitter, 4 Etüden [CP-218] Alpha State NYC • Keith Fullerton Whitman 2020-02-10 | Warped, asynchronous, mid-80s FM Synthesis assemblages, captured at the absolute cusp of the Analogue-Digital transition, from Czech-Swiss Composer Jan Beran. Ages dormant on the Creel Pone shortlist, endlessly vetoed by yours truly for breaking the cardinal rules of comprising a total sum of post-1984 activity (pending a rewrite of the foil-stamp copy) and, specifically, explicitly incorporating the "Devil's Xylophone" amongst its tonal palette. But ah, the times, the times. After a few careful listens & a decade+ of consistently softened sensibilities I've relented; I now see it as a master-stroke of pointillist blat, on par with Nuno Canvarro's "Plux Quba" and the like, offering a bevy of small sounds, 6-operator particles, each with their own distinct trajectories. I get why this was such a mystery to so many that sought it, and how unlike anything from its era, before, or beyond it truly is. Four short "Etüdes", each with their own personality and timbral spec, bookended by the lengthier "Aniseikonia" & "Zeitsplitter" This Creel Pone replica edition is also made all the more special by the inclusion of a reproduction of Beran's hand-written note, included in the copy found out in the wilds, pleading for "Doug" to send a check for $10 to the Statistics Department at Texas A&M to cover the likely unsolicited "gift" - priceless.Purchase Creel Pone editions:https://alphastate.nyc/collections/vendors?q=Creel%20PoneRare & covetable Early Electronic & Avant-Garde LPs for sale:discogs.com/seller/AlphaStateMusic/profileFurther reading:http://www.keithfullertonwhitman.com/creel-pone
Suomalaista Elektroakustista Musiikkia, Finnish Electro-Acoustic Music [CP 217] Alpha State NYC • Keith Fullerton Whitman 2020-02-10 | Reproduction of this superb 1978 pressing, realized at the Finnivox-studio & issued on their in-house Fennica Nova imprint, covering early- to late-70s work by a coterie of composers working largely in & around various public & private studios in Helsinki, including Yleisradion Kokeilustudio (Finnish Radio's Experimental Studio), Helsingin Yliopiston Musiikkitieteen Laitoksen Studio (The Electronic Music Studio at Helsinki University Music Department), Osmo Lindeman Kotistudio (Osmo Lindeman's private studio), as well as EMS in Tieto-Konemusiikinstudio Tukholmassa (aka the EMS Computer Music Studio in Stockholm).Starting with Osmo Lindeman's "Ritual" - merging dark, cascading synthesis & mumble-vox reminiscent of Max Keller's "Sicher Sein", erupting into a fine fury of keening burble - and carrying on with Antero Honkanen's excellent "Herääminen (Awakening)" - quiet, proto-new-age synth droning segueing via thunderclap into dissonant, pulsing electronics - things are off to a good start! The first side closes with Paavo Heininen's piano cut-up / work-out "Maiandros", which continues in the vein laid out by Dick Raaijmakers' "Piano-Forté", albeit with more of a laser-tight sensibility that, literally, blows in the closing minutes.My personal favorite piece on this collection comes at the start of the second side; Jarmo Sermilä's wide-ranging "Electrocomposition" merges early Computer-Music sensibilites with some great stacked-static-interval wandering, giving way into a fine section of hand-played, Eastern-leaning S&H filter movement, upending several of the classic Terry Riley modes. Jukka Ruohomäki's "Pisces" works a series of oceanic Concrète themes - heavy on the phase-effects - into a climax worthy of any number of "Sub-Aquatic" library sessions; "Nocturne" by Otto Romanowski is the most diffuse piece here, allowing stray feedback arcs to slowly ascend in dynamic & recede naturally, until a spaced-out bleep section rises to a peak. Finally, Herman Rechberger's "Cordamix" is a classic pan-cultural collage, semi-reminiscent of Parmegiani's "De Natura Sonorum", with a bit of Edward Zajda thrown in. A wide assortment of bleep, ranging from pure abstraction to more reined-in, almost motorik passages; you really can't ask for much more from a regional survey, one that had eluded litrerally all of the die-hard C.P. cabal members until now.Purchase Creel Pone editions:https://alphastate.nyc/collections/vendors?q=Creel%20PoneRare & covetable Early Electronic & Avant-Garde LPs for sale:discogs.com/seller/AlphaStateMusic/profileFurther reading:http://www.keithfullertonwhitman.com/creel-pone
ICEM 7/8/10: Recherches Sur La Voix, Musiques Electroniques, Musiques Concrètes [CP-216] Alpha State NYC • Keith Fullerton Whitman 2020-02-10 | Three of the singles released by Les Disques ICEM-CEL; the in-house label of the Institut Coopératif De L'Ecole Moderne, following in the education models of Célestin Freinet & usually accompanying the "Art Enfantin" journals..."Recherches Sur La Voix" (1972) surveys experimental & extended vocal techniques as implemented & carried-out by composer Jean-Louis Maudrin & his students. "Musiques Electroniques" (1973) offers four Electro-Acoustic pieces by Lionel Tasquier ("Hiroshima"), Jacky Pasquier ("Musique Du Désert"), Pascal Panizut & Sandrine Lanoux ("Larsen Et Percussion"), and Dominique Richard & Jacky Pasquier ("Embouteillage"). "Musiques Concrètes" (1974) has a side of Jean-Louis Maudrin pieces ("Voix", "Le Petit Canard", "Cithare à L'Envers", "Percussions à L'Envers", "Voix + Tube à Musique") followed by individual ones by M. Debray ("Je T'Aime") and Jacky Chassane ("L'Orage").Of course the "Electronic Music by Children" dynamic has been full-well explored here (listen to the flexi-disc reproduced as part of the initial 'Creelpolation' volume) but this is an extremely great example of how far the various alternate educational/belief systems have embraced experimental & Avant-Garde music at a fundamental, introductory level. Of the 20-odd ICEM disques, these three were the only ones we've been able to turn up, and while a stash of the "Art Enfantin" magazine was found, none of them line up w/ these particular titles... for now, enjoy the music!Purchase Creel Pone editions:https://alphastate.nyc/collections/vendors?q=Creel%20PoneRare & covetable Early Electronic & Avant-Garde LPs for sale:discogs.com/seller/AlphaStateMusic/profileFurther reading:http://www.keithfullertonwhitman.com/creel-pone
Philippe Doray, Les Asociaux Associés, Ramasse-Miettes, Nouveaux Modes Industriels [CP-215] Alpha State NYC • Keith Fullerton Whitman 2020-02-10 | Long on the Creel Pone radar has been this pair of LPs by French bandleader Philippe Doray, recorded in conjunction with the aid of his five "Asociaux Associés" & issued in 1977 & 1980, respectively, via Jean-Marc Patrat & José Serré's Gratte-Ciel & Invisible, the house-label of the inimitable Jacques Pasquier's Société Coopérative d'Ouvriers-Producteurs Artistiques.Centered around Doray's Synthi VCS3 playing & sprech-stimme vocal stylings, the selections here run the gamut from puerile, absurdist ad hoc rants, munged ring-modulated rhythm box experiments & general minimal-synth filigree, to straight up octave-pedal choogle, all laced with a particularly gallic sensibility. This is one of the more deconstructed and head-scratchingly odd entrants into the canon, with a similar studio-as-orchestra modus as Faust in spots, tethered by Doray's group of droogs, his "Asociaux Associés" who provide more traditional rhythm-section moves, only to disappear into voids of effects & Electronic treatments. One of the truly great, outsider statements from the late 70s Francophone Art / Punk / Damage milieu, on par with La Perversita, Ilitch, Pascal Comelade, Jac Berrocal, and Regrelh's formative work.Purchase Creel Pone editions:https://alphastate.nyc/collections/vendors?q=Creel%20PoneRare & covetable Early Electronic & Avant-Garde LPs for sale:discogs.com/seller/AlphaStateMusic/profileFurther reading:http://www.keithfullertonwhitman.com/creel-pone
Rafael Aponte Ledée, Musica Contemporanea Puertorriqueña [CP-214] Alpha State NYC • Keith Fullerton Whitman 2020-02-10 | A quartet of beguiling Electronic & Tape Music figures from Puerto Rican composer Rafael Aponte Ledée, one of few operating there during the "Golden Era", consisting of pieces completed in the island's first Electro-Acoustic studio between 1974 & 1978. Starting with the ring-modulated & spring reverb-laden "Elvira Gimenez (O Al Otro Lado De Tica...)" things get off to a great start, getting into the same junkyard-sphere as Xenakis' "Bohor" in in its aggregate form of clockwork-innards & shifting, bell-like klang. The first side ends with the jump-cut slown-down bells & interstitial, distant choir of "Cuidese De Los Angeles Que Caen", eerily reminiscent of the kind of pause-button antics of Michael Sahl's "Tropes on the Salve Regina". "Streptomicyne" wraps a chamber arrangement for prepared piano, floating bit-reed clarinet embouchures, and, eventually, a dry transliteration of Rilke texts & pointillist percussion into a coherent whole. Finally, "Los Huevos De Pandora" weaves gorgeous, overdubbed clarinet waft into a series of interjections of high-end synth blat, eventually reaching a fever pitch of electronic / acoustic intermingling, ending with a strange stretch of plunderphonic Puertorriqueñan folk-forms. An excellent set, shedding light on the otherwise undocumented Early Puerto Rican Electronic Music community.Purchase Creel Pone editions:https://alphastate.nyc/collections/vendors?q=Creel%20PoneRare & covetable Early Electronic & Avant-Garde LPs for sale:discogs.com/seller/AlphaStateMusic/profileFurther reading:http://www.keithfullertonwhitman.com/creel-pone
Mesias Maiguashca, Oeldorf 8 [CP-213] Alpha State NYC • Keith Fullerton Whitman 2020-02-10 | Issued by the Dutch "Nea Mousa Promotion Centre for Contemporary Music", the initial 1976 issue of this music documents the 8th meeting of "The Oeldorf Group" of Composer-Performers Pëter Eótvös (whose "Cricket Music" graces Creelpolation 1), Joachim Krist, Dietrich Frische, Gabriele Schumacher, and Mesias Maiguashca, who met annually at the barn pictured on the cover to workshop & perform each other's pieces from 1971 on. The two-part "Oeldorf 8" suite, composed in 1975, is a thing of wonder; from the outset, Maiguashca's spoken introduction of the players & concept gets slowly eroded by errant, pointillist electronic sound - composed that year at the storied WDR - which then lets loose for a good 10 minutes before a swarm of slowly rising held tones c/o the players acoustic arsenal slowly comes to the fore. On the second side, the acoustic sounds - patiently, elegantly state their cases across a good half of the segment until a rising pulse-wave drone essentially annihilates the more nuanced phrasing & slowly builds to an almost Roland Kayn-esque climax of raw oscillator gristle. Such polarizing music from such an unassuming cover!Purchase Creel Pone editions:https://alphastate.nyc/collections/vendors?q=Creel%20PoneRare & covetable Early Electronic & Avant-Garde LPs for sale:discogs.com/seller/AlphaStateMusic/profileFurther reading:http://www.keithfullertonwhitman.com/creel-pone
Rune Lindblad, Predestination [CP-212] Alpha State NYC • Keith Fullerton Whitman 2020-02-10 | A-grade, primal bleep from; Rune Lindblad's first & best record from 1975 - amazingly never available on disc prior to this replica edition - originally issued via the Proprius books & records imprint, rife with explosion-oriented Buchla & EMS channelings. Listening to this now, eyes closed, I'm amazed at how little progress there's been in the world of analogue electronic music & the organization & compositional sensibilities offered within; some of the timbres sounds wholly contemporary & their working methods perfectly in line with contemporary methods."Lindblad is a musical materialist. Natural phenomena, political situations formed with razor-sharp sense of sound experience qualities, a time-flow, often so pushy, intense and long to know provoked, become angry, happy, annoyed, sad but never indifferent.He portrays the horrors of war, natural strength, life's relentlessness. When the humor sometimes shines through (Gimmick) is a bizarre, bitter laughter mirror facing a grotesque, evil world. Perhaps Lindblad's interest in the sounds of nature his only life-affirming side, the strength, the beauty of the natural sound is reproduced in artistic concentration with electronic sound elements. Lindblad portrays our world from a frog perspective: it is the oppressed audio world." -Jan LingTHERMONUCLEAR PLANTATION 1968-69 9'30""Within an hour or maybe two war will virtually be the end - both parties beaten to death - while a single question remains: How will the radioactivity that affect the rest of the world?"PLAN OFFICE 1974 10'30"The workers say they are satisfied with the office of the landscape better reach to the archives, literature, drawings and other work. A longer period of adjustment is necessary in offices compared to cell office. Plan office indicated also have a "educative" effect. You become fuller account, occurs more discreet and talking quietly. Loud bargains and reprimands are according to German experience completely impossible in an office.GROWING 1973 9'You can close your eyes with your eyes and let your ears take only part of what happens in nature, in nature's essence, its idea. Only then perceives everything, from the smallest to the fan's wildest noise, from the most cutting howl to the gentlest word of reason. It is nature that express themselves and show us their essence, their strength, their lives and their relationships, so that whoever does not have the ability to see can comprehend an infinite vitality of another organ.GLACIER 1971 8'10 If the glaciers: "Have glacier opportunity to extend that form its layer of ice a shallow trough-shaped depression. Will glacier block the ledge, bent your fan ice sheets, wave or zigzag. The glacier fills the valleys down which it flows and it is in continuous movement, albeit very slow. at the onset of sudden drop or drop-offs shortcomings entire ice mass in the larger and smaller blocks and sammanstörtar. "GIMMICK 1972 4'47"The composition is made with the electronic sound material, and the starting time has been to develop short point-shaped sound elements to a closed unit. The short sound elements are then varied within very narrow limits to so limit the endless possibilities for variation in relation to the workpiece length.The recordings took place in the years 1968-74.Thermonuclear Plantation 1968-69, the EMS Impulsgenerator, filter, tongenerator.Office Landscape 1974, the University of Gothenburg. Setting: Buchla synthesizer, 2 Putney synthesizer.Growing, 1973, University of Gothenburg's music Scientific inst., Fylkingen: Buchla synthesizer.Glacier 1971, Chalmers High School, Gothenburg musicology league settings: noise generator, hackers, filters, fragments of voices.Gimmick 1972 EMS Gothenburg University, Settings: 2 Putney synthesizer.Purchase Creel Pone editions:https://alphastate.nyc/collections/vendors?q=Creel%20PoneRare & covetable Early Electronic & Avant-Garde LPs for sale:discogs.com/seller/AlphaStateMusic/profileFurther reading:http://www.keithfullertonwhitman.com/creel-pone
Kyriakos Sfetsas, Smog, Musique Electroacoustique [CP-210/211] Alpha State NYC • Keith Fullerton Whitman 2020-02-10 | Despite the all-time top-ten C.P. GOAT title "Greek Electronic Music-1" & it's counterpart "Works of Electronic Music", the series has seen precious little Greek Early Electronic Music. Attempts to secure copies of key Nikiforos Rotas, Nikos Mamagakis, & Dragatakis Koutouki sides have been futile for some time, until one of the key C.P. cabal struck gold in the form of this epic double-LP Tape Music suite by Greek Composer Kyriakos Sfetsas, released alongside the two Roland Hollinger LPs on the French Scorpios label in early 1974. Touted, dubiously perhaps, as "one of the first pieces written for four-channel tape in the world", Sfetsas' score for the Ballet "Smog" is a wonder of arbitrarily layered Analogue Synth patches & gated electric organ filigree, coming in somewhere between the drone-psych undertones of It's "Viaje", the raw concrète sprawl of Jean-Claude Eloy's majestic "Shanti" & "Gaku-No Michi" sets, and the burbling, modular automatons of Conrad Schnitzler, Pierre Henry's "Mise En Musique" & Carter Thomas' "Sonoma". This is one of those pieces that, much like Dariush Dolat-Shahi's "Electronic Music, Tar, and Sehtar", combines a number of ideas that I've been working with personally for the past few years into a combination that is far more pleasing than anything I've personally been able to muster; which is both frustrating & entirely amazing - astonishing to me that this has lain dormant for so long! One of the absolute highlights of the series thus far!Purchase Creel Pone editions:https://alphastate.nyc/collections/vendors?q=Creel%20PoneRare & covetable Early Electronic & Avant-Garde LPs for sale:discogs.com/seller/AlphaStateMusic/profileFurther reading:http://www.keithfullertonwhitman.com/creel-pone
Regrelh, Cants Del Trobadors: «La Doucer DUn Son Nouvel» [CP-209] Alpha State NYC • Keith Fullerton Whitman 2020-02-10 | The Ventadoorn label was set up in 1970 & released over 100 LPs & EP's over the following decade, all centering in on some facet of Lenga d'Oc / "Old" French language & culture. Some of you may be familiar with the 1980 Henry Fourès / Luc Ferrari "Folclòre Imaginari" set - later reissued on Adda as "Ce Qu'a Vu Le Cers" - as one of the label's final releases, but a year prior they issued this absolute masterpiece of a record, merging Occitan folk forms & instrumentation with extended drone-psych flourish & substantive Synth & Electronic crackle, all expertly framed within a Musique Concrète context.Spearheaded by Thierry Lancino - if the name rings a bell, it's likely due to his mid-90s Wergo "Computer Music Currents" volume, shared with Composer & K & K Musiktheater member (alongside Anestis Logothetis, Günter Schneider, Dieter Kaufmann & Gunda König) Tamas Ungvary - the 5-piece band run through an arsenal of modes, all captured with substantial nuance by Jean-Jacques Palix, in one of his first recording credits. In spots reminiscent of the commune-psych lurch of Algärnäs Trädgärd, others the subtle resonant tweaks of Hans Otte's "On Earth". The frame drum, Rebec, and Vielle parts all give this an unusual signature, with Lancino's Electronic treatments & seamless tape-collage flourishes completing the sonic arsenal. A truly fascinating, unusual title, even in a series known for exactly this.Purchase Creel Pone editions:https://alphastate.nyc/collections/vendors?q=Creel%20PoneRare & covetable Early Electronic & Avant-Garde LPs for sale:discogs.com/seller/AlphaStateMusic/profileFurther reading:http://www.keithfullertonwhitman.com/creel-pone
Glenn Williams, Who Says Birds Dont Do Things Just For Fun? [CP-208] Alpha State NYC • Keith Fullerton Whitman 2020-02-10 | 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 of everything-in-a-room, recorded-through-microphones into a sound-on-sound systems evident on recent recordings by Graham Lambkin et.al. What appear to be stray, improvised mono-synth figures played with one hand on the keys, another on the pause button of a tape machine - ala Anton Bruhin - builds in complexity & intensity. His phrasing recalls Sun Ra's various Moog phases - "My Brother the Wind v.2" comes to mind - and yet the actual tonal & timbral frameworks that lend to the composition's formal structure seem ... hazy, at best. The second side is peppered with shorter takes of the same music; titles such as "Three Songs from Break Dance Suite", "Debate Amongst Galaxies" et.al lend a contemporary, spaced-out mid-80s feel, but really, given the techniques & topologies at play this music could have been conjured at any point from the early 50s clear through to now. The album's 4-page insert - beautifully reconstructed & perfectly legible across this replica edition's gatefold inner - paints a broader picture, referencing the Composer's pedigree: "In Cork, Ireland Glenn set up his first full scale electronic workshop", "In 1976-76 he entered the Institute of Sonology, a division of the University of Utrecht devoted to the study of Electronic and Computor (sic) sound". He - or the unnamed person who penned the liner notes; it's unclear if the edition in question is self-released or perhaps a posthumous collection, having seemingly been released by a funeral home / cemetary - places himself in a canon with Beethoven, Pergolesi, Bach, Mozart, Schumann, Schubert, Gottschalk, Busoni, Prokovieff, Ives, and the like. One of the more bewitching entrants into the C.P. canon, and a clear - if completely un-cited - precedent for the exact sort of home-studio, post-consciousness tape-collage aesthetic currently being vamped on globally.Purchase Creel Pone editions:https://alphastate.nyc/collections/vendors?q=Creel%20PoneRare & covetable Early Electronic & Avant-Garde LPs for sale:discogs.com/seller/AlphaStateMusic/profileFurther reading:http://www.keithfullertonwhitman.com/creel-pone
Michel Longtin, La Trilogie de la Montagne [CP-207] Alpha State NYC • Keith Fullerton Whitman 2020-02-09 | Gorgeous, three-part Musique Concrète suite, composed at McGill's Electronic Music studio & Bourges' Studio de Musique Expérimentale during 1977 & 78 by Quebecois composer Michel Longtin, timbrally presaging much of the FM synthesis-laden work of the early 80s & onwards, acting a bridge between the two sensibilities.Framed as an "Electronic Music Fresco" the three pieces - "De Cristal, d'Angoisses et de Montagne", "A Bientot Elfes, Trolls et Lutins" (literally, "See you soon, Elves, Trolls, and Lutins"), and "Pour Conjurer la Montagne" work into a narrative whole, framed expertly by the composer himself: "De Cristal, d'Angoisses et de Montagne" (SIDE A-1) A people of trolls, elves and goblins lives in harmony around a crystal up to the time when it is invaded by malefic waves. Little by little the crystal shatters and the little creatures try to flee. As they come to a mountain which they must cross, the powerless elves, numbed by oscillations emanating from spheres suspended in the sky, are rooted to the spot. The weakened crystal splits open completely to give birth to a human being advanced in years. In spite of the cries and warnings of the elves, the old man sets out to climb the malefic mountain. At the last moment, just before reaching the liberating frontier, the four spheres, immobilized in the sky, break out into a burst of sound and the man collapses, screaming. II. "Pour Conjurer la Montagne" (SIDE B) Under the rule of the four spheres, where desolation reigns supreme, all who in the past radiated life are now in a deep comatose sleep. And alone the lament of the man mutated into a child persists. However, in a burst of life where death attempts to invade the very essence of cerebral life, the cries are heard once more. And so torture slowly organizes its weapons into a frenzy, thus reacts the mountain which disintegrates and is aspirated by the spheres. New desolation. The cold breathing then becomes the sole living presence. After several years the spheres are no more. Only the sand moves ... Then, faintly ... miraculously ... coming all at once from the North, from the South, from the East and from the West, beneficial oscillations permeate space and hearts once more beat in time to glory. III."A Bientôt, Elfes, Trolls et Lutins" (SIDE A-2) Warmth and light once more inhabit their kingdom. The awakening elf-birches see their roots retreating further and further into the ground. This metamorphosis brings them liberty and life. From that moment on and from all around, the little people undertake a long march towards the frozen mutant who awakens with difficulty. The curtain falls on the smiling elves greeting the Coming to Life of the Being.Purchase Creel Pone editions:https://alphastate.nyc/collections/vendors?q=Creel%20PoneRare & covetable Early Electronic & Avant-Garde LPs for sale:discogs.com/seller/AlphaStateMusic/profileFurther reading:http://www.keithfullertonwhitman.com/creel-pone
Carter Thomas, Sonoma [CP-206] Alpha State NYC • Keith Fullerton Whitman 2020-02-09 | 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 recorded & released music out there made on the early Buchla systems; which makes this hitherto undiscussed collection of pieces by the composer Carter Thomas, all recorded between 1971 & 1977, then issued in the UK in 1985, something of a unheralded gem.Starting with "800th Lifetime" - an 11-minute suite for Buchla 100 & 200, inspired by Alvin Toffler's "Future Shock", composed & recorded 1972 - we're in unfamiliar territory; absent are the whiz-bang histrionics, replaced by a dark, brooding atmosphere that calls to mind such Concrète classics as Andre Almuro's "Kosmos" & even some of the more dispersed Roland Kayn "Cybernetic" works. The terse "Auric Light" is perhaps the album's only mis-step, although it is definitely the best electronically-modified harp & percussion suite you're likely to hear, with some great spots of pointillist fizzle.On the flip, 1971'a "Epicentrum" re-unites us with the muted blanket of Buchla 200 drones present on the opening number, here reduced to gorgeous filtered-out, pulsing sub-harmonics & an almost Phill Niblock-ian pace. The title track, from 1976, breaks the mold by utilizing the equally potent Serge Modular to capture the surroundings in which it was captured, "a small cabin surrounded by giant redwoods in Sonoma, California;" it does an amazing job at representing the expanse by way of subtly resonant exaggerations of peak frequencies dwelling amidst the Serge's oscillators, reminding of both Leedy and Michael Stearns.A great set, completely blindsided by its existence and by Carter's newly won insertion into the early modular-synth continuum; he remains a mystery, and in fact his only tethering to the earthly realms in which us listeners reside is the fact that the same, Atlanta-based photographer that took his Non-esque portrait on the LP's rear cover also shot the cover for the "Rock Lobster" 7" - so many questions!Purchase Creel Pone editions:https://alphastate.nyc/collections/vendors?q=Creel%20PoneRare & covetable Early Electronic & Avant-Garde LPs for sale:discogs.com/seller/AlphaStateMusic/profileFurther reading:http://www.keithfullertonwhitman.com/creel-pone
in Celebration of the 25th Anniversary of the Experimental Music Studios [CP-205] Alpha State NYC • Keith Fullerton Whitman 2020-02-09 | Replica edition covering this wonderful 2LP boxed set, issued on the occasion of the 25th anniversary of the Experimental Music Studios of the University of Illinois School of Music. Features work by a largely otherwise undocumented array of midwest composers, including Antonio G. Barata, Paul Christian Koonce, Carla Scaletti, Michael Kosch, Brian E. Belét, Sever Tipei, & Nelson Mandrell alongside those by more well-known ones such as studio head Herbert Brün, Mary Ellen Childs, and recent Creel Pone "graduate" Scott A. Wyatt. This was issued "privately" by the studio & covers an extremely wide range of activity, from pointillist analogue blat to Electronically augmented chamber works, with pieces realized between 1976 & the set's issue in 1984. Included is a reproduction of the 8-page booklet included in the box, detailing the compositional methods of all involved.Purchase Creel Pone editions:https://alphastate.nyc/collections/vendors?q=Creel%20PoneRare & covetable Early Electronic & Avant-Garde LPs for sale:discogs.com/seller/AlphaStateMusic/profileFurther reading:http://www.keithfullertonwhitman.com/creel-pone
Ivan Pequeño, ¡Ahora!+ [CP-203] Alpha State NYC • Keith Fullerton Whitman 2020-02-09 | At the top of my personal holy grail list for a number of years has been this unobtainable side of Agitprop Musique Concrète by the Composer Ivan Pequeño, composed from 1973-1975 at Paris' Studio de Musique Expérimentale du Centre Americain & at Belgrade's Studio de Musique Electronique du Treci Program-Radio & issued on Aldo Pagani's mythic Eleven label - home of Franco Leprino's "Integrati… Disintegrati", amongst other gems.The A-Side's "¡Ahora!" ("Now!") weaves the Composer's interstitial, claustrophobic narration of Wilhelm Reich & Pablo Neruda texts (done with a certain "mic down the throat" immediacy) into a series of transfixing synthesis patterns - not too removed from the sheets of sound simultaneously being conjured by François Bayle & Bernard Parmegiani on the other side of town - into quite an aggressive mix of full-blown Electronic Histrionics incorporating heavily treated recordings of Fidel Castro's 1962 "Second Declaration of Havana" speech."Y Removiero Con Sus Alas El Tiempo Estancado" - translated by Pequeño himself via email as "Over the weekend the vultures got into the presidential palace by pecking through the screens on the balcony windows... and the flapping of their wings stirred up the stagnant time inside" - wraps García-Márquez's "The Autumn of the Patriarch", read by Sara Bourasseau & Francisco Zumarque, around a stellar array of diffuse, precision electronics, recalling Dieter Kaufmann's "Herbstpathetique" & Luis De Pablo's "We (Nosotros)." This is an absolutely incredible document of Political Electronic Music, on par with Max Keller's "SMI," Ilhan Mimaroglu's "Sing Me a Song of Songmy" and the like; one of the real highlights in the late Creel Pone campaign, close to three years in the works. Included for reference is Pequeño's only other appearance on record; in a synthesizer duet with Oliver Lake.Purchase Creel Pone editions:https://alphastate.nyc/collections/vendors?q=Creel%20PoneRare & covetable Early Electronic & Avant-Garde LPs for sale:discogs.com/seller/AlphaStateMusic/profileFurther reading:http://www.keithfullertonwhitman.com/creel-pone
Ann Southam, sean o huigin, Sky-Sails+ [CP-202] Alpha State NYC • Keith Fullerton Whitman 2020-02-09 | 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 structures in a manner not all that dissimilar to Ruth White's reading of Baudelaire's "Flowers of Evil", Ralph Swickard's "Sermons of Saint Francis / Hymn of Creation", Herbert Eimert's "Epitaph Für Aikichi Kuboyama", or Ivan Pequeño's "¡Ahora!".This Creel Pone replica edition nicely encapsulates the entire known Southam / o huigin collaborative effort by including the titular LP, plus both sides of the bonus 7" included with o huigin's 1978 Black Moss Press tome "Poe (Tree)", as well as an excerpt of their music for Aiko Suzuki's "Cricket", written about in detail by o huigin in 1984 in Issue 31 of The Capilano Review as "A Few Sound Thoughts"; the pages in question reproduced herein. There's even a tiny reproduction of the "Sky-Sails" lithograph-insert via watercolor stock; not too shabby.Purchase Creel Pone editions:https://alphastate.nyc/collections/vendors?q=Creel%20PoneRare & covetable Early Electronic & Avant-Garde LPs for sale:discogs.com/seller/AlphaStateMusic/profileFurther reading:http://www.keithfullertonwhitman.com/creel-pone
Jim Brown, Wayne Carr, Ross Barrett, The First See + Hear, Oh See Can You Say [CP-201] Alpha State NYC • Keith Fullerton Whitman 2020-02-08 | Amazingly well-timed compendium of See/Hear 1 & 2, both released exactly 49 years ago this month (well, going on 50 actually, in September 1968; this one's been in the works for a few months, mainly due to the insanely effort-oriented reproduction of all of the printed ephemera present in the inner pocket of "The First See + Hear" - all recreated here in perfect 5/12 scale in the form of ten separate inserts grouped into four "folios") &, other than bill bissett & Th Mandan Massacre's canonic "Awake In Th Red Desert" comprise the entire discography of the label / series.Covering a who's who of the Canadian Sound Poetry & Avant-Garde figures including Bp Nichol, Jim Brown, Wayne Carr, Ross Barrett, Al Neil, Lionel Kearns, and the Australian Composer Bruce Clarke, the first half here collects a scattershot array of early work from everyone involved, dovetailed a fashion similar to "Iowa Ear Music" into a continuous mode. The second covers "Oh See Can You Say", credited solely to Brown but heavily featuring Carr & Barrett, essentially continuing in the same trajectory. It's not too far off from "Indeterminacy" in that Brown's stream-of-consciousness Sound/Poetry narratives are often interjected by Carr's abstract & frankly dynamite Psychedelic synthesizer work. Ross Barrett's solo track weaves chill sitar zones through the matrix, but it's mostly in & of the voice/electronic amalgam, with a few choice zaps straight from the cortex of the acid-damaged late 60s milieu. SEE/HEAR is a RECORD MAGAZINE, a quarterly publication of recordings of contemporary sound arts. Contemporary sound arts are usually discussed in terms of certain categories such as electronic music, experimental acoustic music, sound poetry, projective verse, chance music, improvised forms and so on, however what should probably be recognized is that sound arts are continually evolving and to create categories only restricts the way in which we think about sound. Mixed media, combinations of sound and visual arts, or combinations of different modes of sound art, are easily seen as results of our electric environment, and are as valid as the already accepted sound forms. Comes with insert about the recordings. From the insert: A1 for Lennon and Mccartney. A4 was commissioned for the Adelaide 1968 Arts Festival by the Melbourne ISCM, fragments of poetry were chosen at random from the unpublished works of the late Ann Pickburn. A5 is a 30-minute dramatic cantata written for a Masters composition recital and performed at the University of British Columbia in the spring 1968. B4 made September 1968.Purchase Creel Pone editions:https://alphastate.nyc/collections/vendors?q=Creel%20PoneRare & covetable Early Electronic & Avant-Garde LPs for sale:discogs.com/seller/AlphaStateMusic/profileFurther reading:http://www.keithfullertonwhitman.com/creel-pone
![Bulent Arel, Daria Semegen, Electronic Music for Dance [CP-121]](https://i.ytimg.com/vi/DfRVXqatoGQ/hqdefault.jpg)