[CP 281.01 CD] La Page À Musique, Musique Et Handicap

January 2023; Inaugurating the C.P. "Shorts" sub-series (featuring newly discovered titles that are less than 30m total, at a premium) here is a replica edition of an undated (although I'm guessing from the equipment & personnel credits this was recorded in the early 80s) "Private" gatefold issued by the Groupe de musique expérimentale de Marseille (aka the GMEM; now the gmem-CNCM-marseille) covering the group's work with Provence-area youth musicians.

Much in the spirit of Basil Kirchin's "Worlds Within Worlds 3 & 4" the deft, often invisible touch of the group's in-house Composers Jacques Diennet, Lucien Bertolina, Martine Olivares, & Patrick Portella serves to only enhance and highlight just how great the discovery & joy of Experimental Music can be. The two extended vocal-drone pieces that make up the A-Side wouldn't be out of place of any number of contemporary albums, and the chopped & screwed Casionics that (impossibly, largely) make up the B-Side certainly have much en ligne w/ the fantastic Glenn Williams title ([CP 208 CD]) in their raw, unbridled application of free forms & structures around the possibilities of the Tape-Studio.

This C.P. edition fully replicates the gorgeous design & art-spec of the original, down to all of the writing & detail evident in the inner Gatefold panels, represented across a 6-panel booklet shrouded in UV Coating. A remarkable set of recordings available once again, and for the princely sum-equivalent of a (decent, qualified) sandwich.

[CP 280 CD] Roland Hollinger; Bardo Thodol, Prométhée... Aujourd'Hui

January 2023; starting the year (Creel Pone's 18th!) with a bang, here's a timely compendium of both of French Composer & Multi-Instrumentalist Roland Hollinger's Scorpios-label outings (see [CP 210-211 CD] for the other Scorpios heavy, or the recent vinyl reissue of said on Cat In The Room) featuring a crack band of traditional folk & experimental musicians (Quebecois superstar Michel Madore makes an appearance on the second, Olivier Drouin, François Laizeau, & Jacques Vandeville are all over both) subjected to "Electroacoustic means" then arranged into gorgeously spare assemblages of Electronic Drone and wandering minimal patternage.

Recalling such formative work as Regrelh's "Cants Dels Trobadors: « La Douceur D'Un Son Nouvel »" (see [CP 209 CD] or, again, the recent vinyl reissue on Dizonord) the flowing guitar flourish of Luc Ferrari's "Éphémère", the synth drone of Anselm Rogmans & Gregor Cürten's "Planes" LP or even the transformative instrumental elements of Jacques Lejeune's "Petite Suite", these are an incredible pair of quite singular forays into merging the Tape/Electronic Studio with Folk & Improv/Compositional forms.

[CP 279 CD] Stefano Liberati; Fiction Sound, Musiche Di Fantasie Scientifiche

January 2023; the C.P. P.T.B. seem to have skipped a CP-2X9 "CAM Special" there (bad dog Mr. P. C. C.P.) due to being blindsided by the Silly & Bone (see: [CP 269 CD]; rightly so TBH) so we're all very glad to see the numerical scheme renewing/redeeming itself here via this gorgeous replication of one of the harder-to-source Avant-Electronic titles on the storied imprint, the only (known) outing in this particular vein by the prolific Italian Composer Stefano Liberati.

While his name should be familiar to hunter-collectors of Library lore, this particular set of quite "Out" and Experimental-leaning work is something of an outlier., esp. given that the 4 other titles featuring his work on CAM (alone: "Youth Love Themes" [CML-053], "Music Of A Russian Character" [CML-054], "Themes With 'Romantic' Variations" [CML-099, sensing a theme here], & even the adjacent "Young Feeling" [CML-172]) are somewhat... breezier.

Certainly not so here, as the ludicriously on-brand quad-lingual titles will be the first tip-off; this is all quite exploratory modular/synth work, intended for placement amongst the Space/Vampire (i.e. Mario Bava) end Italian film, and the slightly longer track-lengths tend to allow proper space for Liberati's extra-domestic ideas to fully foment. It's every bit as eye-opening as the other CAM all-timer ("Fugue Of Light" by Vittorio Marino; see: [CP 127 CD]) and should be treated with due reverence.

[CP 273 CD] Alberico Vitalini; Sound Expression, Espressioni Sonore, Espressioni Elettroniche

September 2022; returning to the Italian "Library" sector (long a constant, endless, infinite source of inspiration for the C.P. "Cabal") here with this collection of both of Composer Alberico Vitalini's two Electronically-tinged offerings, issued in 1969 & 1971 respectively, on the Hit (where "Sound Expression (Espressioni Sonore)" appeared alongside William Assandri's two loosely accordion-themed Electronic Libraries "Il Mare" & "Brani Panoramici" - hopefully more on Assandri shortly) & Record TV Discografica (ditto, the Alessandro "Dereales" Derevitzky -heavy "Elaborazioni Percussioni Effetti" collection) imprints.

Sharing a similar timbral affinity with Giuliano Sorgini's masterful "Elettroformule" library ([CP 109 CD]) a set of fairly ghosted prepared piano & organ figures slowly give way to classic Studio di Fonologia Musicale della Rai di Milano-era tape-studio excesses, under which all semblances of instrumental/acoustic source are rendered inobservable. It's a masterclass in mood-alteration via (Analogue) Electronic means, and it's somewhat inforgiveable that this music was all but buried in the Production world until now.

The gorgeous cover/spec of both titles is preserved wonderfully here across six panels, with the essentially "Blank" rear of the latter augmented with the only known photo of 60s-era Vitalini subliminally applied across the former's credo:

Nel luglio 1969 in occasione del vaggio
degli astronauti sulla Luna, l'autore delle presenti
musiche, immaginò tale viaggio in forma sonora inconsueta,
realizzando, con l'attenta collaborazione del tecnico del suono Ulde-
rico Merluzzi. la prima 《 espressione sonora 》 che intitolò
《 VIA LATTEA 》. I sonsensi ottenuti dopo le tra-
smissioni, lo indussero a creare altre
espressioni, constituendo cosi la realizzazione
di questo disco che oltre a suscitare interesse per
l'originale nuovo sistema sonoro, si presta egregiamente al
commento musicale invero insusitato e modernissimo, di sequenze ra-
diofoniche, cinematografiche e televisive.

In July 1969 on the occasion of the astronauts'
moon landing, the author of this composition
imagined such a trip in an unusual sound
expression, and realised, with the eccellent
collaboration of sound engineer Ulderico Mer-
luzzi, the first "sound", entitled "The Milky Way".
The enthusiasm aroused after this broadcast induced me to
create other expressions, resulting in this
recording. Besides sustaining the
interest in the first composition, it also lends
itself remarkably well to a new type of musi-
cal comment for radio, cinema and television.

[CP 269 CD] Skilly, Bone; Comet Omelette

September 2022; always love a completely inscrutable, head-scratcher of a record. Nothing but conjecture out there surrounding the provenance of this presumably early-70s "Private Press" monsterpiece, replete with hand-painted covers & a pair of mismatching-ink signatures reading "Skilly" & "Love Bone" amidst a lone credit-stamp on the rear:

Taking this at its word, we can at least presume the involvement of Andrew Rudin, whose 1968 Nonesuch anti-classic "Tragoedia: a composition in four movements for electronic synthesizer" has baffled many a record-bin scourer actually in search of labelmate Morton Subotnick's more easily-introductable work (in all honestly, this is a majorly slept-on record that we'd all be freaking out over if it were issued in a similar fashion).

Rudin was the head of the "Philadelphia Musical Academy Electronic Music Center" & its Moog apparatus, at/on which both "Tragoedia" and "Comet Omlette (sic)" were created, and this itself opens up a wormhole: for years I had this whole setup conflated with the whole Vibronic Music Services crew in Ardmore, PA (responsible for that "The Philadelphia Moog Ensemble" private-press LP of, largely, Moogsploitative works by Purcell, Bach, Langlais, and the like) although reading up on it all now, I see that the latter wasn't incorporated until 1974, whereas Rudin's earliest pieces are the result of an extremely early, direct transaction w/ the Trumansburg -era Moog plant.

What I do know is that there is absolutely no trace of either "Skilly" nor "Bone" out there in the annals of the heavily-documented early Moog scene, or anywhere for that matter, and this lends to a series of mind-races around whether or not this music is the result of two "Turnt" Philly-area kids simply granted access to Rudin's setup for a night. Their music, largely concerned with crude, brutal tape-manipulation of scrap-metal clangor leading into the sorts of Psychedlic potentiometer-chicanery most commonly associated with Nicolas "Pascal" Raicevic (see [CP 079.5-080-081 CD]) is truly in another league, calling into mind that early LAFMS scene's access to CalArts' Serge prototypes.

I honestly can't think of a more C.P.-aligned record in existence, and it's, frankly, incredible that this hadn't crossed any of our RADAR-screens until now. Behold the mystery of Skilly & Bone, perfectly rendered in classic C.P. fashion across a six-panel booklet, meticulously restored & revived from a pristine, SIS example.

[CP 199.18 CD] Computer Music From Colgate +

January 2023; much like the sleeper-hit "New Directions In Music; Significant Contemporary Works For The Computer" ([CP 199.08 CD]; exactly 10 "Dots" back) this regional collection of "Academic" Digital Music research, centered around the studio at Colgate University in Hamilton, NY (just southeast of Syracuse) was issued a pair of LPs on Composer Dexter Morrill's Private "Redwood Records" imprint. What makes the studio especially interesting is that; unlike, say, MIT's CM research on largely Music-360-adjacent systems, Colgate's studio is centerpieced by a DCC (Digital Computer Corporation) PDP-10 which was kitted out with a "Four channel digital to analog converter designed and built by Joseph Zingeim."

The PDP-10 itself is a fascinating thing; notoriously used to lay the foundation of the ARPANET, its use in Art & Design in academic settings at larger institutions (such as the MIT AI-lab, Stanford's SAIL, Harvard's Aiken Computation Laboratory, etc.) is widely known, but as a platform for music it's largely undocumented (outside of, say, Laurie Barram's whole temporally-adjacent "Music Kludge" setup). The two compilations in question, featuring works from 1976-1979 by Composers Morrill, Bruce Pennycook, Timothy Sullivan, Frank Bennett, Robert Boyer, & Wesley Fuller, make a great argument for the whole DECsystem-10 platform, each starting from relative scratch w/r/t the basic frameworks and software/algorithms needed to yield such exquisite music.

In addition to the two 1980/81 LPs, this set includes the entirety of a Redwood Cassette of Morrill's Music (issued as "Computer Music Vol 2" ; to my knowledge there was never an early-mid-80s tape of Vol 1, although I'm prepared to be pleasantly surprised!) with three additional pieces made in 1975 & 1982, respectively. Anyone with a high tolerance / low resistance for early, blocky mainframe Computer Music will instantly see the appeal of the proceedings herein.

[CP 199.17 CD] Dominique Laurent; The Complete Pinok et Matho Soundtracks

October 2022; timely CP 199.XX edition collecting the three LP issues of music composed for the "Body Athletics" duo "Pinok et Matho" (aka Monique Bertrand et Mathilde Dumont; students of Étienne Decroux, the pair set up the T.E.M.P Pinok et Matho Théâtre Ecole Mouvement et Pensée in Paris in the 70s & are currently operating out of Tremplin Théâtre in Montmartre) by French Composer Dominique Laurent. This beguiling work has long entranced the (majority of; it was a single veto, albeit one that softened over time that kept this one from the program proper) C.P. P.T.B. via its adherence to a serenly rubato, hand-played "Chirp" doled out in largely 3-minute segments meant to "Mickey Mouse" the actions of the mimes-en-scène.

Starting with the fairly plaintive, child-like figures of "Les Pays De Tout En Tout" (Unidisc #UD 30.155, 1978) it's interesting how Laurent's approach to dialing-in motion-in-sound gets increasingly more outré &, frankly, bonkers over time, leading into the decentralized timbres of "Azur et Tenebres" (Unidisc #UD 30.1490, 1982) & finally the dark, foreboding drone-churn of "Fantasmusics" (PG #PG 8301, 1983). Often incorporating a single motorik/ostinato figure over which more "humanized" drippings of Electronic Sound are overlaid, this shares a certain mindset w/ recent C.P. titles by John Van Rymenant ([CP 266 CD]) & Hero Wouters ([CP 243 CD]).

This C.P. replica edition comes complete w/ a luxuriously glossy 6-panel full-color booklet containing all of the artwork, designs, & labels, along with relevant information blown-up in the inner half of the gatefold, plus two separate royal-blue-on-warm-white 4-panel inserts covering those included w/ the "Les Pays De Tout En Tout" & "Azur Et Tenebres" sets and a double-sided high-def reprint of a pair of great 70s-era B&W photos of Bertrand & Dumont in action.

[CP 199.16 CD] Fizzè, Dizzi; Kulu Hatha Mamnua, Manœuvres D'Automne

August 2022; appearing here in the much maligned "199.X" serié is this two-fer single-disc compiles both LPs released on the Swiss "Les Disques De L'Art Gué" label in the mid-80s, collecting the work of a tight-knit cadré of musicians working on & around each other: Victor "Fizzè" de Bros, Gilles-Vincent "Dizzi" Rieder, Laurent "Lorenz" Viennet, & Serge "Djodjo" Baudat, all working out of the former's Mensch studio.

Much like other recent "Edgelord" C.P. offerings (i.e. the Philippe Doray, [CP 215 CD], or possibly the Regrelh, [CP 209 CD], but definitely the Alain Saverot, [CP 268 CD], and certainly the Geographically-related Jan Beran, [CP 218 CD]) this wades uncomfortably close to genre musics (as with the first two aforementioned: RIO, or "Rock In Opposition") but it was through the constant pleas of one of the core C.P. cognoscenti (over the span of several years, no less) that I began to see the light, as such the C.P. "Cabal" are proud to present this set of arguably Fourth-World-leaning music, rife with studio trickery/treachery, cutting the "Tribal" hand-drumming w/ long stretches of Electro-Acoustic drone & other sundry affects to yield a compelling worldview unlike any one other thing I can summon.

This edition comes with all relevant imagery from both titles laid out across an (eye-popping; I must say this is one of the better-looking titles in recent times) 6-panel booklet, plus an additional greyscale number offering the details from the printed inner sleeves/inserts of each.

[CP 120-120.5 CD] Juan Blanco; El Guije, Suite Erotica, Suite De Los Niños, Contemporaneos 4, Musica Electroacustica

September 2022; long in-the-works re-collection & augmentation of this classic mid-period C.P. title (instigating the P.T.B.'s ongoing research into Cuban Electro-Acoustic music) now issued as two separately-housed discs, with the first brand-new disc premiering Blanco's never-issued 1969 "El Guije" suite (meticulously resuscitated from a crumbling, one-off Cuban Radio Acetate & appearing here in both its 78RPM & 33RPM iterations) followed by the remaining piece of the Blanco puzzle: his second/1987 Areito "Música Electroacústica" collection covering the pieces "Suite Erotica" (composed from 1979 to 1986 in Cuba), & "Suite De Los Niños" (composed in 1984 at François Barrière & Christian Clozier's GMEB, directly referencing the couple's "Ritratto a Giovane" [CP 193-193.5 CD]).

Note that the, now, "Second" ([CP 120.5 CD]) disc is exactly the same as the one issued in 2010 (linen-ized booklet & all) so there's no need to "top up" on it if you're holding; otherwise this set offers "El Rescate Del Reyes" of Blanco's formative music meshing Afro-Cuban Folk & Classical forms with the then-nascent Musique Concrète traditions coming out of France...

Last C.P. of 2010, finally available after countless delays, mostly involving the tricky /expert-level remastering job needed to resuscitate this incredible, historically-important music from sub-par vinyl pressings - a high-spec issue of Cuban composer Juan Blanco’s first two Egrem / Areito label LPs, covering his earliest electronic music dating back to 1963.

Opening with the token non-electronic “Musica Para un Joven Martir” - or "Music for a Young Martyr" - rife with swelling, Penderecki-ian strings, spare wood-block iterations & a rather romatically-delivered exhoration towards the end, we’re then thrust into the darkened void of “Galaxia M-50” - combining sunken, Almuro-esque Concrète thunder with some truly terrifying, Ruth White -esque spoken fragments, delivered just on this side of pure feedback.

“Desde Su Voz Amada” continues on in similar fashion - claustrophobic tape treatments of presumably political speeches, echoes of Luis De Pablo’s “We [Nosotros]” - as does “Estructuras” from a decade+ prior, with its gorgeously minimal & quite deep transmogrifications of the prepared piano source material - imagine a “Dante’s Inferno” variant of Dick Raaijmakers’ “Pianoforte” & you’re close.

Skipping forward to the early 80s, the second half goes in a completely different direction, opening with “Circus-Tocata's” twin “Latin” percussion & Live-Electronic array - 17 minutes of straight electro-acoustic jamming, keeping a constant rhythmic / sequenced pulse of bubbling electronic patterns to which the percussionists riff & version. Finally, “Tañidos” & “Espacios II” each offer an aggregate of tightly harmonically clustered electronic sound, with the latter accompanied throughout by some excellent, a-harmonic classical guitar shredding.

To think, prior to this I hadn’t thought there was an Electronic Music studio in Cuba during Castro’s early reign, let alone one that allowed for the creation of such technically astute, world-class work, making this easily one of the more appealing C.P. outings in this recent wave. Much like the Chris Swansen offering before it, this Creel Pone replica comes complete with both albums on a single disc - at just a hair under capacity - with a single gatefold booklet detailing the layout & design of each LP in question.

[CP 000.28 CD] Ensemble Musica Negativa; Music Before Revolution

This was the 28th of the ca. 2003 "Proto Creel Pone" titles, replicating the mythic 1972 German Odeon Quadruple-LP Boxed Set of recordings by the Composer-Improviser-Performer led Ensemble Musica Negativa (including de facto leader Rainer Riehn, Gerhard Stäbler, Peter Kowald, Paul Knill - whose Synthi A stylings throughout are simply a joy, Boy Raaijmakers, Heinz-Klaus Metzger, and dozens of others) of then cutting-edge works by John Cage (including "Credo In Us", "Imaginary Landscape No. 1", "Concerto For Piano And Orchestra / Solo For Voice I / Solo For Voice II", & "Rozart Mix"), Earle Brown ("October 1952", "November 1952", "December 1952", "MM - 87", "MM - 135 March 1953", "Music For 'Trio For Five Dancers' June 1953", "1953", & "Four Systems"), Christian Wolff ("In Between Pieces For Three Players" & "Electric Spring 2"), Morton Feldman (the barely-there trio of "For Franz Kline", "The Straits Of Magellan" & "Between Categories"), & Toshi Ichiyanagi ("Sapporo" & the blistering "Life Music"), culminating in a dedicated LP of conversations involving Cage, Wolff, Feldman, & Brown with Metzger & Hans G. Helms.

True to the original, this Creel Pone edition includes recreations of both inserts: "Conversations with John Cage, Christian Wolff, & Hans G. Helms • Morton Feldman, Earle Brown, and Heinz-Klaus Metzger in Discussion" (a 16-page transcription of the fourth record, with English in the left column, German on the right) then "Versuch Über Prärevolutionäre Musik • Essay On Prerevolutionary Music" (ditto, 16-pages of writings & notes in German, then English by Heinz-Klaus Metzger) both on 24 lb. "Natural White" linen stock (hope have the Fresnel Magnifying Lens from either the "Creelpolation" or "Found On The Elevator" handy!)

[CP 000.27 CD] CNUCE Computer Music

This was the 27th of the ca. 2003 "Proto Creel Pone" titles, covering a 1978 "Private" issue by the Pisa-based CNUCE (Centro Nazionale Universitario di Calcolo Elettronico) "Istituto Di Elaborazione Dell'Informazione" offering the center's historic research in Digitally-Synthesized sound. This was the spark that led to the discovery of so much early Italian Computer Music (later on there was the [CP 040-041-041.5 CD] Pietro Grossi set) and much like said there is a bizarre mix of lightning-speed circuit-board fritz cut with aternatingly faithful & bizarrely deconstructed readings of pieces by Bach, Handel, Scarlatti, Bartok, Webern, Scarlatti, and the like. Features several C.P. -adjacent figures such as Albert Mayr, Teresa Rampazzi, Tommaso Bolognesi, Alfonso Belfiore, and Grossi himself (whose own compositions tend to the former).

This replica edition comes as two discs housed in a six-panel booklet (with extended liners notes in both Italian & English in the inner "Gatefold") & offers a king's ransom in early low-bit crunch from the undisputed masters of the form.

[CP 000.26 CD] Rote Reihe Realisationen

This was the 26th of the ca. 2003 "Proto Creel Pone" titles, documentation of a joint German-Austrian-British-Canadian effort to introduce "Experimental Music" to school-age children in the early 70s. While elements of the Orff Schulwerk instrumentation & methodologies are close at hand, it's the presence of (later) C.P. -adjacent composers such as Anestis Logothetis, R. Murray Schafer, Cristobal Halffter, Roman Haubenstock-Ramati, David Bedford and the like that lend an incredible air of heady/serious Modernism to the proceedings herein.

While the (excellent) Halffter piece has a tape-element, much like the "Musiques Vert" set it's incredible how close the (again, largely student) ensembles get to recreating so much of what we associate, timbrally, with Electronic Music. Many largely improvised pieces are squarely in the Dubuffet-Jorn wheelhouse, and the (frequent) bursts of laughter between the quite ominous & eery-sounding atonalisms certainly adds a uniquely unhinged quality.

This replica edition comes as two discs housed in a six-panel booklet, along with a 4-page insert showing diagrams and descriptions of the methodologies used throughout.

[CP 000.24 CD] Paul Panhuysen, Johan Goedhart; Long String Installations, 1982-1985

This was the 24th of the ca. 2003 "Proto Creel Pone" series, acting as a replica edition of the 1986 Triple-LP Boxed Set covering the "Long String Installations" of Paul Panhuysen & Johan Goedhart as "Activated" by the pair (along with Ellen Fullman, Jon Rose, & Shelley Hirsch) as issued by Panhuysen on his private Apollo Records imprint, covering performances and stagings across the prior 4 years at Metronom (Barcelona), Kunstlerhaus, (Stuttgart), Cirque d'hiver (Liege), Werkstatt Südstadt (Hannover), Municipal Museum (Arnhem), Het Klein (Eindhoven), Het Apollohuis (Eindhoven), Cultureel Sentrum (Tilburg), De Kijkschuur (Acquoy), Provinciaal Museum voor Actuele Kunst (Hasselt), & Espace Nord 251 (Liege).

In true (absurd, frankly) P.C.P. fashion, this one comes either w/ just a 6-panel glossy booklet covering all of the artwork of the outer box & the record-labels, plus a separate 4-panel insert with credits & acknowledgements... or (on request; select your variant above) as issued w/ a separately-packaged (ala the "Electronic Panorama" set) 32-page "Photo Folio" covering documentation of each of the pair's meticulously constructed instruments as heard on these recordings.

[CP 000.23 CD] АНС Электронная Музыка (ANS Electronic Music), Музыкальное Приношение (Musical Offering), Метаморфозы (Metamorphoses)

This was the 23rd of the ca. 2003 "Proto Creel Pone" titles, collecting three conceptually-aligned collections of Early Russian Electronic Music issued on the State-run label Мелодия (Melodiya), centered around the work of ANS Synthesizer architect Евгений Мурзин (Yevgeny Murzin) & involving composers Станислав Крейчи (Stanislav Kreitchi), Эдуард Артемьев (Eduard Artemyev, a few years before his alliance w/ Андрей Тарковский [Andrei Tarkovsky]), А. Немтин (Alexander Nemtin), Шандор Каллош (Sándor Kallós), Олег Булошкин (Oleg Buloshkin), София Губaйдулина (Sofia Gubaidulina), Эдисон Васильевич Денисов (Edison Denisov), Альфред Шнитке (Alfred Schnittke), Юрий Богданов (Yuri Bogdanov), & Владимир Иванович Мартынов (Vladimir Martynov).

The first two sets were largely composed utilizing the ANS photo-optical synthesizer ("Метаморфозы" is largely EMS Synthi 100) & the music here ranges from purely research-oriented soundscapes to (of course) synthesized arrangements of pieces by Debussy, Monteverdi, Прокофьев (Prokofiev), & Bach... that said, my prior predilection towards downplaying this sort of "Moogsploitation" completely unwarranted here given then next-level arrangements & attention paid to timbral & patch-details (frankly, many of the original pieces are all but unrecognizable).

[CP 000.22 CD] Electronic Music on Turnabout

This was the 22nd of the ca. 2003 "Proto Creel Pone" titles... and if you're sensing a theme, you're right (why not go for 3 in a row?) A compendium of all five of the (initially) Mimaroğlu-curated & produced compilations of Early Electronic Music released by VOX-Turnabout: "Electronic Music" (#TV 34004, 1965), "Electronic Music" (#TV 34046, 1966), "Electronic Music III" (#TV 34177, 1967), "Electronic Music IV" (#TV 34301, 1968), & "Electronic Music V" (#TV 34427, 1972) featuring work from Andrés Lewin-Richter, Tzvi Avni, Wendy Carlos, John Cage, Luciano Berio, & Jacob Druckman across the first three, then an incredibly prescient selection of works by then up-and-coming Composers across the last two volumes (covering three years of the Jon Appleton-juried "International Electronic Music Competition" at Dartmouth) including Olly Wilson, William Hellermann, Eugeniusz Rudnik, Pril Smiley, Bohdan Mazurek, Jozef Malovec, Peter Glushanok, Peter Klausmeyer, Raymond Moore, José Vicente Asuar, Richard Allan Robinson, & Jean-Claude Risset.

In addition to the entirety of the 5-volume series, the C.P. P.T.B. are here including a trio of Electronic works initially offered on adjacent (literally, #TV 34428 & 34429, both 1971) titles by Morton Subotnick, John Eaton, and Mimaroglu, bringing the TRT up to an impressive just-shy-of-4-hours of music! This C.P. edition offers the artwork of all seven titles across a six-panel high-detail booklet, along with a separate outsize 6-panel monochrome insert blowing up the rear-panel liner notes & details to a readable scale.

[CP 000.21 CD] İlhan Mimaroğlu; The Complete Folkways Recordings

This was the 21st "Proto Creel Pone," and keeping the 000.X1 Folkways theme alive, it was a no-brainer to dovetail the Finnadar, Atlantic, & (now) Folkways work of Mr. Mimaroğlu together contiguously like this, if only to inundate you with the raw opulence of his incredibly prolific 1970s.

Across both discs you get "Tract: A Composition Of Agitprop Music For Electromagnetic Tape" (composed at the American Center for Students and Artists, Paris, as well as the Columbia-Princeton Electronic Music Center 1972-74 & "featuring the singing and speaking voice of Tully Sand, with the participation of the pop group Topsy Turvy Moon", #FTS 33441, 1975), then "To Kill A Sunrise b/w La Ruche" (ditto, Columbia-Princeton 1974, plus the Studios of the GRM 1968, #FTQ 33951, 1976). and finally the "Pieces Sentimentales" from "Piano Music Of The Middle East" (#FM3360, 1978).

This deluxe C.P. replica goes as far as presenting the artwork for all three LPs on an apropos "Textured" booklet, along with recreations of both inserts (the TKAS/Ruche one is even on proper crimson-red stock) as well as the to-scale "Obi" strips for 33441 & 33951 on a single dual-sided card-stock number.