Label: Creel Pone

2種の個別スリーヴを使った6パネルプリントの豪華パッケージ！！1948年キューバ出身、1歳でベネズエラへ引っ越し1970年に地元のバンドでキーボードを担当、その後ドイツのミュンヘンに渡り電子音楽を学ぶ事となる奇才アーチストAngel Rada。氏がベネズエラのレーベルUraniun Recordsに残した83年1st[Upadesa]、84年2nd[Viveka]、85年3rd[Solar Concert For Bhagavan]、86年4th[Continuvm]を纏めた上げたCreel Pone編集版。ドイツのコズミック系エレクトロニクスにアンビエント、民俗的トーン、奇怪なニューエイジテイストを混ぜ込んだユニーク極まりないミュータント・エレクトロ集。全編通して聴く事によりこの人物の凄さが分かります。



This was the 13th title in the ca. 2003 "Proto-Creel Pone" series, and the first to embrace what we liked to call a "Parallel" approach to a tried & true form/method (in this case so-called "Berlin School" Electronic Music). Originally a simple a replica of Venezuelan auteur Rada's "Second" 1983 Debut "Upadesa" this has now been fleshed out considerably, reproducing the first four releases on his Uraniun Records imprint (the ones that fit cleanly into the then-codifying crucial C.P. date-range) adding 1984's "Viveka (El Doble Album)", 1985's "Solar Concert For Bhagavan", & 1986's "Continuvm", plus (as a bonus-incentive) the similarly charged (actual) Debut album by "Solar Concert" sideman Miguel A. Noya; 1984's "Gran Sabana".

What all of these records have in common is a (certainly) unique approach to musical time, largely eschewing the sequencer-motorik that perhaps dominated late-70s/early-80s Synth-based music in favor of a rubato, hand-played and dareisay "Romantic" approach that, when coupled with the egregious use of Tape Saturation & wildly variable fidelities (it helps that the physical records utilized herein were well-loved prior to replication; Rada having been something of a staple in the Reckankomplex-era afterparty "Comedown" hours, thus fomenting the idea of the coming C.P. wave being all about specific copies of records rather than idealized versions) and Time-based effect comes across as proper deviation from the norms. It helps that this music was being created, in private, halfway around the world & hemispherically-divided from the "Centers" of Electronic Music, lending a certain home-spun, folkloric tone this is highly appealing.

There are precious few precedents for a wholly original Home-studio Electronic Music that hit the mark in anywhere near as satisfying a way; Nicolas "Nik Pascal" Raicevic's storied Narco run comes to mind, as do those Cultural Noise & Bizarre Ko.Ko.Ko sets, but even then these are all unique outliers against a grander trend of homogeneity (differentiate, say, any number of Innovative Communication LPs from each other: you can't) that just outlines how special & forward-thinking they ultimately were, in retrospect.