Label: Creel Pone

テリーライリー等と[Keyboard Study 2]を出版したスイスの現音グループGERMに参加、個人名義での音盤は非常に珍しいと思われる作曲家Jean-Yves BosseurのLPがCreel PoneよりCD-Rで登場。バキバキのコンクレート/エレクトロニクス路線を行くCreel Poneには珍しい、ナチュラルな物体音だけを紡いだ有機的な多重録音作。現行の物音系にも繋がる作風です。



Creel Pone replication of this fascinating, un-Google-able LP offering a largely Acoustic take on Musique Concrète, performed by the Collectif Musique Verte in 1982.

An associate of Knud Viktor - who took the album's cover photo - and, by proxy, L'Oiseau Musicien boss Jean-Claude Roché, French "Composer and musicologist" Jean-Yves Bosseur was a member of the ensemble GERM - "Groupe d'Etude et Réalisation Musicale" - the same that realized that version of Terry Riley's "Keyboard Study 2" for the BYG split LP w/ fellow GERM member Pierre Mariétan in 1970 as well as being one of the "Voice actors" on the 1973 recording of Michel Butor & Henri Pousseur's "Votre Faust." and, confusingly, contributing the first track to Cabaret Voltaire's "Methodology '74 '78. Attic Tapes;" set. Bosseur is also something of a polyglot, writing about Literature, Art, Sound-Art & Music - his "Sound And The Visual Arts: Intersections between Music and Plastic Arts Today" comes highly recommended - & Composing / Producing in equal measure. In 1985, Arion - the same label that issued Bruno Menny's C.P. classic "Cosmographie," Structures Sonores Lasry-Baschet's "Chronophagie," & Dashiell Hedayat's mythical outing as "Melmoth," "La Devanture Des Ivresses;" to give you some idea of the full range of company kept - issued the only other full set of LP-era music by Bosseur, in the form of the "Vent d'Ouest - Le Chant d'Un Monde" LP, a deft collage of Folk & Classical forms in more of a traditional Folkways-esque assemblage ala Tony Schwartz.

Discographical inanities, no matter how significant, aside; this particular outing continues in the tone & breadth of the two Knud Viktor titles replicated 3/5th of the series before it - an almost entirely "Acoustic" take on the Musique Concrète modus, presaging such later examples as Jeph Jerman's "Hands To" work & channeling the non-musical-instrumentative practices of pieces such as Christian Wolff's "Stones" & Cage's "Branches," takes the best elements of the often minimal "Natural Improvisation" movement heralded by Composers such as Akio Suzuki & Toshiya Tsunoda & wraps it around the decidedly more "Orchestral" setting, wherein an entire ensemble let loose on all manner of sounding accoutrements, resulting in a more even fleshed-out & scored-through setting of "Organized Sound."

Fully mapped out & involving only a modicum of improvisation, the results are both incredibly precise & controlled - yet somehow completely alien - it is truly unlike anything I've ever heard, and as an experiment in creating otherworldly timbres via earthly means - even to a set of ears trained on the most out-there modes of Electronic Syntheses - the results are uncanny.