Label: Creel Pone CP169

個人名義の作品は本作のみとなる、知られざるイスラエルの作曲家Aminadav Aloni。1974年のフィルム用のサントラとして作られた電子音楽作品。かなり音楽的な部分もありますが、その要素を含め全てがレトロでユルい感じに仕上がっている高内容盤。大推薦。



Ah, nice to see that we've finally arrived at this particular title - one of my own suggestions for inclusion in the Creel Pone Replication Program, veto'ed by several of the cabal's core members until, apparently, attitudes about it changed - albeit 5 years later.

The soundtrack to a seldom-seen 1974 art film by Mort Hellig - featuring a total cast of 3, playing "Creation," "Humanity," and "Destruction," respectively - Israeli Composer Aminadav Aloni's peculiar, minimal Electronic Music cues come from a more compositional bent than much of the era's Synthetic dabblings. Over the course of 8 song-length segments of hand-played melodic refrain, a certain mood is established of laissez-faire, devil-may-care-ish-ness that is, frankly, quite welcome - segments bordering on pure drone / timbral exploration suddenly give way to more melodic & thematic events that belie the music's function.

I can't really compare this to much - certainly one of the reasons I nominated it in the first place - but I am reminded in spots of the similarly hand-played nature of the "Sound Paintings" LP by fellow C.P. "Graduate" Michael Lobel & even parts of White Noise's David Vorhaus' score to Saul Bass' impeccable "Phase IV" aren't that far away. There's a certain mawkishness to some of the cues that, sure, borders on Mickey-Mousing - I haven't seen the film, but I envision "Prancing" as being one of the key tenets - but then a sudden gust of atonal VCLFO'ed sparkle ala Douglas Leedy will come in & allay my fears. Only the lightest of Concrète elements come to the fore on occasion - surf on the beach, some rather orgiastic moaning - but otherwise it's pure Synthetic bliss.

Yet another fascinating glimpse into the "Secret" history of electronic music; we're way off the radar-screen here & thanks to the C.P. massive we now have a glimpse into another uniquely personal modus.