Label: Creel Pone

ブックラ100＆200、EMSを駆使して様々な作風に取り組んだCarter Thomasの85年名作[Sonoma]のCreel Pone再発版。ローランド・カイン、モートン・サボトニック、フィル・ニブロックと著名音楽家の名が版元解説に並んでいますが、本当にその傾向のサウンドをほぼシンセシステムだけで構築した4曲。



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 music out there made on the early Buchla systems; which makes this hiterhto undiscussed collection of pieces by the composer Carter Thomas, all recorded between 1971 & 1977, then issued 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.