Label: Creel Pone CP 199.11CD

クセナキスが指揮するCEMAMUに関わったベルギーのコンポーザーFrederic Nyst、スペインの画家Pablo Palazuelo、そしてゲダリア・タザルテスの諸作で知られる日本人女性ソプラノ歌手"奈良ゆみ"氏、この三者が1985年にセルフリリース(?)で残した中古市場に滅多に出ないカルト・レア盤[Le Nombre Et Les Eaux]。画像を音へ変換するシステムを使いPablo Palazueloの絵画を荒いノイジーサウンドへとチェンジ、合わせて奈良ゆみ氏の変調ボーカルもミックスした、もはや電子音楽やコンテンポラリーを超越した先鋭的ノイズ/ダークアンビエント作。今聴いても非常に新鮮なサウンドです。



After a sizable gap, the Creel Pone "199-X" series resumes with this out-of-nowhere title that sort of blindsided the C.P. cognoscenti w/ its prior un-knowable-ness & confluence of cultural mile-markers...

Composed by Belgian composer Nyst at the Xenakis-helmed CEMAMU (Centre d’Etudes de Mathématique et Automatisme Musicales) using said's UPIC (Unité Polyagogique Informatique CEMAMu) image-to-sound software synthesis tool, "Le Nombre Et Les Eaux" linearly converts the noted Spanish painter Palazuelo's "Trans-Geometría" forms & gradients, along with vocal interpretations of said by Soprano Yumi Nara (whose realizations of pieces by Globokar, Messiaen, Redolfi, Xenakis, Chaynes, and others are well worth looking into; she also appears on Ghédalia Tazartès' "Une Éclipse Totale De Soleil" & "Voyage À L'Ombre" & Jean-Claude Eloy's "Butsumyôe / Sappho Hiketis") into smears of coarse-grained digital sound, the rough-hewn peaks, valleys, and interlaced parallelograms into a swath of, essentially, proto-noise grappling.

Fits neatly alongside prior C.P. chestnuts such as Günter Maas' "Klangbilder, Bilder und Klangbilder", Daniel Arfib's "Musique Numérique", & Þorkell Sigurbjörnsson's "La Jolla Good Friday I-II" in its streamlined, seasick adherence to alternate, non build-release forms. This Creel Pone replica edition micro-manages the sunbleached spread of Palazuelo's cover/rear images at the appointed 5/12th scale, along with the two gorgeous geometric wonders in the inner gatefold, the LPs/labels, and even a skinny vellum strip blowing up the text on the rear highlighting the processes at play herein to legibility.