Label: Creel Pone

80年代中期より自主レーベルFree Way Musiqueから音源リリースを行い、知られざる名作コンクレートを残したフランスの作曲家Pierre Vasseur。氏の重要作である1985年1st LP[La Loira / Lacertae / Transparences]、1987年にボックスセットで発表された2nd[XV Champs Introspectifs]を纏めたCreel Pone編集版。複雑な声と旋律がウネウネと絡み合う多層的コンクレートオペラ[La Loira]、ザラザラとしたボイスカットアップをリズミカルに並べた非常に完成度の高い[Lacertae]、クセナキスが発明したU.P.I.Cを導入した[Transparences]、まさに傑作揃いのオイシイ集成。大推薦。



July 2022; long-in-the-works pairing of both of French Composer Pierre Vasseur's elusive, elaborate mid-80s "Private" Musique Concrète affairs (realized via his own "Free Way Musique" imprint as #848586 [1985), & #868700 [1987], respectively) issued as a single six-panel back-to-back double-disc replica (with requisite inserts and extra "Gatefold" materials) coming in hot at C.P.'s 17th anniversary nexus...

The "Excerpts" of the Concrète-Opera "La Loira" that open up the proceedings here heavily utilize the voices and cadences of Anne Gilbert & Yves Desclozeaux to dizzying effect (recalling the edge-of-insanity intensity of Dieter Kaufmann's "Muse" Gunda König across his MJÖ-label output in spots) cut with uniquely 80s FM Synth interjections. The extended "Lacertae" is a masterclass in gritty low-bit drones & the sorts of era-appropriate rhythmic cut-ups heard on Philippe Ménard & Serge Rustin's "Contes Électroniques" ([CP 219 CD]) before the fried, fizzing digital figures of "Transparences" (commissioned by the Festival de la Côte d'Opale & realized at the U.P.I.C.[Unité Polyagogique d'Information et de Composition] machine invented by Iannis Xenakis) close out the first LP, hinting at the controlled bleep of Bayle's "Érosphere" pieces.

On the second disc, the expansive ""D'ailleurs" - XV Champs Introspectifs" project ("Actes du colloque Musique et handicaps et perspectives de soins" staged at Culture et santé in Lille on the 14th & 15th of November, 1986) opens with a multi-tiers chordal bliss-out worthy of Parmegiani before sliding neatly into a effects-heavy solo Recitatif with subtle foley & Electro-Acoustic touches punctuated by cave-dwelling ambiances & grinding, half-whispered voice-sourced freezes that remind me more of Anne "Manon" Gillis' work than anything from the "Academic" sector. It's a great, enveloping work that hints on Michèle Bokanowski & Arsenije Jovanovic's more film- & theater-aware environments.