Label: Creel Pone

キューバのコンポーザーCarlos Farinasと、同国のエレクトロアコースティック作家にしてあのJuan Blancoの息子であるJuan Marcos Blancoの1st LPをカップリングしたCreel Pone再発版。共に自国の有名レーベルEgremから80年代前半にリリースされた盤で、シリアス一辺倒でない、ボーカルなども絡んでくるいかにも南米らしい軽やかな"跳ね"が特徴的な電子音楽作品。



First Creel Pone double-artist twofer - odd, considering how many opportunities to handle things this way have arisen over the years - topically linked by the label that initially released them, Empresa Grabaciones R E M, or EGREM's Areito, and the topic & time-period in question; Electro-Acoustic Music in Cuba, early 80s edition.

First up is Carlos Fariñas' "Aguas Territoriales" - two side-length pieces for errant electronics & Concrète sounds. While the A-side's minimal, misted "Madrigal" covers a wide range of ground, it's the echo-plexed water-drip ruminations of the title piece that bowl me over; equal parts Walter Marchetti's "Per La Sete Dell'Orecchio", Knud Viktor's "Ambiances" and Craig Leon's "Nommos" - out of sight.

The rest of the disc is handed over to Juan Marcos Blanco - incidentally, the son of EGREM / Creel Pone graduate Juan Blanco - whose suite of equine-themed pieces works incidental farm noises into a thunderclap-rich suite of classic Cuban tape music. There's some great harmonic-series synthesis that strongly reminds of Daniel Arfib's "Musique Numérique", plus some great stray plonk that wouldn't be out of place on Nuno Canvarro's "Plux Quba" or even Igor Savin's "Childhood", cut with some fine, warped jubilant Berlin School sequences & stray frog song, very unusual.

Between this collection, the Juan Blanco "Contemporaneos 4, Musica Electroacustica" two-fer, and the "Música Electroacústica, Música Electroacústica (Time) - Jóvenes Compositores Cubanos" set, you have virtually every officially released piece of Cuban Electronic Music from the classic era; glad to complete the trifecta here.