New season, new year. There's been a huge burst of activity on the Creel Pone front, including, but not limited to five (FIVE) early 2018 entrants into the series, which, by my calculations, puts us just a single chin-hair above the 200-title terminus:
230-231. Nikiforos Rotas; Kavafis Songs, Antiphonies
210-211. Kyriakos Sfetsas; Smog, Musique Electroacoustique
201. Jim Brown, Wayne Carr, Ross Barrett; The First See + Hear, Oh See Can You Say
199-5. Michel Redolfi, André Jaume; Hardscore
199-4. Eric Ross; Electronic Etudes (Op. 18), Songs For Synthesized Soprano (Op. 19)
The straw that, both literally and figuratively, broke the camel's back was the discovery of a 2LP set by Greek Composer & Perfomer Nikiforos Rotas. Entitled "Kavafis Songs, Antifonies", this 1974 Μούσα -label outing, replicated to the letter in double-disc Creel Pone spec, contains a mind-boggling array of tape-echo addled maneuverings, hedging the Sound Poetry and Early Electronic vectors in grand fashion on the second disc - the first contains an amazing array of Éntekhno styles incorporating non- and anti-musical gestures along with Synth drones & some rather scrapey acoustics, all channeling the void via the poetry of Cavafy. We just couldn't stop; this stuff is so good it was worth breaking the early retirement promises of 2017 in favor of continuing the series. Que sera Cetera...
Similarly, geographically linked, albeit from another ballpark entirely, is the double-disc replica of Greek Composer Kyiakos Sfetsas' "Smog, Musique Electoacoustique" - originally also a 2LP set issued in 1974, albeit on the French Scorpios label, the aleatoric Synth agglomerations, mapped to a 4-channel tape-spec, arrive on this plane entirely unhindered from the earthly realm, and are just dynamite. Purportedly one of the first sets of 4-channel tape music (debatable, dubious even) this set delivers on a number of fronts and should incur a re-write of several chapters of the coffee-table Electronic Music book your Aunt gifted you over the holidays; it's stellar and infuriatingly obscure, yet hits many of the pleasure centers you'd hope.
As with the William S. Fischer "Omen" title, the other 200x years-in-the-making title is a reproduction of the first two LPs on the Canadian See/Hear label, "The First See + Hear" and Jim Brown et.al's "Oh See Can You Say". Just shy of the 50 year anniversary of their release, these two sides conjure an alternate, Canadian West Coast sound that's full of lysergic excess and raw Sound Poetry moves, taking in Wayne Carr's aberrant Buchla modes and swaths of Tape Music assemblage and a general Psychedelic feel. They fit cleanly on a single disc together, and in fact all of the printed ephemera housed in the jacket of the former has been recreated to a nauseating, albeit 5/12th scale degree, ala C.P.'s handling of the Jean Hoyoux "Planètes" 2LP.
Continuing in the 199-x line are two titles, one a belter from GRM-aligned Composer Michel Redolfi & Free Jazz saxophonist André Jaume, recreating an early 80s, Synclavier-heavy session in which, on apposite sides, Redolfi sits in, then utilizes studio captures to relinquish control of known orbits in favor of non-real time Concrète tactics. Terrible, terrible cover; likely the reason this one has remained so unknown for so long, hence the placement.
Then, enforcing a certain "Liquid Sky" -esque sensibility, the 1982 private "Doria" -label LP from Impovising Thereminist Eric Ross is in fact a monster of Modular Synth assemblage, cleanly breaking from genre tropes in favor of a certain mutant spec, taking in some wry Gamelan moves amidst the melée of abstract, asynchronous bleep; entirely killer.