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Upadesa (#LP 2121; 1983)

1-01. Angel Rada; Carrillon (5:31)
1-02. Angel Rada; Basheeba (4:32)
1-03. Angel Rada; Asesinato Musical (6:32)
1-04. Angel Rada; Video Game (4:27)

1-05. Angel Rada; Panico A Las 5 A.M., Mar De La Tristeza (14:33)
1-06. Angel Rada; Upadesa (5:37)

Viveka (#LP-OM 1999; 1984)

1-07. Angel Rada; Nada Sagrado (6:09)
1-08. Angel Rada; Kundalini (5:12)
1-09. Angel Rada; Detras De Tus Ojos (6:50)

2-01. Angel Rada; Satori (9:08)
2-02. Angel Rada; Hiperspacio (3:14)
2-03. Angel Rada; Padre Cosmico (5:02)

2-04. Angel Rada; Viveka (3:32)
2-05. Angel Rada; Alianza (7:18)
2-06. Angel Rada; Travesia Parafonica (7:19)

2-07. Angel Rada; Isla Tropical (5:00)
2-08. Angel Rada; Primer Dia De Luz (5:14)
2-09. Angel Rada; Tigre Blanco De Rewa (5:11)

Solar Concert For Bhagavan (#85.002; 1985)

3-01. Angel Rada; Deep Sunrise, Millenium (14:49)
3-02. Angel Rada; Pegasus [Night Flight Over Tokyo] (6:17)

3-03. Angel Rada; I Ching (10:45)
3-04. Angel Rada; Shangri-La (6:05)

Continuvm (#86.002; 1986)

3-05. Angel Rada; Saturn Rings Song (5:27)
3-06. Angel Rada; Caravanas (5:06)
3-07. Angel Rada; Floating Love [Prama & Shakti]
Despues De Las Lluvias [Grabada En Ambientes Naturales] (7:29)

4-01. Angel Rada; Pequeño Concierto Para Dharma (6:54)
4-02. Angel Rada; La Danza De Kali (7:00)
4-03. Angel Rada; Continuvm .. Y Salio El Sol (5:18)

Gran Sabana (1984)

4-04. Miguel A. Noya; El Viaje De ANG (2:46)
4-05. Miguel A. Noya; Encuentros (4:30)
4-06. Miguel A. Noya; Vida Cotidiana (4:57)
4-07. Miguel A. Noya; Luna 5 (4:11)

4-08. Miguel A. Noya; En Las Vertientes (6:22)
4-09. Miguel A. Noya; Gran Sabana (10:12)

[CP 000.13 CD] Angel Rada, Miguel A. Noya; The Early Uraniun Recordings +

Creel Pone

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This was the 13th title in the ca. 2003 "Proto-Creel Pone" series, and the first to embrace what we liked to call a "Parallel" approach to a tried & true form/method (in this case so-called "Berlin School" Electronic Music). Originally a simple a replica of Venezuelan auteur Rada's "Second" 1983 Debut "Upadesa" this has now been fleshed out considerably, reproducing the first four releases on his Uraniun Records imprint (the ones that fit cleanly into the then-codifying crucial C.P. date-range) adding 1984's "Viveka (El Doble Album)", 1985's "Solar Concert For Bhagavan", & 1986's "Continuvm", plus (as a bonus-incentive) the similarly charged (actual) Debut album by "Solar Concert" sideman Miguel A. Noya; 1984's "Gran Sabana".

What all of these records have in common is a (certainly) unique approach to musical time, largely eschewing the sequencer-motorik that perhaps dominated late-70s/early-80s Synth-based music in favor of a rubato, hand-played and dareisay "Romantic" approach that, when coupled with the egregious use of Tape Saturation & wildly variable fidelities (it helps that the physical records utilized herein were well-loved prior to replication; Rada having been something of a staple in the Reckankomplex-era afterparty "Comedown" hours, thus fomenting the idea of the coming C.P. wave being all about specific copies of records rather than idealized versions) and Time-based effect comes across as proper deviation from the norms. It helps that this music was being created, in private, halfway around the world & hemispherically-divided from the "Centers" of Electronic Music, lending a certain home-spun, folkloric tone this is highly appealing.

There are precious few precedents for a wholly original Home-studio Electronic Music that hit the mark in anywhere near as satisfying a way; Nicolas "Nik Pascal" Raicevic's storied Narco run comes to mind, as do those Cultural Noise & Bizarre Ko.Ko.Ko sets, but even then these are all unique outliers against a grander trend of homogeneity (differentiate, say, any number of Innovative Communication LPs from each other: you can't) that just outlines how special & forward-thinking they ultimately were, in retrospect.