[CP 130-131 CD] Música Nueva Latinoamericana, 1-6

2021 reédition of this perennial Creel Pone classic, which now includes Música Nueva Latinoamericana 5: Vania Dantas Leite, Gilberto Mendes, Graciela Paraskevaídis; "La Voz, La Palabra" & Música Nueva Latinoamericana 6: Hilda Dianda, Celso Garrido-Lecca, Héctor Tosar; "Tres Compositores Nacidos Hacia 1925" on a third disc!

Creel Pone treatment of four LPs, privately released (on the Tacuabé label) in Uruguay in the mid-to-late 70s, “Música Nueva Latinamericana 1 • Cuatro Composiciones Electroacusticas • Bazan / Bolaños / Kusnir / Neves,” “Música Nueva Latinamericana 2 • Tres Composiciones Electroacusticas • Bertola / Nova / Orellana,” “Música Nueva Latinamericana 3 • Tres Composiciones Instrumentales (Grabado en Vivo) • Etkin / Gandini / Iturriberry,” and “Música Nueva Latinamericana 4 • Tres Composiciones Electroacusticas • Tres Compositores del Urugay • Aharonian / Martinez / Silva” - all squeezed onto two discs & housed in a single-pocket formation with two booklets - detailed to your left - one for the first two lp’s, then another for the second two with detail for the actual playing elements recreated on a “Gatefold” in the second.

Covering a wide range of music by southern & central-american composers (executed at area studios ranging from “Above-Board” institutions like the CLAEM - Instituto T. di Tella, CICMAT, and Studio de Fonologia de la Universidad Nacionál in Buenos Aires & the Isvin Sao Paolo to “Private” setups in Guatemala & Argentina, but also at European studios such as the “Centre Americain” in Paris & the G.M.E.B. in Bourges. 

The first, second, and fourth volumes exclusively feature Electro-Acoustic work ranging from Cesar Bolaños’ 1964 “Intensidad y Altura” (scrabbly / witchy echo-addled percussive events & whispered texts run through a maze of tape-speed effects) to Conrado Silva’s 1976 “Equus” (dark, noisy, scream-oriented vocal drone extrapolations on par w/ Andre Almuro’s work - quite powerful & mysterious) with the third (included here for continuity’s sake) offering three (rather Kagel-esque) “Instrumental” compositions, “Grabado en Vivo” from a distant vantage, coming across as acoustic stagings) of the same languages & disciplines used to execute the tape works.

Inarguably the best collection of Uruguayan tape music you’re bound to come across, replicated with all original-era indicators intact (not a shred of cultural revisionism at work) - the Creel Pone train continues on in its global voyage.