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[CP 000.29 CD] Relly Tarlo; Tracks 2

Creel Pone

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This was the 29th in the "Proto Creel Pone" series (you can clearly sense the "Black & White Artist-Edition LPs of Sound Art" theme amongst the "000.X9" titles) covering this early issue of the work of Israeli-Dutch Sculptor & Composer Relly Tarlo, as pressed "Privately" via PolyGram Record Service B.V., Baarn (much like the Bill Fontana P.C.P., [CP 000.19 CD], the result of simply walking into the plant itself & placing an order) in 1984. 

Performed by Andries De Marez Oyens (incidently the son of Dutch Composer Tera de Marez Oyens, whose piece "Safed" graces the Second "Anthology of Dutch Electronic Music", [CP 020-021 CD]) & Martijn Anhalt, the two side-length pieces (an aside, and I always love this sort of production-detail-as-pride-point, "Recorded with Sony PCM-F1, Schoeps MK2 mic. Mastered with Transdyn." - the PCM-F1 being Sony's earliest "Consumer" digital-recording system) on an instrument built by Tarlo consisting of:

13 pipes of different length (8-15m), material, diameter, and thickness.
Each pipe consists of several parts of different length.
The pipes are played upon by throwing in marbles, ping-pong balls, and ball bearings. The sound is amplified by contact-microphones.

Much like canonic Sound/Sculptural works such as Yoshi Wada's "Elephantine Crocodile", or even Paul Panhuysen & Ellen Fullman's "Long String Instrument" (see [CP 000.24 CD]), the monolithic churn of digital & gravity-borne animations to an otherwise static construct creates an incredible sound-field, constructed of thousands of tiny atoms of energy. One of the more dynamic (the first ~10 minutes of each side wades into near-silence) titles in the C.P. fold, and certainly a neglected/unheralded classic in the lineage of Sound Art.