Label: Creel Pone

Creel Pone再始動！！Centaur Recordsのコンピレーション等に参加、恐らく個人名義ではこれが最初で最後の盤？となったScott A. Wyattの70年代末頃の(正式なリリース日が不明)大学関係LP。75〜78年までの生楽器主体のテープ作品3作が収録されており、古典的で美しいエレクトロアコースティクが聴けます。



Released at the tail-end of the 1970s on the Academic "University Brass Recordings Series" (UBRES), this collection of - just as it says on the tin - "Electronic Music With and Without Instruments" by composer Scott A. Wyatt - a student of Randall McClellan & Herbert Brün - regales us first with a flighty, four-part side-length suite entitled "Four for Flute" incorporating John Fonville's eager embouchures with a mighty four-channel tape of assorted, mythic distorted bonks and misted bleep.

From there, we're treated to the extended, three-part "Menagerie" for solo electronics, attributed to such faunae as "Tree Clams," "Air Stones," and "Moonsheep" - before a rousing, Xenakis-esque "Two Plus Two" pits twin percussionists against an array of synthetic & tape-munged plosives. It's this side that gives the whole set its weight; Wyatt's unusual palette - much string synth, and what sounds like errant Buchla-bongo zap - puts him squarely in the current of cosmically-tinged, rust-belt, "third generation" American composers often singled-out by this series; his work fits comfortably alongside that of Jack Tamul, William Hoskins, Edward Zajda, et.al.

Aside from the music, I love the aesthetics at play herein - all mutant swirls & skeumorphics on the cover, met with the trad 3-column rundown of the concepts of the works included by noted composer Ben Johnston, replete with a Dick Higgins quote.