Name: Live Fall 2014 Side A - Chicago Cultural Center GAR Rotunda - Inclusion / Water 4 / Going Home by Bitchin Bajas
Duration: 21 min 32 s
Description: the last show of all the touring was at home in Chicago playing the beautiful GAR Rotunda on the 2nd floor of the Chicago Cultural Center. recorded on a hand held set about 30 feet away from the amps.

Damn I wish you had showed up for that Bellingham show.  Beautiful stuff.

BRILLANT. Featured it on the NLC channel: http://thenikolaslistchannel.net/set-25-16-nlc-fm-adventures-music/

the last show of all the touring was at home in Chicago playing the beautiful GAR Rotunda on the 2nd floor of the Chicago Cultural Center. recorded on a hand held set about 30 feet away from the amps.

Live Fall 2014 Side A - Chicago Cultural Center GAR Rotunda - Inclusion / Water 4 / Going Home

Suzanne Ciani
Buchla Concerts 1975
FKR082LP
Finders Keepers Records

Finders Keepers invite you to witness the incredible first ever Buchla synthesiser concerts/demonstrations providing a distinctive feminine alternative to The Silver Apples Of The Moon if they had ever been presented in phonographic form. This is history in the remaking.

This spring Finders Keepers Records are proud to release an archival project that not only redefines musical history but boasts genuine claim to the overused buzzwords such as pioneering, maverick, experimental, groundbreaking and esoteric, while questioning social politics and the evolution of music technology as we’ve come to understand it. To describe this records as a game-changer is an understatement. This record represents a musical revolution, a scientific benchmark and a trophy in the cabinet of counter culture creativity. This record is a triumphant yardstick in the synthesiser space race and the untold story of the first woman on the proverbial moon. While pondering the early accolades of this record it’s daunting to learn that this record was in fact not a record at all… It was a manifesto and a gateway to a new world, that somehow never quite opened. If the unfamiliar, modernistic, melodic, pulses, tones and harmonics found on this 1975 live presentation/grant application/educational demonstration had been placed in a phonographic context alongside the promoted work of Morton Subotnick, Walter Carlos or Tomita then the name Suzanne Ciani and her influence would have already radically changed the shape, sound and gender of our record collections. Hopefully there is still chance.

In short, Suzanne was a self-imposed twenty-year-old employee of the Buchla modular synthesiser company, San Francisco’s neck and neck contender to New York’s Moog. Buchla was run by a community of festival freaks and academic acid eaters whose roots in new age lifestyles and the reinvention of art and music replaced the business acumen enjoyed by its likeminded East Coasters. In the eyes of the consumer the creative refusal to adopt rudimentary facets like a piano keyboard controller rendered the Buchla synthesiser the more obscure stubborn sister of the synth marathon, steering these incredible units away from the mainstream into the homes and studios of free music aficionados, art house composers and die-hard revolutionaries. Championed and semi-showcased by composer Morton Subotnick on his albums The Bull and Silver Apples Of The Moon, Buchla’s versatility began to open the minds of a new generation, but the high-end design features and no-compromise modus operandi was often confused with incompatibility and, in the pulsating shadow of Moog’s marketing, the revolution would not be televised nor patronised. Suzanne Ciani, as one of the very few female composers on the frontline (and also providing the back line) did not lose faith.

These “concerts” are the epitome of rare music technology historic documents, performed by a real musician whose skills and academic education in classical composition already outweighed her male synthesiser contemporaries of twice her age. At the very start of her fragile career these recordings are nothing short of sacrificial ode to her mentor and machine, sonic pickets of the revolution and love letters to an absolutely genuine vision of and ‘alternative’ musical future. In denouncing her own precocious polymathmatic past in a bid to persuade the world to sing from a new hymn sheet, Suzanne Ciani created a bi-product of never before heard music that would render the pigeon holes “ambient” and “futuristic” utterly inadequate. Providing nothing short of an entirely different feminine take on the experimental “records” of Morton Subotnick and proving to a small, judgmental audience and jury the true versatility of one of the most radical and idiosyncratic musical instruments of the 20th century. These recordings have not been heard since then.

Suzanne Ciani - Buchla Concerts 1975 (Excerpts)

LR084 - Cool Maritime - Some Sort of Wave Portal
WW release date 01.29.2016

Cool Maritime is the New Age synth wizardry of Sean Hellfritsch - named after the coastal region between San Francisco and Vancouver. "Coast Quest" was recorded in real-time to cassette using mini-modular synthesizer, re-201 space echo, and t.e. op-1. 

cover illustration by: Jesse Balmer 
jessebalmer.com/

Cool Maritime - Coast Quest

ulla - table

Through The Looking Glass

1 Midori Takada - Mr Henri Rousseau's Dream (Reel-2-Reel to Digital conversion)

Excerpt from Pierre Bastien's Live album ''The Mecanocentric Worlds of Pierre Bastien'' out on 27th October on Vinyl and Digital.

More info at www.discrepant.net

Pierre Bastien - May Yam (Excerpt from The Mecanocentric Worlds of Pierre Bastien)

From album 'TRACED', Pattern 04, Sonic Pieces, 2017

Traced

Post Human

from the "Zephyr" LP (NNF350)
Not Not Fun / 2018

ACCESS: 
halles.bandcamp.com/album/zephyr
midheaven.com/item/zephyr-by-les-halles

Les Halles "First Distance"

Turmoil

Lucrecia Dalt - Tar (Jan Jelinek Remix)

Arts and culture practitioners and organisations Declare a Climate and Ecological Emergency. See @CultureDeclares 

download to your phone, for participants in the Culture Declares in London ceremony, 3rd April 

'Sonum Vocis Magnum Parvo

This score comprises of both an amplified through composed piece of music and accompanying acoustic bells to be performed as a promenade. Shifting, phasing, moving like a sonic cloud.  Bells are traditionally used to call communities together, to mark the passing of time, to raise the alarm, we wanted to use these modest handbells, intrinsically a small sound, but when multiplied, the gathering of a small sound makes a big sound. Compassionate, compelling - we will be heard!  Sonum Vocis Magnum is a play on words the literal translation to Latin of Small Sound, Big Sound, but therein lies the voice - voices of the people, culture declares…  'Mira Calix 


written and produced by Mira Calix and Ed Handley

Live Fall 2014 Side A - Chicago Cultural Center GAR Rotunda - Inclusion / Water 4 / Going Home

Bitchin Bajas

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