Recorded on PBSFM 106.7, Melbourne 12.07.1994

Antediluvian Rocking Horse - "We Plot the Lost"

Formed 1994 St. Kilda, Australia, Antediluvian Rocking Horse was an audio project maintained by two core artists credited as DJ2 and DJ3. DJ2 is Paul Wain, a sculptor and graduate of the Victorian College of the Arts. DJ3 was Susan King (R.I.P), a collage artist, writer and anti-copyright advocate.  The project produced music and soundscapes that are entirely recycled from other recorded works.

The pair took further inspiration from Dada and Situationist texts and practises. ("Dada" is a term employed by French children to signify hobby horse. This translation, presumably, provided the spur for the project's name.)

The composer Ollie Olsen was also a member for recording sessions.

In loving memory to DJ3 Susan King ... we miss you. 

Releases:

Antediluvian Rocking Horse - Music For The Odd Occasion 
https://psy-harmonics.bandcamp.com/album/music-for-the-odd-occasion

Antediluvian Rocking Horse - Forward Into The Furniture
https://psy-harmonics.bandcamp.com/album/forward-into-the-furniture

Antediluvian Rocking Horse - 1st Radio Show 1994

Excerpt of the first five minutes from the forthcoming vinyl re-issue of 'Topography of The Lungs' - one of the key recordings in the development of free improvisation and originally the first release on Incus, the label founded by Evan Parker, Derek Bailey and Tony Oxley to document the music. 

This vinyl issue caps off a year celebrating Evan Parker's 70th Birthday. Evan plays a week of concerts at Cafe OTO and The Vortex from the 20-26 October. 

Release Date: 15 December 2014

Liner notes by Evan Parker (for the 2014 re-issue):

‘The Topography of the Lungs’ was the first recording I made as a "leader" - in the somewhat antiquated terminology of the times. What this means in simple terms is that I set up the date and invited Han and Derek to participate - after that it was a matter of open interaction.

The original notes make clear my enthusiasm for the work that Derek Bailey and Han Bennink had done as a duo and it was good of them to share their discoveries with me. It was the first release on Incus, a label that I set up with Derek Bailey and Tony Oxley with financial assistance from music journalist Michael Walters.  No accurate history of Incus Records has yet been written. After parting company  and when the conditions of my agreement with Derek Bailey had been met, it was issued as a CD, thanks to Martin Davidson, on my label psi.

Musicians of my generation were very happy when the CD superseded the LP. I remember clearly the initial argument that CD was an elitist format... Times and attitudes have changed and the LP has made a serious return, especially in the documentation of marginal musics. OTOroku is run by and, perhaps, largely for, a new generation of listeners who have an affection for the LP format that reminds me of my youth.

I am very happy that a label associated with one of the most important music venues in London is overseeing this release.

I often travel along Dawes Road in Fulham and pass the building where the recording was made.  It is on the first floor by a bus stop and was a small space with a dead acoustic, probably ideal for making low-budget rock demos, which encouraged very analytical listening.

The engineer, Bob Woolford, was not shocked by what we were doing. On the contrary he was then, and remains, one of the great engineers, along with Adam Skeaping and Michael Gerzon who enjoyed the challenges of recording alternative musics.

In the intervening forty-odd years since its first release, the idealism of the original notes has been battered almost sense-less by the Neo-Liberal (Neo-Fascist would be a more accurate term) moves to global hegemony. I take heart from the environ-mental, Occupy and anti-war movements and would encourage all younger listeners to find a way to live their lives as far as possible without interference and control by decisions made in corporate boardrooms. May the music here give you energy and fuel your imaginations.

					          EP  (August, 2014)



PRE-ORDER NOW

Evan Parker / Derek Bailey / Han Bennink 'Topography of the Lungs' [Excerpt] (ROKU(RE)001)

Eli Piña Set Sola en Venas Rotas Discos

A short showoff of the awesome power of the Serge/COA VV2 Positive Slew panel.

The patch is totally self contained within the single panel.
I put i through a little DJM-500 Reverb on the way to my DAW.

No sequencing or external interaction of any sort. All VV2.

I called it Chalet because it reminded me a little of the Deep Purple 'Machine Head' album's overdriven Hammond Chords for some reason.

Chalet

Rhythmic / Melodic patch on COA Modular Negative Slew panel.
It's a bunch of 70's Serge modules in one panel.

No sequencer or drum machine involved , all produced within the panel with no effects.

Utilises : Negative Slew x 2 , V.C. Slew, '73 Envelope Generator, VCA/Gate, Triple Waveshaper and '73 Filter.

One Week Of Living Hell

Made a thoughtful psalm for the holiday late Christmas eve.
Finally got my Serge up and running again after a period with only the Buchla 208. Great to have it on my bench again.
In this tune my Serge and Buchla joining and talking to each other

Thoughtful Xmas Eve

Live from the event GummiLyd in Drammen, Norway 23.03.2019.
Buchla 208 and a diy expander.
No post editing so there are some hiss and noise

Rubber. Live At GummiLyd 23.03.19

Stevie aka Cleaninglady and me jamming on Serge modular in my studio when he visited me here in Norway May 2019.
This is a raw recording right in to the recorder.
https://soundcloud.com/cleaninglady

Jam with Stevie Richards and me, May 2019

From the event "En Reise I Lyd" at Herr Nilsen, Oslo Sept 10th 2019.
Buchla 208p with a diy expander.
Photo: Nora Elise Stemland aka "Strangerous" who also participated at the event
Vid: https://youtu.be/vB4ebrGRFpU

En Reise I Lyd, A Sound Journey

Stevie Richards - Modular Synthesis , Electroacoustic , Adventures in Sub-Bass.

I build and play Serge and Buchla 4U format Modular Synthesizers as well as some Eurorack Modular and a collection of Classic Analog Monosynths and Polysynths. 

I built a DIY version of the Buchla Music Easel in late 2016 and have been performing on it for the past year or so. It's a very deep and complex instrument and enjoyed touring on it and doing Music Easel workshops in many countries across Europe in 2018. I'm planning more gigs and workshops for 2019 across Europe, Asia and the Americas.

On Serge Modular , performances are generally restricted a single voice panel.
This choice is a deliberate one , given a palette of very little to work with , i am forced to make split second changes and decisions that will effect the outcome. It makes me actually play the synth instead of just letting it drone.

I am also a saxophone player , my sound is conversational and could be seen as a loose appropriation of Free Jazz. 

Really it's up to the listener to decide this. If you like to hear my Sax stuff go here : 

https://soundcloud.com/stevierichards


Built so far... of 8 x Best of CGS/Serge Modular Synth panels , 4 x Buchla Clone panels , a DIY Buchla Music Easel (208r and 218r), over 100 DIY Euro Modules and countless other one off Sequencers , LFO's ,  Drum Machines etc

You can follow me on Instagram : noiseelectronique

You can buy tracks for as little as one dollar over at my bandcamp page :

http://cleaninglady.bandcamp.com/

Your support is greatly appreciated !!

i have been recording cleaninglady tunes for about 15 years , 
it mostly started out as synth and drum machine stuff.

Later i started exploring getting sounds from pedals and home made sound making gear.

About 8 years ago i started using Ableton Live for recording , sequencing and effects but to be honest i don't like sitting in front of the computer that much.

More recently i've been preoccupied with the Serge Analog Modular Synth Panels i have built. The bulk of my uploads now feature this unit with a small amount of Eurorack and or Buchla featured here and there.

I have been the house (and only ever) Sound Engineer for Make It Up Club for about 15 years. I DJ in between sets there every week too.

I tour whenever i can throughout Japan, Singapore, Europe and US on both Modular Synth and Sax.

Some cleaninglady sounds are noise , some ambient , some beat driven.
I dont like to get stuck in one style so if it's all a mish-mash to you , that's why.