From the new album by Chinese-Australian guzheng artist Mindy Meng Wang (and collaborators), 'Phoenix Rising'. Available for purchase here: https://mindymengwang.bandcamp.com/album/phoenix-rising

Mindy Meng Wang & Fia Fiell - Undercurrent 暗涌

Calls of Munjtac deer :
山羌 Muntiacus reevesi (Ogilby, 1839)

Also a chorus of endemic treefrogs of Taiwan :
莫氏樹蛙 Rhacophorus moltrechti Boulenger, 1908.
台北樹蛙 Rhacophorus taipeianus Liang & Wang, 1978.

Recorded near Jiaping Camp, Yilan County, Taiwan.
14.04.2024 04:50
Sony PCM-D100 + Primo EM272

240414 Muntjac deer with tree frogs chorus, Jiaping, Yilan, Taiwan

Taken from the album "Stanze"

Pre orders start 31.5.2024 / Release date: 7.6.2024

shimmeringmoodsrecords.bandcamp.com/music

Cartridge grain is a project created by Emanuele Specchia and Roberto Ficosecco. 

The project is rooted in original sound experimentations, created with the turntable, through the use of recycled materials, generating essential rhythms rich in noise and from the use of concrete samples, processed through granular synthesis algorithms, to generate sound spaces and environmental textures. 

Our music is a timeless dialogue made of sounds and silences, moments of stasis and processes of accumulation, capable of giving life to particularly organic soundscapes with a strong emotional component. 

Roberto Ficosecco – Turntables for recycled materials and synthesizers. 
Emanuele Specchia – Processing and granular synthesis, field recordings, vibrafono and synthesizers. 
Guitar on Risveglio, Onde and Metamorfosi by Giacomo Specchia. _________________________________

Music by Cartridge Grain 
Recorded in Perugia and Ancona, early 2024 Mixed and mastered by Emanuele Specchia Photography by Emanuele Specchia 

Shimmering Moods Records 2024 
SHM 304

Cartridge Grain - Patina

Taken from the album "Autumn is a new spring"

Pre orders start 31.5.2024 / Release date: 7.6.2024

shimmeringmoodsrecords.bandcamp.com/music

Recorded, edited, mixed and mastered @Argo Laboratorium by Gm Aprile @Argolab, 2023/2024 
Photographs by Gm Aprile 

Gianmaria Aprile: guitars, effects, guqin, xylophone, field recordings 
Luca Mauri: guitar on tr.1 
Luca Tilli: cello on tr.1 

- always, in autumn, a new spring is hidden - 
gianmariaaprile.bandcamp.com 
garbuglisonori.wordpress.com 

BIO 
I like to smell the woods, listen to music and play it, but I never seem to do it enough. 
I started in the early years of the new millennium to release records by approaching the world of post-rock (Ultraviolet Makes Me Sick), then I continued my musical journey approaching more experimental sounds (Luminance Ratio) and entering the world of improvisation and jazz (Pipeline 3, 5, 8). 
garbuglisonori.wordpress.com/discografia/ 


SHM 305 
Shimmering Moods Records 2024

Gianmaria Aprile - U•N•I

From DUP SYS' new album "Pure Materials", available now on tape and digital from Muzan Editions:
https://muzaneditions.bandcamp.com/album/pure-materials

DUP SYS - Ryudotai (Fluid)

Finders Keepers invite you to witness these incredible early 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.

Buchla Concerts 1975

Suzanne Ciani - Buchla Concerts 1975 (Excerpt)

Private press sound poet brings drum my tantrums raps, yoga punk and high octane inventions to late 70s New York. Finally captured on Vinyl for this unique sound collection by Beth Anderson.

Carving an unlikely and elaborate niche in the stoney academic landscape which she once shared with the likes of Phill Niblock, John Cage and Sorel Hayes, the excitable proto-punk poèmes sonores of the linguistic loose cannon known as Beth Anderson first rolled through New York in the mid-1970s (from Kentucky via San Francisco) like a jumbled tumbleweed of lost Letterism, face paint and threadbare drummy funk to astonish gallery floors, lecture theatres and loft apartment stages. One thousand leagues under the radar of the commercial music industry, with a sense of humour that elevated way above her highbrow peer group, the music of Beth Anderson has successfully evaded the pressing plant for most of her creative career, and not unlike fellow New York gallery actionist Suzanne Ciani, it has taken decades to successfully collect and contextualise these early recordings – expanding her elusive discography beyond the rare and mysterious solo single entry in the process.

When uttered amongst the type of vinyl vampires that haplessly gravitate between both art school vintage vanity pressings and family funded plunder funk, there’s an outside chance that the name Beth Anderson might muster some vague recognition on account of her one and only solo wax sojourn into the expansive DIY market. In 1980 the 45rpm single I Can’t Stand It combusted into the consciousness of adventurous participants with its deep rhythmic backbeat (courtesy of future Sonic Youth/Dinosaur Jr producer Wharton Tiers, member of the new wave band Theoretical Girls), climaxing with two colourful and commanding linguistic tantrums before disappearing in a puff of smoke leaving would-be fans dumbstruck without so much as a label name or distribution contact to explain what they had just heard. For those who have spent the subsequent years on the edge of that same seat, it might come as some comfort knowing that somewhere out there (on the OTHER side) there is also a contrasting world of gallery patrons and experimental sound poetry enthusiasts that similarly didn’t know that their regular performance poet Beth Anderson even made the ambitious pop record. For the uninitiated, the enigmatic Beth Anderson has straddled both sides of the art/ rock fence placed between two equally niche pastures. Hopefully this first-ever vinyl compendium will succeed in joining the dots, loops, yelps, squeaks, beats and repeats! Let us follow Beth’s lineage, along her magnetic tape highways crossing multiple boundaries in a hope to bridge unlikely anti-genres like “yoga punk”, “ramble rap”, “combustion pop” and “form room funk”… all of which were officially neatly bracketed under the curious Text-Sound movement where Beth garnered utmost respect as a key practitioner…

I Can't Stand It

Beth Anderson - I Can't Stand It

What can I say about Carsten Nicolai that I have not said before? It feels that only just the other day, I revisited his catalogue and sang high praises for his album HYbr:ID II, which I then highlighted in my Best of 2023 list, Music For Synergizing The Synapse Of Ideas. You should check out that write-up, where I quickly go over his monumental contribution to electronic music (it's up on my site). And here we are again, with an anticipated follow-up, the third entry in Alva Noto‘s series initiated in 2021. For this instalment, Nicolai explores the Noh.  “Drawing inspiration from Noh, a traditional Japanese musical drama dating back to the 14th century, the album reflects the genre’s distinctive rhythmic movements and its nuanced expression of emotions through subtle gestures.” Just as with the previous two volumes, the compositions on the album capture the music commissioned to a ballet score by an American choreographer, Richard Siegal – the first two came from Ectopia, and this third one is for the Ballet of (Dis)Obedience (check out a teaser here). And, just like the first two releases, it comes with a fantastic graphical score for each piece. I’m trying to follow this visualisation along with its sonic incarnation, and it’s like deciphering an alien script. This wonderful mystery adds a touch of fascination to the piece. And yet, the music is enthralling on its own…

HYbr:ID III

HYbr:ID Noh Talk

NOTON Shop

TRACK PREMIERE : Alva Noto - HYbr:ID Noh Talk

Tracklist

01. Federico Durand - Había Una Vez
02. Ian Hawgood & David Cordero - Where the mind is no shelter
03. Ishmael Cormack -  Weaver
04. Observatories - Sapphire Waters
05. Pool of Light & Slow Clinic - Caverns
06. Russell Burden & Craig Tattersall - Settlings
07. Ryuichi Sakamoto & Taylor Deupree - Curl To Me
08. Solo Andata - Diffused_1

380. Sleepy Sunday Podcast (Elm Records)

I was in Birmingham International train station, boiling hot after being used to Glasgow's wet sunless summers. I filled up a waterbottle and the electronic advert next to the dispenser was emitting this electronic drone. The music you hear is taken from that 20 second recording. 

It was a boring, uncanny moment, where I was vacantly processing our worsening climate emergency and how amazing it is that things can just keep going on.  

The title comes from Judge Hehir's sentencing of the Whole Truth Five in July 2024 stating that “whether or not we are facing the end of the world is neither here nor there" and that humanity “coming to a fiery end” is irrelevant". A shocking denial of reality and punitive measure in face of very real global catastrophe. And a deeply resonant instance of society's inability to see what's coming.

'facing the end of the world is neither here nor there'

Tribute to @nicolas-jaar @otherpeoplerecords

Tracklist:

1.	The Fool And His Harem ‘Pomegranates’ (Other People, 2015)
2.	Revolver ‘Nymphs III’ (Other People, 2015)
3.	Specters Of The Future ‘Space Is Only Noise’ (Circus Company, 2011) 
4.	Love You Gotta Lose Again (Clown & Sunset, 2010)
5.	This Old House Is All I Have ‘A.A.L. - 2012-2017’ (Other People, 2018)
6.	Golden Arrow ‘Darkside - Psychic’ (Matador, 2013)
7.	Why Didn’t You Save Me ‘Nymphs I’ (R&S Records, 2011)
8.	Killing Time ‘Sirens’ (Other People, 2016)
9.	Problems With The Sun ‘Space Is Only  Noise’ (Circus Company, 2011)
10.	Don’t Tell Me w/ Sasha Spielberg ‘Just Friends’ (Other People, 2014)
11.	City Fade ‘A.A.L. - 2012-2017’ (Other People, 2018)
12.	Heart ‘Darkside - Psychic’ (Matador, 2013)
13.	Leaves ‘Sirens’ (Other People, 2016)
14.	No One Is Looking At U ‘Nymphs II’ (Other People, 2014)
15.	Club Kapital ‘Pomegranates’ (Other People, 2015)
16.	I Know What U Did ‘Nymphs V’ (R&S Records, 2016)

Nicolas Jaar Music Vinyl Set (Oscar LP)

Nicolas Jaar's Music Vinyl Set

Behold Finders Keepers, a British record label, 40 years in the making, introducing fans of psychedelic, jazz, folk, funk, avant-garde and whacked-out movie musak to a lost world of undiscovered vinyl artifacts from the annals of alternative pop history.

Catering to record collectors and DJ-producers alike with a huge emphasis on sample friendly soundscapes, rocksteady back-beats and primitive electronic experimentalism. Discerning purveyors of the bizarre and abnormal should expect the Japanese choreography records, space-age Turkish protest songs, Czechoslovakian vampire soundtracks, Welsh rare-beats, bubblegum folk, drugsploitation operatics, banned British crime thrillers and celebrity Gallic Martini adverts... presented on CD, 7" and traditional black plastic discs in authentic packaging.

Following in the very same footsteps as the mind boggling "Music To Watch	Girls Cry" and "Songs In The Key Of Death" mix CDs for Fat City Records and the original 5-star rated Finders Keepers compilation LP in 2001, Manc-based vinyl-vulture, recording artist and record producer Andy Votel enlists the skills of fellow B-Music DJ and Rare Disc Detective Doug Shipton to form a team of psychedelic librarians and cosmic-pop-quiz-elitists to run their new Twisted Nerve distant sister-label, leaving no progressive pebble unturned or record collection un-rifled.

Future compilations and re-issues will feature collaborative curators such as David Holmes, Cherrystones and Bob Stanley and further contributions from mystery A- / B+ pop-celebrity fanatics of outsider music and ultra-rare bakelite discs. Finders Keepers is an 'accidental world music label' with a punk aesthetic and DJ friendly ethos which allows the desperate listener to sit back while we deliver schizoid cultural channel-hopping compilations and rocking-horse-shit & hen's-teeth re-releases to the comfort of your psych-starved living room...

Beth Anderson - I Can't Stand It

Finders Keepers Records

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