"Deep Time" from the upcoming Steve Moore album "Pangaea Ultima" due out December 16th.

"Deep Time" by Steve Moore

Craig Leon - Nommo

Purchase from RVNG: http://smarturl.it/cleon-aifmv1-rvng
Purchase from Bandcamp: http://smarturl.it/cleon-aifmv1-bcamp
Purchase from iTunes: http://smarturl.it/cleon-aifmv1-itunes

Taken from Anthology of Interplanetary Folk Music Vol. 1: Nommos / Visiting.


Buy 

Craig Leon - Nommo

In demand drummer for Melt Yourself Down and the Owiny Sigoma Band, Tom Skinner, steps out of the spotlight from his recent worldwide successes to rework Kit Grill's track "Velodrome" with an all live set up. Contrasting from the original's very digital tone, Skinny has brought in the help of his previous collaborator, Shabaka Hutchings. Aware that Kit wasn't too keen on having remixes done, Hello Skinny thought it would be more interesting to do a cover version. The idea was to replay some of the core melodic and rhythmic material but rearranged loosely for a more acoustic set up. Hello Skinny started off as a duo between Tom Skinner and clarinetist Shabaka Hutchings so it made sense to go back to this original format for the basis of this cover version.
The whole piece is built around a one-take performance of the main theme from Shabaka on clarinet. A feat of human physical endurance, he manages to maintain the repetition of the part whilst changing the timbre and texture through circular breathing and other extended techniques. We then overdubbed the counter melody and a bass clarinet part. Having the overall shape of the piece, Hello Skinny was able to play a live drum take along to it.
With a bit of extra percussion, liberal use of delay and some distortion the track was taken to close friend and collaborator Chris Morphitis to mix. The whole piece was bounced to 8-track tape and mixed to 2-track tape utilizing his beautiful Studer desk and gorgeous plate reverb. Job done.

Kit Grill - Velodrome (Hello Skinny cover)

Mean Minimal Reenabled

Artist: BITCHIN BAJAS
Album: Transporteur

Cat #: HITD 024
LP – 600 copies on black vinyl
CS – 100 copies
Release date: 4th May 2015

Cooper Crain, Daniel Quinlivan et Rob Frye : orgue électrique, synthétiseurs analogique, synthétiseur modulaire, basse électrique, flûte, clarinette basse et percussions

Artwork by Nick Ciontea
Mastering by Rashad Becker

Label, orders: www.handsinthedarkrecords.com

BITCHIN BAJAS - Marimba

Outside

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)

Elements Chord Mode

Hippies Wearing Muzzles - Kakapo Strigops
From the album Animist Pools

Watch the video here: https://youtu.be/EU9wt12bzKw
Bandcamp Pre-Order: http://smarturl.it/hp07-bc

©2016 Human Pitch / www.humanpitch.fm

Hippies Wearing Muzzles - Kakapo Strigops

Taken from the Maximum Joy compilation "I Can't Stand It Here On Quiet Nights: Singles 1981-82", forthcoming on Silent Street Records. 

Pre-order 2x12" here:
https://silentstreet.bandcamp.com/album/i-cant-stand-it-here-on-quiet-nights-singles-1981-82

Lyrics: Wrafter; Music: Maximum Joy
Produced by Dick O'Dell, John Walker, Pete Mayburn
Originally released on Y Records (12Y 11, 1981).

I Can't Stand It Here On Quiet Nights (SSR001 - Mastered WAVs)

Maximum Joy - Silent Street / Silent Dub

from the "Jokes About Rain" CS (NNF337)
Not Not Fun / 2017

INSIDE JOKE:
https://swanox.bandcamp.com/album/jokes-about-rain
https://midheaven.com/item/jokes-about-rain-by-swanox

Swanox "Tess"

~ your resonant frequency ~
@TheLotRadio ~ biweekly, saturdays 2-4pm est

Human Pitch is dedicated to new frontiers in electronic and unclassifiable music. From environmental and modular compositions to unconventional dancefloor excursions, our records reflect an adventurous spirit and curiosity shared by their creators around the world.

Contact:
Brandon Sánchez (@simisea) // brandon [at] humanpitch [dot] fm
Tristan Arp (@tristanarp) // hello [at] tristanarp [dot] com

Hippies Wearing Muzzles - Kakapo Strigops

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