Pitchfork Selects

Soul, jazz etc. mix recorded at Bird in Copenhagen, early fall 2022

Mother Interior Tape 4 - Efterår med fugtigt hår

@simple-symmetry

James Holden - Blackpool Late Eighties 
DJ Koze - Abudinga
Polygonia - Pterois Miles
UNRELEASED 
Chez De Milo - Et Al
John Selway - Unearthly
Sascha Funke & Niklas Wandt - Erntegold
Pianeti Sintetici - Coldurano
Bleaching Agent - Certainless 
God is God - Metamorphoses, Pt.1 (Bad Hammer Remix)
Mori Ra - Tsimmairuudiralla 
Winterburn's Right Foot (Relegation edit)

SIMPLE SYMMETRY MCT XXI

A little more than a decade ago, dub legend Lee “Scratch” Perry (1936–2021) walked into a Quasi Dub Development recording session in New York. His signature freestyle lyrics — dadaist and quirky as only the Upsetter could deliver — became part of their Little Twister album, released in 2014. Looking back on Pingipung's 22-year history, “Let’s Communicate” is certainly one of the highlights on the label, but it remained under the radar of many as part of the LP. Now, in 2025, this standout track receives this special 7’’ re-release, paired with a version by UK dub wizard Elijah Minnelli.

7" / DL

Quasi Dub Development feat. Lee Perry: Let's Communicate (Elijah Minnelli Version) (Pingipung 089)

Khadim

Lamp Fall

Rich Junkie

Tappin N Pacin

Fragments of daily walks. Sounds of the surroundings. 
Cuts, structures, stories and musical pieces that serve as a personal reappraisal of my perception. Summer days between nature and urban environments are understood as one.


Private Sphere

Like A Ribbon

Restoration

Braces (Prod Suzy Sheer)

tears on his rings and chains

Cartoon Network

Main Menu

A collection of Hip Hop instrumentals produced by MadBlvck

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)

'Steady Jam' from Shapes In Formation.  The Sad City debut album due out 29th July 2016 on Meda Fury / Emotional Response / R&S Records

Pre-Order here: randsrecords.lnk.to/sad-city

Sad City - Steady Jam

Era una torrida estate di tanti anni fa quando Mondocane varcava la soglia di Pescheria durante una session aperta di Tropicantesimo.
L'incontro era inevitabile, prima o poi sarebbe accaduto, Lola Kola già da tempo si era messa sulle tracce di Andrea Cota, i Veeblefetzer e la gitanìa verso l'est dei suoni era gia cominciata: dinoccolati, sudati verso il sole, tutto cumbia. Balla come vuoi. Bella come sei, bella ma ci fai?

Solo recentemente su un nastro impolverato abbiamo ritrovato la jam session registrata accidentalmente e ci siamo ricordati di quanto eravamo felici caldi bollenti, i cassonetti germogliavano rose, le scarpe per strada battevano piu di noi, sicuramente a tempo. La musica si è messa in cammino da sola, come al solito è lei e solo lei che vincerà. Grazie ai Clash, alla cumbia colombiana, alla Moldavia, al susafono che suona nelle casse anche quando non lo senti.
La voce incisa è quella di Lola Kola, le canzoni di tutti. Il ballo di nessuno. Quello di San Vito la nostra unica speranza per il futuro:
it.wikipedia.org/wiki/Piaga_del_ballo_del_1518

Grazie a: Veeeblefetzer, Simón Díaz, Rachel, The Clash, Kelis.
Tutte le tracce sono state registrate in Pescheria, giugno 2018.
Mixing & Mastering: Mondocane.
Grafica: Tropicantesimo.

Pescheria è un laboratorio che rende possibili esperienze di ricerca, incroci, generazione del suono. La ricchezza di questo laboratorio è l'essere un'infrazione volontaria che attiva connessioni tra persone nel flusso della musica.

Pescheria si sostiene attraverso la condivisione di musica. Acquistando le pubblicazioni di Pescheria ne supporti l'esistenza.
Per contribuire direttamente attraverso PayPal:
pescheria59@gmail.com

Tropicantesimo Cane

Buy on Bandcamp

La Pollera Amarilla (w/ Tropicantesimo)

I was blown away by Steve McQueen's recent Small Axe series of films on BBC1. One of them, Lovers Rock, featured a life affirming scene using Janet Kay's "Silly Games", to incredible effect. "Silly Games" is an all time favourite of mine (see below if interested) and one night recently I couldn't sleep so decided to take the A Cappella singing from the film and weld it to Dennis Bovell's dub mix of "Silly Games". Easier said than done, it took hours and hours and did not help me sleep as it was lunch time when I finished. I only ever did it for my own amusement but played it on my NTS Radio show and have been inundated with requests for it, so here it is. If you don't know the original, which got to no. 2 in the UK Top 40 in 1979, and is now a bona fide evergreen classic, I thoroughly recommend checking it out.


"Silly Games" by Janet Kay is one of my all time favourite songs; a definite desert island disc. In the summer of 1979 it was ubiquitous and seemed to be on the radio all the time. I was just falling deeply in love with pop music and this song in particular stood out, both for myself and my sister, and indeed to this day, whenever I hear Silly Games I think of her and that glorious summer spent listening to the radio all day, every day.

In 1979, I didn’t know "Silly Games" was Reggae, let alone Lovers Rock, but it was the catalyst for me falling in love with Jamaican music in all its myriad forms which is a passion that has only grown as the years have passed.

Incidentally, 1979 was such a formative year for me and music that looking at the top 100 most popular hits in the UK singles music charts in 1979 I note that nearly a third of them have featured in my DJ sets over the years - http://www.uk-charts.top-source.info/top-100-1979.shtml

"Silly Games" was written and produced by Dennis Bovell, a genuine UK music legend who I am deeply honoured to have had appear on Optimo Music on two occasions. He features in the Lovers Rock episode of Small Axe and indeed you can hear his deep, booming bass heavy voice on this version. As stated, this version was done purely for my own amusement and I don't want to take anything away from the wonderful Janet Kay whose voice is such a wondrous and integral part of what makes "Silly Games" such a great, timeless song.

Lamp Fall

Mark Ernestus’ Ndagga Rhythm Force

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