Cracks

Cruising

Just in time for the midsummer festivities, a still-warm sacrificial offering from multi-instrumentalist Bristol stalwart O. G. Jigg (AKA Will Memotone).

His latest drop is a taut quest with plenty of twists - channelling icy dungeon synth, children's television (think Willo the wisp and other semi-terrifying yet nostalgic psychedelia), neolithic jazz and folk horror.

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Every year, before the corn leaps - the villagers gather on the distant plains of Avon for their midsummer.

On this day, they sing of a lone bard with the talent of many - who travelled from temple to tavern to dungeon telling of icy wastelands further afield, undead-infested tombs, child-eating river hags and of times when Sarum stood tall.

As they Serpent dance around the bonfire, they sing his fabled song:

''Where are all his arms?
And, all of his hands?
And, how does he conjure such magical lands?
O. G. Jigg! O. G. Jigg! O. G. Jigg!''

This is his tale...


STILL LTD NUMBER OF TAPES LEFT AT REWIND FORWARD!
www.rwdfwd.com
credits
released June 14, 2022

Composed by O. G. Jigg
Mastered by Austin Shepherd
Artwork by Hamish Trevis

BANDCAMP

O. G. Jigg - 05. Jesus Is My Jam [Released on PLAQUE June 2022]

Loops of your heart - Cries (2012)

Slowly Forgetting, Barely Remembering

Candles / Candles (Version)

Candles

My Noise Is Nothing

For a Burning World

Planted a Thought - Arthur Russell (TESSUB Edit)

I don't often make edits because I don't often DJ, but I made this dub edit of Absent Music's late 80s gem Monkey House for my own listening enjoyment. Sound clash beat doubling and 'verb. Download enabled. Mastered by Glyn Maier for PLEN Audio.

Absent Music - Monkey House (Chaperone Edit)

A Danger to Ourselves

divina

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)

Stereolab_Nurse_With_Wound_Simple_headphone_mind.mp3

A.K.A: O.G. Jigg

For Bookings (Full Live Set or DJ) email: will@memotone.co.uk
Releases with:
THE TRILOGY TAPES
Patience/Impatience
Sahko Recordings
Accidental Meetings
Termina
@Diskotopia
@BastakiyaTapes
Black Acre


WEBSITE: www.memotone.co.uk