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PROTECTION CHARM (SLOWED)

ARB002 Mogano - Sycomore Ep (incl. Kerridge Remix)- 12" Teaser

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)

SUGAI KEN is an electronic musician based in Kanagawa, Japan.
He combines synthesis with recordings of his daily surroundings to conjure the subtle and profound ambience of the Japanese nightscape.

 鯰上 - On The Quakefish is an immersive exploration displaying a rugged invention, compressed into short bursts of electrifying genius.

LFI001 will be released on vinyl as a limited edition on January 27th 2016

Album credits-
All tracks written and produced by SUGAI KEN
SUGAI KEN is performed by Ken Sugai
Mastered by Neel at EnnisLab Studio in Rome 
Translation assisted by Mariko Arimura
Cover artwork by Fred Fowler, design by Steele Bonus 



SUGAI KEN - 鯰上 -On The Quakefish -LFI001 (preview)

BEATRICE DILLON - Drum programming, electronics, synthesizer, bass guitar, field recordings

RUPERT CLERVAUX - Vibraphone, drums, percussion, field recordings, additional drum programming

and EBEN BULL - Pocket trumpet and zither

The Same River Twice - Beatrice Dillon & Rupert Clervaux

From the very first Empty Editions release, Eli Keszler's Last Signs of Speed. Releasing November 17nth!

Eli Keszler - Last Signs of Speed
Format: 2xLP / DIGITAL
Cat.No: EE001
Cut & Mastered by Rashad Becker
Release Date: 17 November 2016

Purchase:
Vinyl: http://bit.ly/2kvaxBM
Bandcamp: http://bit.ly/2jTI75w

Empty Editions is proud to present Eli Keszler’s Last Signs of Speed as our inaugural release. This release, our first vinyl record, has represented a labor of love for both Eli and ourselves.
 
Last Signs is Eli’s first solo release since 2012’s Catching Net (PAN Records) and explores a very different side of his unique acoustic universe. One in which the macrocosmic percussive collisions of his earlier work give way to a gradual unfolding of dub-influenced rhythmic constellations. Eli has described Last Signs as his response to playing in club environments over the last few years; an attempt to negotiate a delicate balance between the materiality of his acoustic instrument and the hyper-mediated sonic ecosystem of the club sound system. Coming off like an inspired synthesis between Scientist and Xenakis, Last Signs of Speed is a truly unique work by an artist at the height of his powers.

Last Signs Of Speed

The Immense Endless Belt of Faces

Equiknoxx are one of the hottest, most innovative dancehall squads from Jamaica right now; Bird Sound Power is their debut collective show of strength, packing 12 avant, crooked riddims by core members Gavsborg and Time Cow, plus Bobby Blackbird and Kofi Knoxx, with vocals by Kemikal, Shanique Marie and J.O.E. (R.I.P).
The set was parsed and pieced together by Jon K & Demdike Stare , and now thanks to link ups via Swing Ting’s Balraj Samrai (a longtime livicated supporter), it is issued on Demdike’s DDS imprint, replete with Jon K’s sleeve design.
Easily identified by the squawking bird idents peppering their cuts, Equiknoxx productions have been big in the dance since Gavin Blair a.k.a. Gavsborg produced Busy Signal’s billboard hit Step Out in 2005, followed by key instrumentals for Beenie Man, Aidonia, Masicka, and T.O.K. - with many released on 7” thru their Equiknoxx Musiq label, and some of which, such as Aidonia’s Negative, are included in this set.
Bird Sound Power arguably marks up the most striking riddim album you’ll hear from JA in 2016, weighted with the potential to open up perceptions of current dancehall thanks to the mad character and broad reference points of its producers, encompassing King Jammy’s foundational digi-dub and Dave Kelly’s Mad House sound as much as rugged New York hip hop and the wigged-out, feminine pressure of Virginia Beach’s Timbaland or The Neptunes.
The oldest tune inside dates to 2009, but the rest are relatively recent dancehall mutations, including a number of exclusives produced in the last 12 months. Each one reps for Equiknoxx’s unique aspects, such as Jordan Chung a.k.a. Time Cow’s brilliantly bizarre, layered arrangements of film samples, sawn-off hooks and digi-tight beats, whilst also a result of as their distinguished family vibe,
Bird Sound Power exists in a paradox, contemporary but classic, and with as much potential to turn new heads onto current JA sounds as Mowax’s Now Thing set back in 2001, which remains a key touchstone for all fwd looking producers..

Bird Sound Power

Clunk

B1  Speculation

Tetsumasa – Obake Ep (incl. Ryo Murakami Remix) 

Side A: 

01. Steeroll 
02. Mabolo 
03. Kaidan

Side B:
 
04. Balot 
05. Ishiki feat. Mogano
06. Steeroll (Ryo Murakami Remix) 

Release Date: 27/06/2017
Format: Cassette and Digital
 
Pre-order: http://bit.ly/2sgu40h

Obake

Pre-Order

Tetsumasa - Ishiki feat. Mogano  - ARBT001

MIKA VAINIO + RYOJI IKEDA + ALVA NOTO - LIVE 2002 [N-043]

In September 2002 Mika Vainio, Ryoji Ikeda and Alva Noto (Carsten Nicolai) were invited by the Baltic Centre For Contemporary Art for a residency. As a result of this project three live performances followed this research period.

All the tracks on this record were recorded live on September 23, 2002 at the Baltic Centre For Contemporary Art in Newcastle, UK.

All sounds by Mika Vainio, Ryoji Ikeda, Carsten Nicolai.

LIVE 20O2

MOVEMENT 4

MIKA VAINIO + RYOJI IKEDA + ALVA NOTO - MOVEMENT 4

One track preview from vinyl reissue of Monopoly Child Star Searchers' Make Mine, Macaw.

More info go to: www.discrepant.net

MONOPOLY CHILD STAR SEARCHES

Monopoly Child Star Searchers - Tangerine Taxi (From Make Mine, Macaw LP)

B1 on 'Envelope' , Ekster 2018

order: https://eksterlabel.bandcamp.com/album/envelope

Heraldic Snippets

Open the fields of your mind and dive deep into the sound universe of Aquiver. Rich with colorful emotions, this album will take you on a journey far away.

Out now on Bandcamp!
agardenofsound.bandcamp.com/album/serie-radioattive 

released July 26, 2018

Produced by Daniele Simonetti @aqui_ver

Mastered by Saso Puckovski at Earworm Studio

Artwork by Voislav Dimitrijevic

Serie Radioattive

Support & Buy

Aquiver - Stiamo perdendo tempo [AGOS002]

Taken from the upcoming album Both Lines Will Be Blue, out July 12th on Smalltown Supersound. Produced by Carmen Villain. Flute performed by Johanna Scheie Orellana. Mastered by Matt Colton.

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