I'am enjoing this sense of place this is kind!

Fantastic! Can't wait to hear the whole thing!

Rushes Recede, from Antiphonals. Out 10th September on limited edition vinyl & CD Pre-order now → https://latemusic.ffm.to/antiphonals

Rushes Recede

from Ombrophilia, released in 2009 on either/OAR and re-issued on vinyl by Aposiopèse. Also available in digital format at bandcamp http://tomokosauvage.bandcamp.com/

Making of a Rainbow

The white moth

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 album 'TRACED', Pattern 04, Sonic Pieces, 2017

Traced

Post Human

Experimental cinema sonics, electroacoustic research practice and shadowy wind instruments come together to form this unique interpretation of the mythical city of gold. Utilising rare, half forgotten Soviet era synthesisers Vladimir Karpov creates immersive soundscapes under the name XYR. The Formanta mini keytar and the Alisa 1377 lend Karpov’s music strange, seldom heard atmospheres which the St. Petersburg native then combines with field recordings, toy percussion and wood flute to further build upon his utopian narratives.

Part concept album, part nod to Popol Vuh, his attempt to channel the thematics of the ancient tale of the Muisca people through his modest home studio left a lasting impression on us here at 12th Isle and we’re proud to present a selection of the tracks on vinyl for the very first time. Originally confined to just 25 cassette tapes, for this edition we have assembled some of the most inspiring tracks from the sessions as well as the bonus closing piece ‘Aguirre Song’. Immediately engaging, sincerely heartfelt and strikingly original, these are recordings we have returned to time and time again.

Limited edition LP comes housed in screenprinted sleeve. ‘El Dorado’ recorded April – August 2014, originally released via Illuminated Paths (March 2015).

https://12thisle.bandcamp.com/album/x-y-r-el-dorado

ISLE003

XYR - El Dorado LP (ISLE003)

Physical: geographic-north.com/cassette/coyotes/
Digital: geographicnorth.bandcamp.com/album/coyotes
Catalog #: GN49
Cassette, limited to 100

Félicia Atkinson is a composer, sculptor, painter, poet, and publisher from Rennes, France. Atkinson has led a fruitfully fantastic run of eerily blissful, serenely euphoric sounds. Whether under her own name or via her defunct recording pseudonym Je Suis Le Petit Chevalier, Atkinson has released work on Umor Rex, Digitalis Limited, Aguirre, and Shelter Press, an imprint co-run with Bartolomé Sanson.

‘Coyotes’ is an EP inspired by Atkinson’s last voyage to New Mexico in February 2017, when she visited and took in the geographic landscapes from Taos to Ghost Ranch. The same vistas also inspired much of Agnes Martin’s and Georgia O’Keefe’s painting, as well as Jerome Rothenberg’s poetry and translation’s works.

Atkinson describes a ‘Coyotes’ as a “Carnet de Voyage,” a tape you could directly play in your car while traveling somewhere, a kind of imaginary map to a sentimental journey. A spontaneous gesture, close to the notion of gift or offering. Or, simply, a postcard to a friend.” But it’s also a praise to the conservation of national and state parks and its human and non-human souls, menaced as we know now by drilling and violent economic speculations.

Here, coyotes act as a kind of metaphor of ambiguity and doubt, a state of mind that Atkinson find interesting to transcribe musically; the ambiguity furthered by Atkinson as a literal “foreigner” in New Mexico. She conveys a sense of visiting these native sacred lands and wondering what you are doing there.

Musically, ‘Coyotes’ is composed of two long tracks, “Abiqiu” and “Lighter Than Aluminium.” Each track features an effervescent froth of piano, midi sounds evokes marimbas, Fender Rhodes, bells, sub-basses, and spoken word poetry written by the musician to display a melancholic landscape made of transparent but deep layers of pale colors and blurry lines.

Félicia Atkinson - "Lighter Than Aluminium"

Moon Wheel — རྡོ་རྗེ་རྣལ་འབྱོར་མ་

Track 2 from Lea Bertucci 'Resonant Field' [NNA120].
Available July 19th on Vinyl, CD, & Digital formats.
http://nnatapes.com

Resonant Field

Lea Bertucci "Warp And Weft"

Cassette & Record label. Established 2008

Lea Bertucci "Warp And Weft"

NNA Tapes

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