Name: William Burroughs - excerpt from Call Me Burroughs by Superior Viaduct
Duration: 2 min 2 s
Description: From album "Call Me Burroughs." Originally released in 1965. Reissued on Superior Viaduct, 2016. www.superiorviaduct.com

RECORD STORE DAY JUNE 12TH 2021 EXCLUSIVE

Suzanne Ciani
Xenon
FKSP020

Greg Kmiec’s Xenon pinball machine was released in 1980 and marked a significant milestone in pinball technology and design. The expansion of microchip technology would provide new opportunities for sound designer and synth pioneer Suzanne Ciani, allowing for basic oscillator control and a wider scope for sampling capacity which could facilitate the higher frequencies of a female human voice and entirely reshape the concept of the machine in the process. By using state of the art Synclavier synthesiser technology and an invaluable experience in film scoring and record production Suzanne would devise a complete minimal music score for the machine, then dissect the piece into separate fragments that would be triggered throughout the game play adding an extra creative dimension in player inter-activity (potentially turning the participant into their own musical arranger). By incorporating her own infamous voice box (which had been the focus of a seminal David Letterman Show feature) Suzanne’s combination of a harmoniser and a vocoder also provided the first-ever female identity to a pinball machine which in conjunction with the games ergonomic design and Paul Faris’ figurative graphics (echoing the aesthetic of Rene Laloux and Roland Topor’s La Planète Sauvage) Xenon was able to add a degree of subconscious sensuality to its performance, a feature previously unchartered in arcade development.

This disc presents the full extent of Suzanne Ciani’s groundbreaking musical effects for Xenon, in their isolated form, for the first time ever heard outside of the confines of the machine which recently earned the composer her own induction to the Pinball Expo Hall Of Fame.

LIMITED EDITION 1000 COPIES ON BLUE VINYL

Xenon

Xenon (Long Effects)

Suzanne Ciani - Xenon (Long Effects)

'Here Comes Trouble' is out digitally on Speedy Wunderground on 26th August & on 12th November on limited 7" (250 copies)

Listen / download / pre-order here - https://ffm.to/sw037_joyeria
https://www.speedywunderground.com/

SW037 // Joyeria - Here Comes Trouble

Laying out work that has been widely garnered from a long soft chain of a long-awaited path with a different spatial dimension than before.The repetition expanded and went slightly further as the waves slowly covered in forms of collaborating. Dulcet voices threaten to disintegrate the pieces into upheaval and transmitt into the dynamic participation of mellifluous strims.

Anasisana - I Enshrine You (ft. FH HF)

Portland's Hot Gum has released a new tape, dubbed "Shapes" (2022), including new songs, and new recordings of tracks from their 2020 demo tape.

Lackadaisical sax-laced dubby garage post-punk, half-sung with bright guitar passages. Reminds me of when the sky clears as I'm heading to my practice space.

Stream album

Hot Gum - "Perfect Song" (2022)

From album "Call Me Burroughs." Originally released in 1965. Reissued on Superior Viaduct, 2016. www.superiorviaduct.com

Buy Vinyl

William Burroughs - excerpt from Call Me Burroughs

Taken from album 'The Labyrinth Of The Straight Line' released as CD and Download

The Labyrinth Of The Straight Line

Cindytalk 'In Search Of New Realities' (EMEGO 219)

Terry Riley - démo

Included in The Wire Tapper 44, the CD compilation included with the August 2017 edition of The Wire.

Badalisc (from The Wire Tapper 44)

Bachelor Machines

A Warmer Welcome// a digital benefit in support of syrian refugee welfare // 110 Tracks // DL - 2016
https://www.discogs.com/Various-A-Warmer-Welcome/release/8140284

:Zoviet*France: - The White Sea

From Oiro Pena 10'' (Ultra-023, 2019) limited edition of 200, silkscreened sleeves. Released on 7th of June, 2019. 
Buy vinyl ---> ultraaanirecords@gmail.com
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On Working Alone

The first person to create something one may classify as instrumental music was probably alone. The mind tingles when imagining the prehistoric moment when, for the very first time, a member of what then was the human race grabbed something and used it to make a purposeless series of sounds. Even if some of his fellow beings had been present at the time, would they have understood anything of it? Would they have taken interest in it and stopped to listen, or would they have demanded something easier to dance to?

The leap from vocalizing or clapping to a form of expression produced with instruments may have taken a long time, perhaps even a thousand years. The same goes for the fabrication of such instruments. Human communities were small, and influences spread slowly. We do know, however, that the first discovered instruments date back to 43,000 years ago and took the form of flutes made from the bones of mammoths and birds. Researchers believe they played a role in religion and in entertainment – in this sense, very little has changed. The wildest theories claim that music was one of the factors that gave us, the Homo sapiens, a competitive edge over the Neanderthal: music helped foster deeper cooperation between individuals. 

In any case, however, the ones who decided to hollow out that bone and find out what kind of sound you could get out of it were individuals, and this brings us back to our theme of working alone. The modern solo musician enjoys a much greater sense of liberty than our distant forefathers. Multi-track and recording technology freed us from our physical constraints and allowed us to imagine ourselves as a multiplicity. Everyone could, in the comfort of his home, be his own one-man band without having to strap an array of instruments onto his body like carnival musicians or Rahsaan Roland Kirk used to.

This is the frame from which A. E. Vauhkonen and Oiro Pena spring from. Vauhkonen´s hands simultaneously summon up brass, flutes, keyboards, drums, stringed instruments and all sorts of percussion. The sound is firm and slightly cosmic, like early Sun Ra Arkestra at its heartiest. But that’s enough about the music, listen for yourself. 

-Markus Karlqvist

William Burroughs - excerpt from Call Me Burroughs

Superior Viaduct

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