Name: Spring is the assault of things by jsirko
Duration: 1 h 3 min 48 s
Description: Credit Rafa Galiñanes for the title and for his poetry. Happy Easter weekend.

[LLM002] 

A1 ... Annanan - Willis | official video: youtu.be/2s-cUrKddTw
A2 .. Annanan - Anne | official video: youtu.be/sR5yJyJ9yj0
B1 ... Space Afrika - Untitled
B2 .. Space Afrika - Untitled

Mastered by Helmut Erler at Dubplates & Mastering. Artwork by Alex Ketzer. Video by Fabian Maahs. Distributed by Noorden.

© 2015 LL.M. | noorden.org/llm

[LLM002] Annanan / Space Afrika - LL.M. 002

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)

Petrol (LP / Digital)
@FoFMusic, March 4, 2016

Pre-Order LP
http://anenon.bandcamp.com

Stereogum premiere
http://stereogum.com/1858046/anenon-once-stereogum-premiere/mp3s/

Petrol

Purchase Vinyl

Once

Sand Circles - "Motor City" (Abdulla Rashim Remix)

777 proudly presents:
Futers - U Get Me
Available end of May 2016!

Futers - U Get Me [777_08] Preview

I Know The Name, But Not The Face

The Lobster white label series finally gets back into gear with a sublime five-track scorcher from core London member Luke Palmer aka Ozel AB. 

After firing some deafening shots with last year's Crimes EP - which burrowed deep into some seriously trippy and journey'd house, techno and acid -Valis sees Palmer develop those evolving arrangement ideas across five very different soundboards that bring his signature brain-fuzzed deepness, rubbery acid and dubbed-out sound design to the fore. 

Allejo is the morphing club slayer, built on a stack of crystalline synths that slowly breakaway into a gutter full of tumbling basslines and shuttered chord stabs. Proper heat that's been battered by the LT fam since early last year. 

Down The Cut is a deep and mysterious cut, channeling Palmer's knack for paranoid atmospheres and suspended tension into a cloak 'n' dagger style spy pursuit. All moving shadows and shifting figures under late night lamp light. 

Built around a bubbling and squelching synth loop, Glow is the central ambient skit providing a pivot point and gateway to the flip-side of the EP, where live favourite and full extended jam Stoosh 95 opens proceedings. Almost a forgotten 90's classic - if it wasn't pitched down to a dragging, groove-soaked tempo - this is Ozel AB in his most dangerous state. Forever building layers of grooves and percussive teasing, punctuated by small spoken word whispers and ending in utter euphoric bliss from the lush, sun-gleaned synths to the chopped vocal wails. File under big time room-crusher. 

Then rounding out the proceedings is the prickly Needler. Broken air con-esque blasts of foggy noise crash over a camel-humped bass-line and more late night contemplative pad work, which does a full about turn into a final minute of hazy London garage. Another little surprise to keep the toes tickled 'til next time.

>> @ozelab

BUY RELEASE

LTWHT007 // Ozel AB - Valis

Infrastructure’s “Facticity” sets the foundations for the promising and eclectic future of this iconic techno and beyond label.

Learn more http://secretthirteen.org/va-facticity-infrastructure-review/

Spring is the assault of things

jsirko

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