his music has astounded me for the last 18 years... sublime

Amazing! I love to listen this for hours, really.

Wonder.......... at the beauty...... of everything.

I Remember You Like the Best Song 

Available February 18 from http://anenon.bandcamp.com and anywhere that you stream music.

All music by Brian Allen Simon
Art by Susan Cianciolo, courtesy Bridget Donahue NYC
Mastering by Yosi Horikawa

I Remember You Like the Best Song (Edit)

Taken from the album 'Quixotism' released as CD and Download.

Oren Ambarchi 'Quixotism Part 5' (eMEGO 202)

Ariel Kalma - Almora Sunrise

Purchase from RVNG: http://smarturl.it/kalma-rvng
Purchase from Bandcamp: http://smarturl.it/kalma-bcamp
Purchase from iTunes: http://smarturl.it/kalma-itunes
Purchase from Amazon: http://smarturl.it/kalma-amzn

Visuals by Easton West
From An Evolutionary Music (Original Recordings: 1972 - 1979)

© and Ⓟ 2015 RVNG Intl. / www.igetrvng.com

Ariel Kalma - Almora Sunrise

pre-released on www.other-people.net (issue #62)

William Basinski remixes "Esotro" from Lucrecia Dalt's self-titled EP released on Other People (27/10/2014).



Lucrecia Dalt - Esotro (William Basinski Remix)

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)

From the recordings that produced Drums Between the Bells - the collaboration between Brian Eno and British poet Rick Holland – comes an all new EP titled Panic Of Looking.

The 6 tracks continue the exploration of how lyric & song- writing are perceived in the post-everything era.  As the Sunday Times suggests, "The poems aren't sung, yet the pieces are undeniably songlike, first because the music refuses to act simply as background, but lurches frequently, sometimes unexpected to the fore, and second because we hear the meaning of the words in the way we normally pick up song lyrics," while WIRED Magazine calls Eno’s soundscapes, "a tapestry of pillowy synths, minor-key melodies, chiming guitars and skittering drums."

All of these elements come together for the November 7th/8th release of the EP, which was produced by Eno and features his original artwork on vinyl, CD & digital formats.

Panic of Looking

panic of looking

Brian Eno and the words of Rick Holland - panic of looking

Studying under Robert Ashley and Terry Riley at the fabled Mills College Center For Contemporary Music before graduating into the margins of the '70s bay area new music scene, Ms. Brouk blazed her own trail well outside of the musical establishment to create uncompromising electronic and acoustic work of sleek beauty and primal power. Describing herself as less a composer than a channel, she took her cues from the frequencies of the natural world and the talents of collaborators like Maggi Payne and Bill Maraldo. Hearing Music collects for the first time the deepest cuts from her beguiling and rare cassette releases and her archive of previously unreleased recordings.

Available on CD/LP/Download: http://numerogroup.com/products/joanna-brouk-hearing-music

Joanna Brouk - The Creative

Pauline Anna Strom - Energies

Learn more: https://smarturl.it/rervng10-rvng

Taken from Trans-Millenia Music. 

©2017 RVNG Intl. / igetrvng.com

Trans-Millenia Music (ReRVNG10 - Promo)

Pauline Anna Strom - Energies

Artist: Jan Jelinek & Computer Soup
Album: Improvisations And Edits, Tokyo 26.09.2001
Label#: Faitback10
Release date: May 4th 2018

Faitiche is happy to be releasing the album Improvisations And Edits, Tokyo 26.09.2001 on vinyl for the first time. For the original 2002 CD on Soup-Disk and Sub Rosa (Audiosphere), Jan Jelinek and the Japanese trio Computer Soup (Satoru Hori – trumpet, Osamu Okubo - toys & electronics, Kei Ikeda - toys & electronics) presented eight tracks all recorded one afternoon in the trio’s living room in Tokyo. They are excerpts from a joint group improvisation that subsequently underwent rudimentary editing, on which Jelinek and Computer Soup worked separately.

Jelinek met the three musicians at his first concert in Japan in 2001, at Tokyo’s Yellow club, where Computer Soup performed as the support act. Delighted by their free improvisation on pocket-sized electronic toys, trumpet and oscillators, he arranged to meet Hori, Okubo and Ikeda a few days later for a session at their apartment. The resulting three-hour recording, made on their living room floor, formed the basis for Improvisations and Edits. A few days later, Jelinek returned to Berlin. Over the following months, they separately chose passages from the recording that were then edited and assembled into an album.

Formed in Tokyo in 1996 as a quintet (including Shusaku Hariya and Daisuke Oishi), Computer Soup began by performing with acoustic instruments on the streets of Shibuya. Ikeda und Okubo soon switched instruments, and from then on the group’s minimalistic but densely woven sound was defined by electronic toys, oscillators and Satoru Hori’s trumpet. Their first album was released in 1997 on the Japanese label Soup Disk. Eight further releases followed.
 

From the reviews of Improvisations and Edits, Tokyo 26.09.2001 in 2003:

The mind-blowing first track "Straight Life" is perhaps the best example of what the album has to offer. Jelinek's trademark smears and washes occupy the midrange, like ghosted images of Joe Zawinul's electric piano floating quietly in the wind. DSP jazz modes are set against a walking bassline (possibly computer generated) and a gently tooted trumpet complete with Harmon mute, a dead ringer for Miles Davis' Prestige-era ballads. The effect is something like a three-dimensional film, with different realities on each layer; images of what jazz was manage to interact with a real-time demonstration of all it could be.
pitchfork.com
“Improvisations and Edits” is a warm and mellow Ambient release with beautiful glitch fragments, static noise bursts and real trumpet intersections. However, there are times where it is the exact opposite, mainly effect-laden, overdriven and bouncy with a lack of melodies and focus, so be aware of these specific tracks.
ambientexotica.com
Often deliciously dreamy and hazy, “Improvisations and Edits” is like listening to an exceptional instrumental jazz performance while half-conscious or under some sort of chemical influence. Computerised blips and bleeps, loops and treatments and murky sonic skips curl up around desolate horn notes and scattered instrumental noises that culminate in elegant music.
exclaim.ca

Jan Jelinek & Computer Soup: Straight Life

Taken from the album Debris, released January 17th, on @theleaflabel. Pre-order: 
https://keeleyforsyth.bandcamp.com/album/debris

Debris

Three years on from their debut collaborative album “Passive Aggressive“, Jonny Nash and Suzanne Kraft return with "Knife", the lead single from their forthcoming album, “A Heart So White”.

The single comes with an exclusive bonus digital track, "Processing The Negative", which will not appear on the full album.

“A Heart So White” represents a continuation of the working philosophy adopted during the recording of their debut; immersion in an unfamiliar recording environment with a limited set of tools and the goal of exploring the possibilities that lie within these limitations.

The album was written and recorded in the Willem Twee Concertzaal, a converted synagogue in Den Bosch, Holland. Whilst “Passive Agressive” explored virtual instruments and environments, “A Heart So White” shifts the focus to acoustic instrumentation, breath, air and physical space. Using the hall’s mechanical drawer organ and Steinway piano, the pair craft a delicately balanced suite of compositions, stripping things back to reveal the bare essence of their shared musical language.

Purchase here: https://melodyastruth.bandcamp.com/album/knife

Brian Eno and the words of Rick Holland - panic of looking

Warp Records

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