Experimental/Electronic

I Was Crossing A Bridge

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On the leading edge of NYC’s underground music scene, Vito Ricci produced only a handful of self-­‐released cassettes and one LP between 1983-­‐1985 with most of his work being recorded for experimental theatre and performance art pieces.Taking their label name from Vito Ricci’s only LP, Music From Memory brings together a compilation of works by one of the unsung heroes of New York’s downtown music scene.Starting out as a percussionist, Ricci’s early musical journey led him to improvised and experimental jazz; working alongside such luminary musicians as Rashied Ali, Byard Lancaster, Peter Zummo and Yousef Yancey.Quickly becoming involved in the avant-­‐garde scene with spoken word performances, film scores for independent movies and even playing in punk bands with performances at venues such as CBGB’s and Mudd Club, Vito’s own compositions drew on all of these influences whilst channeling them through his experiments with synthesizers and drum computers.Drawing comparisons with New York’s downtown No-­‐wave scene Vito’s compositions blend his unique use of intricate percussion with a wide sphere of musical influences to create a world of hypnotising ambient, meditative minimal-­‐synth through to dubbed out electronic funk and even left-­‐field boogie. With most of Vito Ricci’s music remaining previously unreleased, Music From Memory’s compilation ‘I Was Crossing A Bridge’ unveils Vito Ricci’s unique and visionary take on electronic music

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MFM 005

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Tracklist: 

Side 1
1. The Ship Was Sailing
2. Hollywood
3. Music In Fourths
4. Dub It
5. Riverflow Electronic
Side 2
1. Bachelor
2. Commie Stories (part 5)
3. I'm At That Party Right Now
4. Cross Court (Get It)
5. Getting There
6. Commie Stories (part 9)
Side 3
1. Deep Felt Music
2. Inferno (part 1)
Side 4
1. Inferno (part 3)
2. Dox E Koo (Solo Voice)
3. Inferno (part 2)
4. The Bride

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Synthi Time

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"Synthi Time" is perhaps one of the most suitable albums - within Umiliani's incredibly vast discography - to fully appreciate the composing and experimental genius of the Maestro. For once away from the classic soundtracks that made him popular, this project veers away also from refined works of library music such as "Genti e paesi del mondo" (People and countries of the world) or "Problemi d'oggi" (Today's issues), released under the moniker of Zalla. In this case, we like to imagine him absorbed in his Sound Work Shop studio, experimenting with synthesizers with the same enthusiasm of a newbie in search of the perfect sound. Without renouncing to pop(ular) elements, Umiliani seems almost to anticipate (or at least to be fully consistent with) the sound research that will characterize the careers of musicians such as Roedelius and Moebius in Germany.As the same subtitle reveals, this was 'a new way of making music' through the use of the electronic synthesizer - this happening in 1971 - with occasional interventions by the spinet and the Hammond organ. And, with the exception of other little masterpieces such as "Il mondo dei Romani and Tra scienza e fantascienza", the most 'avant-garde' Umiliani can be found here, among tracks such as "Synthi grottesco", the outstanding "Synthetic Water", "Synthi pianola" and "Synthi pastorale", excellent examples of a Maestro exploring new sounds and the future of the music. Often forgotten and overlooked even by those self-proclaimed Umiliani lovers and fans, "Synthi Time" is actually one of his best works.This was 'a new way of making music' through the use of the electronic synthesizer - this happening in 1971 - with occasional interventions by the spinet and the Hammond organ. The most 'avant-garde' Umiliani can be found here, with excellent examples of a Maestro exploring new sounds and the future of the music.

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SCEB 930LP

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33.00
Tracklist: 

Side 1
1. Synthi Theme
2. Synthi Grottesco
3. Arabian Synthetizer
4. Synthi Epico
5. Synthi Dance
6. Synthi Water
7. Synthi Pastorale
Side 2
1. Synthi Melody
2. Synthi Waltz
3. Synthi Marcia
4. Synthi Bossa Nova
5. Synthi West
6. Synthi Boogie
7. Synthi Pianola

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Mapping The Futures Gone By

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Contact Field Orchestra is produced by Damon Aaron. In 2008 he came across a box of 7" tapes at an estate sale in Altadena that turned out to be field recordings of a turn-of-the century orchestra of ex-miners; recorded almost entirely with hand-made instruments and contact microphones. This became the source material for this collection of releases with HIT+RUN. This EP is the fourth release (including a tape release ) from Contact Field Orchestra with HIT+RUN. CFO has also appeared on Giles Peterson's seminal compilation series "Brownswood Bubblers" (Volume 10), and contributed to Ninja Tune's popular "Solid Steel" mix."Sounds like Tom Waits and Augustus Pablo smoking opium on the bayou." -- Kutmah"Mapping The Futures Gone By" furthers Contact Field Orchestra's exploration of dubby broken percussion and haunting found sounds. Sirens and lasers accent plaintive woodwind arrangements set against mbiras and bluesy guitars. Fitting in a time and place that's uniquely it's own, MTFGB is a travelogue to a lucid dream, a mining expedition or a trip to space--somehow nostalgic and familiar, yet somehow not at all.

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HNR 55

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24.00
Tracklist: 

Side 1
1. Sunstroke On Sunset Ridge
2. Sluice Box Tavern
3. Breakthrough At Hale Rock
Side 2
1. We Sail Against The Heavy Gas
2. Clear Water Still
3. Star Struck Canopy

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