Tuesday, October 6, 2015

06 October 2015: Explosions in the Sky & Kodiak Electronic Musician Dawn Tuesday

AllMusic Review by

Featuring a collaboration between Texas post-rock band Explosions in the Sky and film composer Steve Jablonsky, who scored the Transformers movies and director Peter Berg's last film, Battleship, the original score for Lone Survivor splits the difference between the plaintive and the pounding. Based on the book of the same name, the score sets the mood for a film about a Navy SEAL mission that goes bad for a team working behind enemy lines, beautifully evoking the anxiety and intensity of the onscreen action. As a band whose sound feels cinematic all on its own, Explosions in the Sky continue to impress with their work on the big screen, and the soundtrack for Lone Survivor proves to be yet another impressive notch in their belt.

Alaskan Native eccentric music producer and visionary artist atmospheric sound design. Dawn Tuesday this name is unique just as I am* sensitive, happy, sincere and very clear and honest! Great intuition which is amazingly developed. How did I get this name? Well I came from two strong very in love parents. One afternoon my parents went for a walk on the beach of Kodiak Island Alaska where my mom's from. in Alaska. It was a beautiful calm day. They sat and watch the beauty of the blue sky and ocean. My mom picked up few round flat rocks and started writing girl names for a daughter she would one day have. My parents already had a boy name, she pondered on names. And as she gazed up the sky at the sun knowing how beautiful when the sun dispersed darkness, so does a beautiful daughter dispel loneliness. She wrote on a oval gray rock and wrote ( Dawn Tuesday ) My father was amazed at the name and hugged kissed my mom's forehead, I was born two years later. And this is even more amazing I was born at Dawn on Tuesday; I loved music from early child hood. My father's and mother's favorite music was most all classic rock, oldies and much of all music. In my school "daze", was music class. I got my first electric guitar for my 13th birthday. And today I make Electronic Music!

Tuesday, September 29, 2015

29 September 2015: Beaver & Krause - Gandharva; King Crimson - USA (live June 1974) 30th Anniversary Edition

Beaver & Krause were a musical duo made up of Paul Beaver and Bernie Krause. Their 1967 album The Nonesuch Guide to Electronic Music was a pioneering work in the electronic music genre.
Beaver introduced Monkees singer-drummer Micky Dolenz to the Moog, which became a featured instrument on the fourth Monkees album, Pisces, Aquarius, Capricorn & Jones Ltd., and Beaver himself performed on one track, "Star Collector" in 1967. In addition, he led workshops at the Beaver & Krause LA studio attended by a who's who of film composers and session keyboardists of the time.
In June 1967, Beaver and Krause set up a booth at the Monterey Pop Festival, demonstrating their newly purchased electronic synthesiser, one of the first constructed by Bob Moog.
Thanks to their demonstrations of the Moog at Monterey, Beaver and Krause also introduced the instrument to a number of other leading American pop acts including The Doors, Simon & Garfunkel and The Byrds, helping to create the vogue for the Moog that emerged in the late 1960s and early 1970s.
Krause introduced the instrument first to Sir George Martin, producer of the Beatles, and then to George Harrison during Harrison's 1968 visit to California while producing the Apple artist, Jackie Lomax. He used it to generate his 1969 free-form solo Electronic Sound album for Apple Records' spinoff label Zapple, with the first side of the disc consisting of not only Krause's composition, but also his performance – one that remained completely unacknowledged and uncompensated for.
In 1968, Beaver and Krause released an album for Mercury Records imprint Limelight Records, Ragnarok, then released a series of three albums for Warner Brothers Records, In a Wild Sanctuary (1970), Gandharva (1971) and All Good Men (1972), effectively creating both the electronica and New Age musical movements.
The final chord of their track "Spaced" from the Wild Sanctuary album is very similar to the synthesizer THX Sound Logo in movie theaters named deep note, although it is unknown if it was directly influenced by Beaver and Krause.
Both Mike Bloomfield and Ronnie Montrose played guitar on the Beaver & Krause song "Saga Of The Blue Beaver".
The duo ended with Beaver's premature death in 1975, at age 49.
Krause released at least two more solo albums: Citadels in 1979 and Gorillas in the Mix in 1988, plus several movie soundtracks, and now specializes in recording naturalistic sounds, combining them with synthesizers.


A1 Soft / White 0:52
A2 Saga Of The Blue Beaver 4:19
A3 Nine Moons In Alaska 3:04
A4 Walkin' 2:42
A5 Walkin' By The River 2:39
B1 Gandharva 1:12
B2 By Your Grace 5:13
B3 Good Places 3:37
B4 Short Film For David 5:23
B5 Bright Shadows 4:53


Side Two recorded at Grace Cathedral, San Francisco, February 10-11, 1971. 

USA is a live album by the English band King Crimson, released in 1975. It was mostly recorded at the Casino, Asbury Park, New Jersey, on 28 June 1974. The exceptions are track 7, which was recorded at the Palace Theatre, Providence, Rhode Island, USA, on 30 June 1974, and Eddie Jobson's overdubs on tracks 2, 3 and 7, which were recorded in a studio.
Track 1 is a brief performance of "The Heavenly Music Corporation" from (No Pussyfooting). While it was not listed as a separate track on the original album, it is present on all releases. On the original UK vinyl release, the audience noise after the end of the last track was imbedded in a locked groove, leaving the applause to go on so long as the phonograph needle remained on the disc.
There have been four releases of the album:
  1. Original vinyl release in 1975. Includes tracks 1 - 7 (although track 1 & 2 are combined) and Eddie Jobson's overdubs.
  2. 30th Anniversary Remaster released 2002. Added tracks 8 & 9 to original release, credited track 1.
  3. 2005 mix of original multi-track tapes by Ronan Chris Murphy at DGM. Released as download from dgmlive.com in 2005 and on The Collectable King Crimson Vol. 1 in 2006. Includes all tracks; "21st Century Schizoid Man" is moved to be the last track and is now the version from Asbury Park 28 June 1974. Does not include Eddie Jobson's overdubs.
  4. 2013 mix by original multi-track tapes by Robert Fripp, Tony Arnold and David Singleton at the Courthouse, Cranborne, Dorset. Same track order and versions as release #3. Splits improv at end of track 6 into its own track.

Track listing

Side one
No. Title Writers Length
1. "Walk On...No Pussyfooting"   Brian Eno, Robert Fripp 0:35
2. "Larks' Tongues in Aspic (Part II)"   Fripp 7:03
3. "Lament"   Fripp, John Wetton, Richard Palmer-James 4:21
4. "Exiles"   David Cross, Fripp, Wetton, Palmer-James 7:09
Side two
No. Title Writers Length
5. "Asbury Park"   Cross, Fripp, Bruford, Bill Bruford 7:06
6. "Easy Money"   Fripp, Wetton, Palmer-James 6:41
7. "21st Century Schizoid Man"   Fripp, Michael Giles, Greg Lake, Ian McDonald, Peter Sinfield 8:40
Bonus tracks on 30th anniversary edition CD
No. Title Writers Length
8. "Fracture"   Fripp 11:19
9. "Starless"  

Tuesday, September 15, 2015

15 September 2015: Fuxa and Goblin

Goblin (also Back to the Goblin, New Goblin, Goblin Rebirth, the Goblin Keys and Claudio Simonetti's Goblin) is an Italian progressive rock band known for their soundtrack work. They frequently collaborate with Dario Argento, most notably creating soundtracks for Profondo Rosso in 1975 and Suspiria in 1977. CD re-releases of their soundtracks have performed well, especially in Germany and Japan. Goblin returned with a series of live concerts in Europe in 2009 and in North America in 2013.
Initially named Cherry Five, their early work spawned one eponymous progressive rock record, and they were then called in to compose the soundtrack for Profondo Rosso. The band changed their name to Goblin, rewriting most of the score, originally written by Giorgio Gaslini including the famous main theme. The 1975 soundtrack album was a huge hit.[where?] After a reshuffle in their line-up, and they put out an instrumental progressive rock album Roller, before working with Argento again for 1977's Suspiria. Other film soundtracks and a concept album (Il Fantastico Viaggio Del Bagarozzo Mark) followed, then the score for the European version of George A. Romero's 1978 Dawn of the Dead. Tracks 1, 2 and 7 from the European version are also in the American version of the album.
Despite their success, membership continued to be a revolving door, and the band also struggled to maintain their credibility. The remaining members continued to work on further soundtracks, and there was a partial reunification for Argento's Tenebrae (1982) (although each member of the band was credited separately, not as Goblin). The last collaboration with the director took place in 2000, with the film Non ho sonno (Sleepless).

Goblin ‎– Profondo Rosso (Colonna Sonora Originale Del Film)


1 Mad Puppet's Laughs (Opening Intro) 0:21
2 Profondo Rosso (Album Version) 3:44
3 School At Night (Lullaby - Music Box Version) 2:51
4 Death Dies (Album Version) 4:43
5 School At Night 0:54
6 School At Night (Lullaby - Child Version) 2:19
7 Mad Puppet 5:49
8 School At Night 2:31
9 School At Night (Instrumental Version) 2:16
10 Death Dies (Film Version - Part 1) 2:45
11 Profondo Rosso 1:01
12 Gianna (Alternate Version) 2:14
13 Profondo Rosso 0:41
14 School At Night (Lullaby - Celesta Version) 2:31
15 Death Dies (Film Version - Part 2) 2:45
16 Profondo Rosso 0:38
17 Wild Session 5:00
18 Profondo Rosso 0:46
19 Deep Shadows (Film Version - Part 1) 1:56
20 Deep Shadows (Film Version - Part 2) 1:49
21 Deep Shadows (Film Version - Part 3) 0:35
22 Death Dies (Film Version - Part 3) 2:21
23 Gianna (Album Version) 1:52
24 School At Night (Lullaby - Echo Version) 2:27
25 Deep Shadows (Album Version) 5:48
26 School At Night (Album Version) 2:09
27 Profondo Rosso (Remix Version) 5:14
28 Profondo Rosso (Original Sound Effect)
Fuxa's second full-length came out in late 1996, entitled "Very Well Organized" - a collection of songs composed around a 1963 Hammond organ situated in the band's living room.


At Your Leisure 5:01
Latitude/Longitude 4:54
Suspicious 2:53
Unexplained Transmission Repair 5:28
Witness To Natural Invention 7:44
3cp 2:38
Pangaea 4:29
Outer Drive 4:55
Pleasant Orbitings 5:50
Homonym Hymn 2:57
Unified Frequency 7:53

Tuesday, September 1, 2015

08 September 2015 Colin Bass: "At Wild End" and ambient drone music from Cousin Silas

At Wild End Is the produce of a well co-ordinated pre-order campaign by Camel Bass man Colin Bass. Without doubt a gifted musician and producer Colin bass has a rich musical CV well earned and well deserved. At Wild End finds Colin taking a step back from his Camel persona and firmly entrenching himself in his own style and diverse leanings. Anyone who has had the good fortune to see Colin playing live with Camel will know what a talented multi instrumentalist he is as such a seasoned musician and writer. From 1998’s An Outcast Of The Island through several live and studio albums Mr Bass seems to have consolidated his varying musical influences and intriguing choice of subject matter for his song writing skills to  make At Wild End very pleasing to listen to and very easy on the ear.

Read more of this review here.

Also tonight we will feature ambient drone music of Cold Star, a release from Cousin Silas on DigitalDizzy records.  Download this release for free here.

Tuesday, August 25, 2015

25 August 2015 Greg Segal - Phantom Airship Records

This week we'll be playing selections from three of Greg Segal's 2015 releases:  Beauty Sleep, A Handful of Ashes, Skeleton Parade
Greg lives in Portland, Oregon, where he records in his home studio.
You can find these and other recordings, both solo and band projects on https://gregsegal.bandcamp.com/

Monday, June 1, 2015

02 June 2015: Van der Graaf Generator: Merlin Atmos (live 2013)

Merlin Atmos is a live album by English progressive rock band Van der Graaf Generator, released in February 2015.[1][2] The album was recorded during the band's European tour in June 2013 and includes a full onstage performance of the suite "A Plague of Lighthouse Keepers", originally recorded for Pawn Hearts in 1971.[3] "Merlin Atmos" was also released in a special edition with a second CD entitled "Bonus Atmos".

Track listing

Regular album

  1. "Flight" - 21:30
  2. "Lifetime" - 5:11
  3. "All That Before" - 7:46
  4. "Bunsho" - 5:48
  5. "A Plague of Lighthouse Keepers" - 24:05
  6. "Gog" - 6:39

Bonus Atmos

  1. "Interference Patterns" - 4:28
  2. "Over the Hill" - 12:36
  3. "Your Time Starts Now" - 4:14
  4. "Scorched Earth" - 10:14
  5. "Meurglys III, The Song Writer's Guild" - 15:24
  6. "Man-Erg" - 11:30
  7. "Childlike Faith in Childhood's End" - 12:37


Tuesday, May 12, 2015

12 May 2015: Blow Up Hollywood

Over 12 years and 7 critically acclaimed albums, ambient pop-rock collective Blow Up Hollywood has created an expansive and adventurous body of work that manages to be both highly emotionally charged and majestically anonymous. Helmed by Steve Messina, and backed by trusted friends and collaborators, Blow Up Hollywood has put its distinct fingerprint on warped Americana, dark wave,
post rock, noise, jazz, classical, freak folk, and any other music medium they felt like inhabiting.
Blow Up Hollywood was founded in 2001 as a middle finger to the music business and pop conformity. Restlessly creative, the band explored the musical equivalent of art house films and literary fiction with a chameleon-like tendency to authentically infiltrate a myriad of music idioms. The band’s debut was written during a freewheeling 3-week retreat with Messina and friends ensconced in a beach house in West Hampton, New York. The band went on to garner acclaim from indie tastemakers and a dedicated cult following. Blow Up Hollywood’s most popular release was the concept album The Diaries of Private Henry Hill. The record was based on the journal entries of a young, deceased soldier from the Iraq war. The album won the group high praise and greatly expanded its profile, culminating with a feature on NPR’s All Things Considered, and landing their song WMD on the compilation CD, Body of War, along side such artists as Neil Young, Pearl Jam, Roger Waters, and Bob Dylan.  Messina illustrated his eloquence with poignant confessional writing on The Diaries of Private Henry Hill
Blow Up Hollywood is officially Steve Messina, vocals, acoustic guitar; Thad Debrock, electric guitar, pedal steel, keyboards; Teddy Kumpel, electric guitar; Steve Bonacio, bass; Dave Diamond, drums; Harvey Jones, piano, keyboards; Nadia Ackerman, vocals; and Anthea White, vocals.
“I feel so much better now, the whole world looks different,” Messina says, assessing his emotional landscape in the wake of finishing Blue Sky Blond. “You know, Blow Up Hollywood is my sanctuary. I don’t think about money or my career; I do this because I have to do it, it’s a catharsis. This is who I am.

Tuesday, May 5, 2015

05 May 2015: Frank Zappa & The Mothers of Invention

In honor of Mother's Day and the Mother's Day themed KMXT Spring Fundraiser, it is only fitting and proper that we feature Frank Zappa and the Mothers of Invention on tonight's show.  We'll hear their debut album, Freak Out and other goodies from their extensive catalogue.

Sunday, April 12, 2015

14 April 2015: iapetus Records Touch Guitar Compilation; Felt

  A themed compilation of tracks culled from the wider iapetus portfolio. All titles prominently feature Touch Guitars® instruments: www.touchguitars.com


















In the second half of the show, we will be featuring instrumental compositions from the band, Felt.
Felt were an alternative rock band founded in Birmingham, England in 1979 and led by the mononymous Lawrence.[1] The band's name was inspired by Tom Verlaine's emphasis of the word "felt" in the Television song "Venus".[2] They existed for ten years, throughout the 1980s, during which time they released ten singles and ten albums.
Felt have been cited as an influence by Belle & Sebastian's Stuart Murdoch[3] and Tim Burgess of The Charlatans,[4] as well as by alternative rock bands Manic Street Preachers,[5] Girls,[6] and The Tyde.[

Monday, April 6, 2015

07 April 2015 Markus Reuter - Touch Guitar

Tonight we'll be featuring the superb touch guitarist, Markus Reuter with selections from a live recording, 6 Reflections, and, if time permits, his work in TUNER.

Markus Reuter (born Lippstadt, Germany, 1972[1]) is a German multi-disciplinary musician, composer, record producer and instrument designer. His work spans (and frequently fuses) art rock, loop music, contemporary classical music and alternative pop.
Reuter is a member of multiple ongoing bands and projects (including centrozoon, Tuner, Stick Men, The Crimson ProjeKct and Europa String Choir). Most recently, he has begun to establish himself as a contemporary classical composer via the performance and recording of his large-scale orchestral piece Todmorden 513.
A specialist in touch guitar playing, Reuter became known as a leading player of the Warr Guitar and Chapman Stick during the 1990s and 2000s before developing and marketing his own U8 and U10 Touch Guitar instruments. In collaboration with former King Crimson member Trey Gunn, he runs the Touch Guitar Circle, a teaching and support network for touch guitar players.
As well as further collaborations with artists including Tim Bowness, Lee Fletcher, Ian Boddy and Robert Rich, Reuter has produced records by numerous musicians and released several solo recordings as both performer and composer. He is also part of an artist-owned production consortium which encompasses Iapetus Media, Unsung Productions and Unsung Records.

Tuesday, March 31, 2015

31 March 2015: Gordon Giltrap & Daevid Allen

      A live performance for essentially a solo guitarist always raises the question of faithful sound reproduction. For instance, GORDON GILTRAP plays both electric and acoustic guitar very well. Does he go with an additional guitarist to complement or at least not cramp his style? What of other instrumentation like sax which he occasionally hires? Should vocals be introduced for variety?
      On "Live at Oxford" GILTRAP makes several brilliant choices - hiring a competent backing rock band, continuing to play all guitars himself, engaging a female vocalist, and utilizing keyboards and vocals to fill some of the additional guitar and brass sounds. How he implements these decisions results in a show and a resulting album that plays to his strengths while rendering his shortcomings moot.
In some sense this virtuoso's work is best suited to the live setting, since his primary talent is in playing and, to some extent, arranging, as opposed to composition. Luckily his skill is exposed in a measured fashion throughout. The main source of material is "Fear of the Dark", the most recent album at the time of the concert, and it would be hard to imagine that those tracks represented here are not more fully realized than the studio versions. This is especially the case for the epic "Visitation" and the suspenseful "Fear of the Dark", both of which benefit from the sultry expressive vocals of SHIRLEY RODEN. Still, the best example of this adaptive spirit and of Roden's power is in "The Deserter"; originally an instrumental on "Perilous Journey", it is re-invented as a spacey lyrical piece with Roden's vocals replacing sax and some pointed guitar leads. I had never heard of Roden so has to look her up, and found that her limited credits include several prog artists including MICHAEL MOORCOCK, MIKE OLDFIELD and DAVID GILMOUR.
         As is standard for Giltrap, none of the material or the performances are weak but here the energy of the live setting and the commitment to the team concept contribute equally to what could be the most suitable introduction to Gitrap for prog fans. I have not heard the prior three albums in their entirety but "Live at Oxford" seems to be cut from a different cloth.  (from progarchives.com)

We continue our tribute to the late, great Daevid Allen with a selection of some of his greatest (and wackiest) music.

Tuesday, March 24, 2015

24 March 2015: Steven Wilson, Daevid Allen

The first half of tonight's show will be Steven Wilson's latest solo release:  Hand. Cannot. Erase.
The album has been critically acclaimed and is arguably his best work to date.
According to Wilson, the album is written from a female perspective, and the concept and story are inspired by the case of Joyce Carol Vincent, where a woman living in a large city dies in her apartment and no one misses her for three years, despite her having family and friends.[6] Wilson explained:
"The basic story, or concept of the record – it's about a woman growing up, who goes to live in the city, very isolated, and she disappears one day and no one notices. There's more to it than that. Now, what's really interesting about this story is that your initial reaction when you hear a story like that is, 'Ah, little old bag lady that no one notices, no one cares about.' [Vincent] wasn't [like that]. She was young, she was popular, she was attractive, she had many friends, she had family, but for whatever reason, nobody missed her for three years.

 In the second half of tonight's show, we will honor the memory of the original Pothead Pixie, Daevid Allen, who passed away on March 13. Christopher David Allen (13 January 1938 – 13 March 2015), better known as Daevid Allen, sometimes credited as Divided Alien, was an Australian poet, guitarist, singer, composer and performance artist. He was co-founder of psychedelic rock groups Soft Machine (in the UK, 1966) and Gong (in France, 1967).
We feature one of his best known releases with Gong, the classic You, Part Three of the "Radio Gnome Trilogy".  Between 1973 and 1974, Gong, now augmented by guitarist Steve Hillage, released their best-known work, the "Radio Gnome Trilogy", three records that expounded upon the (previously only hinted at) Gong mythology, Flying Teapot (1973), Angel's Egg (1973), and You (1974). For about two months at the end of 1974, Bill Bruford played drums with Gong.[3]