14 September 2021: Lyonel Bauchet "The Diver" (DiN68); Anthology of Exploratory Music from India

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Lyonel Bauchet is a well established and prolific composer, mainly working in the field of library music, with over 100 album releases in a career spanning over 40 years. Working from his studio just north of Paris he is best known in the Electronic Music world for his mastery of the Buchla modular synthesiser. Indeed his huge Buchla 200e system formed the basis for the sonic world he previously created for the DiN label with his digital only release “The Secret Society” (DiNDDL11) in 2011. Ten years later DiN label boss Ian Boddy coaxed Bauchet in to creating a new album which is this time destined for a full CD edition.

“The Diver” is a concept album in that it alludes to an undersea world many of us will never visit. The five tracks segue into a seamless piece of audio that explore the hidden vistas and dark spaces of the deep sea. Utilising his vast musical experience Bauchet has created an astonishing sound world that ebbs and flows like the ocean currents. The attention to detail and immersive sonic textures sparkle on top of vast oceanic swells that travel from the peaceful and quiet through to darkly dangerous. Once again his use of the Buchla modular is evident with beautiful soaring and trilling Vangelis like lead tones. Underneath the sequencer patterns and restrained percussion bubble & roil building to subtle climaxes before descending back in to the dark depths.

The life of a library music composer is very often rather anonymous so it is a great privilege for the DiN label to be able to present this album release from such a talented composer. Dive in to the sonic undersea world of Lyonel Bauchet and lose yourself in this stunning album.
  
Our thanks to Ian Boddy and DiN for providing us with a copy of this release.

credits

releases September 17, 2021

All tracks composed, programmed and recorded by Lyonel Bauchet
January - April 2021.


Instruments:
Buchla & Associates Instruments
Mos Lab custom system
Macbeth M5N
Synthi AKS
Metasonix KV100 & D1000
Analogue Solutions Impulse Command
Make Noise 0-CTRL & Strega
Eurorack Modular
Spitfire Audio Strings
Spectrasonics Keyscape

license

all rights reserved
 
The new Unexplained Sounds Group’s compilation of exploratory music and sound works from India intends to present a comprehensive collection of sonic practices that have emerged from the desire to break away from India’s traditional sounds, e.g. classical music and folk tunes, while simultaneously drawing on ideas and inspirations from these lineages and auditory heritages in the form of recurring motifs and sonorities as well as textures and open-ended compositions. The fragile but complex connection between tradition and modernity is the crucial point of entry in this body of works contributed by Indian-born sound artists and experimental musicians. What is ‘sound art’ and what is ‘experimental’ can be debated at length, but sound art is a Western construct, and experiment is something Indian musicians have long been engaged in whilst keeping their traditions alive and transformative. What is new in this compilation is locating the tension between historical trajectories of sound thinking and the intervention of modernist technologies like recording and mixing that the artists continue to negotiate through their interpretations and reconfigurations of temporality and spatiality. That is why the western invention of CD as a form of sonic object-hood can be a constraint for Indian sound practitioners. This compilation therefore asks its listener to consider the CD just a trace of the sound experience, while the actual listening is ephemeral. This spatiotemporal tension uncovers a few questions around (de)coloniality and its shadows on emerging sonic practices in South Asia with new perspectives. The release, co-curated by Raffaele Pezzella and Budhaditya Chattopadhyay, contributes to the ongoing research Connecting Resonances that encourages critically listening to the sound practices and auditory cultures in the Global South with an interest in sonic confluences and decoloniality, to stand on the right side of music history.

Budhaditya Chattopadhyay
  
FreeForm Radio thanks Raffaele Pezzella (Sonologyst) for providing us with a copy of this release.

credits

released September 3, 2021

REVIEWS

Avant Music News
avantmusicnews.com/2021/09/04/amn-reviews-various-artists-anthology-of-exploratory-music-from-india-2021-unexplained-sounds-group/


Edited by ©Unexplained Sounds Group

Co-curated by R. Pezzella and B. Chattopadhyay
Mastered by Raffaele Pezzella (Sonologyst)
sonologyst.tumblr.com
sonologyst.com
budhaditya.org
budhaditya.org/projects/connecting-resonances
Cover image: Ancient Indian painting
(representing Brahma in the act of creation)
© 2021. All rights reserved

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all rights reserved

07 September 2021: The Annual FreeForm Back-to-School Show!

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31 August 2021: The Survival of St. Joan (A Medieval Rock Opera) ; Stars of the Lid

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The Survival of St. Joan is a rock opera by Smoke Rise (Gary Ruffin, Hank Ruffin, Stan Ruffin, and Randy Bugg — music composed by Hank and Gary) from an original concept and libretto by Off-Broadway playwright and screenwriter James Lineberger

The plot of The Survival of St. Joan was possibly inspired by Operation Shepherdess: The Mystery of Joan of Arc by André Guérin and Jack Palmer White, a revisionist history alleging that Joan of Arc escaped execution and later married a nobleman named Robert des Armoises. An idea rejected by historians, the notion of a legendary Joan who lived on in secret has persisted.[4] Certainly inspired by the Vietnam War,[citation needed] the opera tells of the government of France and Pierre Cauchon, Archbishop of Beauvais, releasing Joan of Arc and allowing a double, also believed to be a witch, to burn in her place. She is sent to live with a mute farmer, who falls in love with her,[1] as he elucidates in songs performed in soliloquy toward the audience. Realizing that there is no end in sight to the Hundred Years' War, the first act ends with Joan seeking to rejoin the army,[1] despite the fact that she is no longer hearing her voices.

In Act II, Joan learns that she has lost the respect of the army, who attempt to rape her. (The libretto in the concept album has Joan raped about halfway through the act; this was changed when stagings went beyond a band performance to a full-fledged play.) She meets with some deserters who no longer understand the meaning of the war, and reject its former religious purposes, complaining that only their generals and the nobility can live above suffering. Alone and anonymous, Joan is eventually found by villagers who mistakenly decide she has put a hex on their cow, tie her to a tree and immolate her, thus ending her life almost as history would have it.[1] Upon her death, Joan re-establishes contact with her three voices, St. Michael, St. Catherine, and St. Margaret


And Their Refinement of the Decline is the seventh and most recent studio album by Stars of the Lid, which was released by Kranky in April 2007. The album was Kranky's 100th release, and was issued as a double CD and as a triple vinyl LP set (featuring alternate artwork). And Their Refinement of the Decline features minimal, droning compositions of varied length created from treated guitar, horn, piano, and other classical instruments.

The track "Dopamine Clouds Over Craven Cottage" refers to Craven Cottage in London, the home stadium of English football club, Fulham F.C.. At the time of the album's release, their captain was ex-United States soccer international Brian McBride, who shares the same name as Brian McBride from Stars of the Lid. The track "Don't Bother They're Here" uses the melody of Stephen Sondheim's 1973 song "Send in the Clowns".

In December 2007, American webzine Somewhere Cold ranked And Their Refinement of the Decline No. 5 on their 2007 Somewhere Cold Awards Hall of Fame.[9]

Stars of the Lid is an American ambient music duo consisting of Brian McBride and Adam Wiltzie. The duo formed in Austin, Texas in 1993, and they list among their influences minimalist and electronic composers such as Arvo Pärt, Zbigniew Preisner, Gavin Bryars, and Henryk Górecki, as well as Talk Talk, post-rock artists Labradford, and ambient innovator Brian Eno. Their compositions are largely beatless soundscapes, composed of droning, effects-treated guitars along with piano, strings, and horns; volume swells and feedback fill the gap of rhythmic instruments, providing dynamic movement. Their sound has been described as "divine, classical drone without the tedious intrusion of drums or vocals."[1]

 

 

24 August 2021: Circuline; Oliver Wakeman & Steve Howe

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The first half of tonight's show will feature the New York progressive group, Circuline, and their 2016 release, Counterpoint.

Nominated for PROG magazine's Limelight award for best new band, cinematic New York-based prog rockers Circuline have managed to gather an impressive all-star line-up of SEVEN guest guitarists on their latest release "Counterpoint", including members of Enchant, Happy the Man, Renaissance, and Sound of Contact. Circuline performed at the 13th International Rites of Spring festival (RoSfest), Philadelphia's Liberty Music Fest, Chicago's Progtoberfest, New Jersey's ProgStock, and has toured England opening for IO Earth.  Find them on Facebook.

credits

released May 5, 2016

Circuline is:
Andrew Colyer - keyboards, sound design, vocals
Darin Brannon - drums, percussion, keyboards
Natalie Brown - lead vocals
William "Billy" Spillane - lead vocals, rhythm guitars
Paul Ranieri - basses
Beledo - guitars

Vocal lyrics and melodies by Randy Mcstine.
Vocal harmony arrangements by Natalie Brown, Andrew Colyer, and William Spillane.

Guest Guitarists:
Ryche Chlanda (Fireballet, Renaissance, Flying Dreams)
Alek Darson (Fright Pig, Samurai of Prog)
Matt Dorsey (Sound of Contact, Dave Kerzner Band)
Randy McStine (The Fringe, Lo-Fi Resistance)
Doug Ott (Enchant)
Alan Shikoh (Glass Hammer)
Stanley Whitaker (Happy the Man, Oblivion Sun)

Recorded at:
The Cave, Red Hook, NY; engineered by Andrew Colyer and Darin Brannon

Mixed by: Alek Darson (alekdarson.com)

Mastered at: Sun Room Audio, Cornwall, NY; engineered by Dan Coutant (www.srmastering.com)

Photography by Rob Shannon Fotopic Photography, Catskill, NY (fotopic.com)

Art illustration/graphics/cd design by Darin Brannon of DB Media Productions

Legal management: Ronald Bienstock

Band Housing courtesy of Sally and John Bowkett

 all rights reserved

 circuline rock cinematic rock crossover prog progressive rock New York

 

For the second half of tonight's show, we will feature The 3 Ages of Magick, the 2001 release from Oliver Wakeman and Steve Howe.

From reviewer SouthSideoftheSky on Prog Archives:

As a complete Steve Howe fanatic, I had to check this album out. Steve plays on several tracks - both acoustic and electric guitars. I was surprised about how good this album is, and not just because Steve plays on it.

Oliver has picked up more than a few tricks from his father. Their playing styles are indeed very similar. Rick has taught both his sons very well. But I would not say that Oliver doesn't bring anything new. I don't think that this album just as well could have been a Rick Wakeman album - Oliver has developed his own style. What impressed me the most was not the playing but Oliver's ability to write music. This is very good instrumental material. The album is varied yet consistent and does not get boring half way through as so many instrumental albums do.

The music is something of a crossover between Rick Wakeman and Mike Oldfield. The Celtic influences and instruments stand out in particular. But this is hardly New Age music even if some tracks have that feeling. This music has much more punch than New Age music. Some tracks really rock! In their own kind of way.

For fans of Rick and Steve, give Oliver a chance. 

Studio Album, released in 2001

Songs / Tracks Listing

1. Ages Of Magick (5:48)
2. Mind Over Matter (4:02)
3. The Forgotten King (3:02)
4. The Storyteller (3:42)
5. The Whales Last Dance (4:30)
6. Time Between Times (5:03)
7. Flight Of The Condor (4:48)
8. Lurey And The Mermaid (3:02)
9. Standing Stones (4:31)
10. The Enchanter (6:04)
11. The Healer (4:18)
12. Through The Eyes Of A Child (2:13)
13. Hy Breasail (8:38)

Total Time: 59:41

Bonus Tracks on 2013 reissue:
14. Hit 'N Myth (Previously Unreleased) (5:14)
15. The Faerie Ring (Previously Unreleased) (5:36)
16. Dream Weaver (The Storyteller Demo) (3:33)

Line-up / Musicians

- Oliver Wakeman / piano, keyboards, Hammond, composer, producer
AND
- Steve Howe / electric, acoustic & steel guitars

With:
- Tony Dixon / Uilleann pipes, whistle, flute
- Jo Greenland / violin
- Tim Buchanan / fretted & fretless basses
- Dave Wagstaffe / drums, percussion

Releases information

Artwork: Anne Sudworth

CD Resurgence ‎- RES144CD (2001, UK)
CD Esoteric Recordings ‎- ECLEC 2415 (2013, UK) Remastered with 3 bonus tracks

 


 


 

17 August 2021: Nigel Mullaney "The Turning" (DiN67); The Beyond - Music Inspired By The Lucio Fulci Death Trilogy

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I'll be hosting "Rural Electric" from 7-9 pm tonight, leading into FreeForm Radio at 9 pm.  My playlist will include country music from New Zealand  as well as a number of excellent singer-songwriters.



 Our first featured release tonight is an excellent hour of electronic music from Nigel Mullaney. 

 Our thanks to Ian Boddy and DiN for providing us with a promo copy of this release.

Nigel Mullaney for many years has lived a life of relative musical anonymity preferring to inhabit the worlds of soundtrack and library music. Whilst he has been involved with several other collaborative musical projects it is only in the last couple of years that he has started to spread his solo musical wings with the album releases “31 Days” on DiN and “The Navigator” on Behind the Sky Music.

The last year has shown all of us how fragile our existence is and how vital it is to nurture a physical and artistic connection to creativity and those that surround us. The Turning is an album that was forged from the concepts and ideas first explored in the album
“31 Days” (DiN61), a desire to capture the raw emotion of a live electronic performance coupled with the expression of Jonathan Jowett’s piano playing and Mullaney's work with the Elemental Chamber Orchestra. Modular & Moog synthesizers were used to assemble a deep sonic palette that reflects the emotional concepts of the album fused with a variety of studio sessions, acoustic recordings and Elektron machines. The tracks were all mixed on to a vintage Ampex ATR-102 using an SSL desk and numerous vintage outboard equipment.

The 10 tracks on this album, whilst dominated by modular textures and sequences take this style of composition to new heights in their truly widescreen cinematic landscapes. The opener “Lost At Sea” is a beautiful example of how to create such a journey in under seven minutes. The following eight pieces take the listener on an emotional travelogue before succumbing to the blissful closing of the album with “Nostalgia Bomb”.

DiN label boss Ian Boddy curated the track selection and running order to create an electronic music album full of emotional complexity and hope.
 

credits

released July 16, 2021

All tracks composed, programmed and recorded by Nigel Mullaney
August 2020 - January 2021.


Instruments:
Moog, Eurorack Modular, Elektron, Korg & Taylor T5 Guitar
The Elemental Chamber Orchestra
Jonathan Paul Jowett - Piano

Special thanks to:
Jonathan Paul Jowett - Phoenix Creative Media Ltd
Ian Boddy - DiN Records
Wendy Carroll - DiN Records
Ben Wilson - DivKid
Robin Rimbaud - Scanner
Dan Wahlbeck - DPW design

all rights reserved 

ambient edm em electronic electronic music electronica idm downtempo modular synth Sunderland


For the second half of tonight's show, we offer our listeners a little more challenging listening experience.
 
Our thanks to Raffaele Pezzella and Eighth Tower Records for providing us with a copy of this release.
 
Lucio Fulci, born in Rome in 1927, remains as controversial in death as he was in life. A gifted craftsman with a sharp tongue and a wicked sense of dark humor, Fulci achieved some measure of notoriety for his gore epics of the late 1970s and early 1980s. Abandoning his early career as a med student, Fulci entered the film industry as a screenwriter and assistant director, working alongside such directors as Steno and Riccardo Freda. Fulci quickly established himself as a prolific craftsman adept at musicals, comedies and westerns. In 1979, Fulci's film making career hit a high point with him breaking into the international market with Zombi 2 (1979), an in-name-only sequel to George A. Romero's Zombi (1978), which had been released in Italy as 'Zombi'. With its flamboyant imagery, graphic gore and moody atmospherics, the film established Fulci as a gore director par excellence. Over the next three years, Fulci plied his trade with finesse and flair, rivaling even the popularity of his "opponent" Dario Argento. Bleak horrors are transformed into bloody poetry - Fulci's loving camera technique, and the decayed splendour of his art design, make the films more than just a gross endurance test. His opus latifundium, his “real estate” is the “Trilogy of Death”: Paura nella città dei morti viventi (City of the Living Dead, 1980), a Lovecraftian story of a priest who hangs himself thus opening the gates of hell; L’aldila (The Beyond, 1981), about a hotel which is a gate to hell, and Quella villa accanto al cimitero (House by the Cemetery, 1981), about one Dr Freudstein who, by transplanting parts of his victims to his body for over a century has managed to stay alive. These films are about intrinsic quality, texture, consistency. For this reason they affect sense rather than intellect – confusion, disgust, suffering, delight at the pangs of horror are the qualities these films evoke. The screen is not the marker between actual and virtual but, in Paul Virilio’s words, the “osmotic membrane”. Or in the Gilles Deleuze’s words “not in a different world but in a link between humanity and the world…to believe in this as in the impossible, the unthinkable, which nonetheless cannot be but thought”. By the 1990s, Fulci went on a hiatus with film making for further health and personal reasons as the Italian cinema market went into a further decline. Lucio Fulci passed away at his home on March 13, 1996 at the age of 68.


This new Eighth Tower Records project, dedicated to the Lucio Fulci’s “Trilogy Of Death”, a unique and unrepeatable corpus in the history of Italian “supernatural cinema”, tries to imagine an alternative soundtrack for those movies. The several souls of Fulci’s movies are evoked by the musicians - Nàresh Ran, Mario Lino Stancati, Daniel Ferreira (Kloob), Leonardo Granchi (Bad Girl), Cristiano Bocci, Paolo Acquaviva (DuoSerpe), Sara Fontana, Dario Arrighi (Progetto No Name) - through a variety of music styles (electroacoustic, dark ambient, concrete music, progressive rock, drone music). Some of them kept in mind the lesson of the master Fabio Frizzi, the well known composer of the original soundtracks, while others escaped any attempt to revive that glorious tradition and interpreted Fulci’s horror universe in a totally contemporary and unedited way.
 

credits

releases August 27, 2021

Curated and mastered by Raffaele Pezzella (Sonologyst)
Edited by Eighth Tower Records
Illustrations: ©John Chadwick 2016 - 2021
www.behance.net/jdchadwick
jdchadwickdesign@gmail.com
© 2021. All rights reserved
all rights reserved
ambient dark ambient dark chamber drone industrial noise Italy

29 June 2021: Laren D'Or; RHaD Metamusic; Bass Communion

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 From Aural Innovations #14 (January 2001)

Laren d'Or is the moniker used by Hungarian musician Attila Héger, who plays keyboard driven music that is the encyclopedia description of symphonic progressive. Héger has been playing music since he started piano lessons at the age of six, and quotes among his influences such luminaries as Vangelis, Tangerine Dream, Mike Oldfield, Pink Floyd, Genesis, Jean-Michel Jarre, Yes, and Solaris. Vangelis and Jarre are probably the best analogies in terms of the music on War Of Angels, and Héger's compositional talents are without question equal to, if not better, than those more famous artists.

War Of Angels is divided into two parts. The first 5 tracks are the "Synthphonia" album and the next 8 are the "Progressive". The Synthphonia tracks are characterized by highly majestic symphonic keyboard works that bring to mind Bach or Wagner gone prog. Bold and intense, the music demands and receives the listener's undivided attention. I kept thinking that he could make a comfortable living doing soundtrack work, and, in fact, the promo material points out that Héger has been the in-house composer for a game developing company for the past eight years. The tracks labeled Progressive start off similar to the earlier tunes but in some cases are rocking out of bit more. The synth patterns have a spacier progressive edge, and are more beat oriented. "Sidestep Walking" is like a heavy symphonic techno piece. Quite a nice set and apparently what I was sent consists of most of the tracks from what is actually a 2-CD set.

In summary, Attila Héger will appeal to fans of heavy keyboard symphonic progressive rock. He also has a more aggressive metallic side which can be heard on his Al Norder project (an anagram of Laren d'Or). 

 

RHaD (Research for Historical Audio Documents) is a side project of Raffaele Pezzella (better known as Sonologyst). What Pezzella brings us here is a concrete example of something of what I have always believed – that ALL sound is music, whatever its source (radio transmissions, telephonic conversations, hi-fi test signals, old and forgotten documentaries, unknown field recordists). More than that, there is something else that goes beyond the simple creation of seemingly random sound collages; there is no doubt that here we have the uncovering of secret worlds and other realities, existences parallel to ours and yet separated by vast temporal and spatial distances. Here we have recordings and found sounds that have been manipulated in such a way as to render their contexts irrelevant and meaningless. Subtle concatenations of sound and substance, mood and context, in some instances creating a sense of otherness, that what we’re hearing are broadcasts from dimensions and realities that are not the one we live in. It’s exactly like trying to tune into a specific station on a vintage radio set but you don’t quite know where it is: as you turn the dial this way and that, you catch glimpses of other lives and other existences playing out just like your own. They are of our world and yet not part of it either. These six “metasonic” messages from seemingly emanate from an unknown Otherwhere and that alone will entice us to listen further and more deeply, in the hope of catching something that will peel back the layers and give us what we’ve yearned for. And that, I think, is where the true beauty lies in this album.


Psymon Marshall
 

credits

released June 18, 2021

Metamusic by RhaD.
Featuring: Amline Thomas, voice; Michael Bonaventure, organ; Stefan Schmidt, classic guitar on track 1.
Daniel Barbiero, double bass; Francesco Arrighi, piano; Mara Lepore, piano, on track 3.
Radio tape recordings from Audiobox transmissions (1997-98).

Edited by ©Unexplained Sounds Group
Mastered by Raffaele Pezzella
Artwork: “Detour”. Collage on forex on cardboard by RhaD. 2020
www.deviantart.com/rhad-art
©2021 All rights reserved
unexplainedsoundsgroup.bandcamp.com

experimental avant-garde drone improvisation musique concrete sound art Italy


Atmospherics is a collection of Bass Communion music released by library music company Bruton Music[1] and distributed to media companies for use in television and radio programs. Some of the pieces are extracts and remixes of tracks from other Bass Communion albums.[2]

It was never commercially available.[3]

Composed by Steven Wilson, except "Aftermath" written by Steven Wilson/Theo Travis
All instruments: Steven Wilson

Executive Producer: Jez Poole.
Recorded & mixed at Battery Studios, London, UK.
Mix Engineer: Steven Wilson.
Mastering: Chris Parmenidis, Battery Studios, London, UK.
Post-production Co-ordinator: Claire Leaver.
Graphic Designer: Jacquie O'Neill, Zomba Design

 

 

22 June 2021: Ian Boddy "The Deep"; Bass Communion "And No Birds Sing"

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The Deep was originally released on Something Else Records in 1994 and alongside his previous album, The Uncertainty Principle, has proved to be one of his most popular pre-DiN releases. Inspired by the film The Abyss the original 11 tracks form a continuous suite of music that cover everything from dark ambient soundscapes, Berlin school sequencing through to melodic synth instrumentals. Opening with the haunting sound of a submarine sonar the eerie Ligeti chord masses explode to life with the heavily sequenced Dark Descent. The title track is narrated by David Burns and sets the scene with some awe inspiring facts about the deep ocean which remains largely unexplored. The music then follows a path from the surface down to the dark depths of the hydrosphere until reemerging with the classical orchestrations of Sub-Aquiem before the album finally fades with the return of the sonar. This is as close as Boddy ever got to a true concept album and compositionally stands up to anything else in that oeuvre.


This reissue sees Dutch EM label Groove Unlimited working with Boddy to bring the definitive version of this classic electronic music album back to print. Remastered by Boddy himself there are also a couple of unreleased bonus tracks from the same time period adding an extra 12 minutes of material.

credits

released June 11, 2021

All tracks composed by Ian Boddy, except * by Ian Boddy & David Berkeley.
Produced and engineered by Ian Boddy and mixed to DAT at Something Else Studios (April - August 1994).
Original artwork design by Gary Scott.

Originally released on Something Else Records in 1994 (SER006).
This editions reissued on Groove Unlimited (GR-310).
Remastered by Ian Boddy March 2021.

Aquanauts:
Ian Boddy : Akai S3000 & MPC-60, Roland JD-990, D-550 & 100-M
Modular System, Kurzweil K2000, Korg Wavestation and VCS-3.
David Berkeley : Additional keyboards on Re-Emergence.
Jane Molloy : Voice on Sirens Call.
David Burns : Voice on The Deep and Sub-Aquiem.

ambient berlin school em electronic electronic music electronica dark ambient modular synth sequencer synthwave Sunderland



1.



2.


about Bass Communion And No Birds Sing

2 pieces that originated as sound design / soundtrack material for the work in progress movie And No Birds Sing.

This first 28 minute sequence is assembled from material created for the film, dark industrial sound design, with cavernous metal scrapes, water drips, subterranean drones, and shortwave radio transmissions.

The second theme piece is more beautiful and harmonic, built around a sequence of chords in regular intervals that only arrives back at the beginning after moving through 24 different piano chords.

And No Birds Sing is a story that crosses genres, having aspects of Psychological Thriller, Horror and Mystery. Reality merges with film and the supernatural when a London director starts to experience strange events and is forced to confront his troubled past. The film blurs the lines of reality, memory and fiction where sound constantly motivates the twists and turns of the action.

So far a 4 minute test trailer for the film has been shot, watch it here!

www.youtube.com/watch?v=pqIlIePsKF8

credits

released June 16, 2021

All sound by SW 2020-2021 as Bass Communion
Final assembly and mix June 2021
Voices by Yali and Mia
Cover photograph and design by Carl Glover for Aleph
Audio resolution - 48k/24 bit

license

all rights reserved

tags

 

 

15 June 2021: Kayhan Kalhor et al: Hawniyaz; Portraits: Gasparotti, Ciullini, Stancati

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From Wikipedia, the free encyclopedia

Hawniyaz (Kurdish: ھاونیاز‎) is an album of Kurdish music released in 2016. It was the result of a collaboration among Kayhan Kalhor, Aynur Doğan, Cemil Qocgiri and Salman Gambarov.[1][2] The album was released by Harmonia Mundi. It includes traditional Kurdish songs that are recreated with a new composition, which includes classical, folk and jazz elements.[3]

Kayhan Kalhor is an internationally acclaimed virtuoso on the kamancheh (spiked fiddle), who through his many musical collaborations has been instrumental in popularizing Persian around the world and is a creative force in today’s music scene. His performances of traditional Persian music and multiple collaborations have attracted audiences around the globe. He has studied the music of Iran’s many regions, in particular those of Khorason and Kordestan, and has toured the world as a soloist with various ensembles and orchestras including the New York Philharmonic and the Orchestre National de Lyon. He is co-founder of the renowned ensembles Dastan and Masters of Persian Music. Kalhor has composed works for Iran’s most renowned vocalists Mohammad Reza Shajarian and Shahram Nazeri and has also performed and recorded with Iran’s greatest instrumentalists. He has composed music for television and film and was featured on the soundtrack of Francis Ford Copolla’s Youth Without Youth in a score that he collaborated on with Osvaldo Golijov. John Adams invited him to give a solo recital at Carnegie Hall as part of his Perspectives Series and he has appeared on a double bill at Lincoln Center’s Mostly Mozart Festival, sharing the program with the Festival Orchestra performing the Mozart Requiem. Kayhan is an original member of Yo-Yo Ma’s Silk Road Project for whom he continues to compose for and tour with. His compositions appear on all of the Ensemble’s albums. His most recent albums include Silent City, collaboration with Brooklyn Rider and I Will Not Stand Alone with santoor player Ali Bahrami Fard. Kayhan has been nominated for three Grammys and in 2017 was awarded a Grammy with Yo-Yo Ma and the Silk Road Ensemble (2017).

Kayhan Kalhor, born in Tehran, began his musical studies at the age of seven under Master Ahmad Mohajer. A child prodigy on the kamancheh, he was invited at the age of thirteen to work in the Iranian National Radio and Television Orchestra, where he performed for five years. At seventeen, Kalhor began working with the Shayda Ensemble of the Chavosh Cultural Center, the most prestigious arts organization at the time in Iran. While performing with Shayda, he continued studying the Iranian classical repertoire (radif) with different masters. In 1978 Kalhor went to Rome to study Western classical music and continued his studies at Carleton University in Ottawa, Canada, where he received a degree in music. He has composed works for Iran's most renowned vocalists, including Mohammad Reza Shajarian and Shahram Nazeri and has performed and recorded with many of Iran's greatest artists. In 1991 he co-founded Dastan, the renowned Persian classical music ensemble, and in 1997 he formed Ghazal ensemble with Shujaat Husain Khan. His commissions include works written for the Kronos Quartet and for Yo-Yo Ma’s Silk Road Project, with whom he continues to compose for as well as tour. In 2002 he was nominated for a BBC Radio 3 World Music Award; In 2005 he was awarded the Preis der deutschen Schallplattenkritik (“German Record Critics’ Award”); five of his recordings have been nominated for Grammys and in 2017 he was awarded a Grammy.

 


Portraits is a new series from Unexplained Sounds Group focusing on electronic and electro-acoustic music composers. Each release creates a 'portrait' of three musicians by showcasing representative pieces of their recent musical journeys, serving as a guide for further listening and a means of exploring their work. This first volume is dedicated to three Italian musicians: Gabriele Gasparotti, Daniele Ciullini, and Mario Lino Stancati. Gasparotti and Stancati are among the most talented emerging musicians on the Italian experimental scene, while Ciullini is a veteran of the post-industrial underground who, after a very long silence, returned to music in 2012.   Our thanks to Friend of Freeform Raffaele Pezzella for providing us with a promotional copy of Portraits.

GABRIELE GASPAROTTI

Gabriele Gasparotti (05/09/1987) composes electroacoustic music on analog instruments. He is the creator of the project Extrema Ratio (music inspired by the script of Alberto Cavallone’s lost movie Maldoror – Il dio selvaggio) and of the artistic collective Gasparotti Muga Muchū Morphing Theater – a multimedia project that aims at the interaction between music and the performative arts and is deeply influenced by surrealism and esoterism. His video La nascita di Zelda v. 2.0 (Zelda’s Birth v. 2.0) was screened at the 76th Venice International Film Festival in the section Il futuro del corto d’autore (The Future of Art Shorts). He is the founder of the record label Il Dio Selvaggio and his latest album is Istantanee vol.1 (Il Dio Selvaggio, Dio Drone, Dornwald).

soundcloud.com/gabriele-gasparotti

DANIELE CIULLINI

Active since the 80s in the area of the tape-network with some self-productions and participations in compilations of labels and fanzines of the time, after a iatus lasting about thirty years, Daniele Ciullini returns to the music and live sets. His recent works were published by Luce Sia and Silentes. Unexplained Sounds Group presents some unreleased tracks made by using toy instruments, field recordings and automatic voices.

soundcloud.com/danieleciullini

MARIO LINO STANCATI

Mario Lino Stancati (Italy, 1981) graduated in "Disciplines of the Arts, Music and Theater". He is an actor, director, playwright, poet, musician and composer.Not chained to any individual musical genre (he crosses progressive ambient, concrete music and avant-garde composition) and motivated to explore any form of experimentation with music, he developed methodologies and expressive practices capable of merging both vocal performativity and guitar playing.

soundcloud.com/mariolinostancati
 

credits

released June 4, 2021

REVIEWS

Avant Music News
avantmusicnews.com/2021/06/07/amn-reviews-gasparotti-ciullini-stancati-portraits-2021-unexplained-sounds-group/


Edited by ©Unexplained Sounds Group
Mastered by Raffaele Pezzella (Sonologyst)
D. Ciullini cover photo by Roberto Deri
©2021 All rights reserved

experimental avant-garde drone improvisation musique concrete sound art Italy


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01 June 2021: Dave Kerzner "New World"

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Tonight we feature the Deluxe, two-cd edition of this release:


From Wikipedia:

New World is the debut solo album by American musician, songwriter, producer and sound designer Dave Kerzner.[6] This is Kerzner's first album since his departure from the band Sound of Contact, and was developed in 2014.[6] The album features numerous collaborations with established artists such as Fernando Perdomo, Steve Hackett, Nick D'Virgilio, Durga McBroom and Keith Emerson.[3] Two versions of the album were developed: a standard edition and a two-disc double album deluxe edition.[7] The former was released in December 2014, and the latter was released in January 2015.

The album was produced and mixed by Kerzner. Most of the album was recorded remotely with reference tracks developed by Kerzner using music software technology from his sound production company Sonic Reality. The tracks were then re-recorded by other artists at remote locations and sent back to Kerzner's studio in Miami for mixing.[8] Veteran mixing engineer Tom Lord-Alge mixed the album's first single release, "Stranded."[3]

New World is a concept album. The story takes place in a future world consisting primarily of hazardous desert terrain where numerous biodomes of massive scale contain and protect the global populace. The album revolves around a character known as The Traveler; stranded in the desert and clinging to life, he embarks on a journey to return to the biodome from which he originates while recounting the events that led him to his fatal situation.[8]

The story serves as an allegory for one's own spiritual and subconscious evolution. The Traveler, in his struggle for survival, undergoes a metamorphosis from the position of victim to a figure of immense capacity and conquers his own personal demons, empowered through his discovery of the light amidst a shroud of darkness and uncertainty.[8][9]

Disc One

No.TitleWriter(s)Length
1."Stranded, Pts. 1-5
  • Part One:  Isolation
  • Part Two:  Delirium
  • Part Three:  March of the Machines
  • Part Four:  Source Sublme
  • Part Five:  The Darkness" (Instrumental)
Dave Kerzner11:28
2."Into the Sun"Kerzner9:19
3."The Lie"Kerzner5:05
4."The Traveler" (Instrumental)Kerzner2:02
5."Secret"Kerzner8:09
6."Reflection"Kerzner1:44
7."Under Control"Kerzner6:12
8."Premonition Suite
  • Part One:  Premonition
  • Part Two:  Resilience I
  • Part Three:  Subtle Signs Of Life
  • Part Four:  Altered State
  • Part Five:  Illuminessence"
  • Kerzner, Dunnery8:55
    9."In The Garden"Kerzner6:16
    10."The Way Out"Kerzner5:24
    11."Recurring Dream"Kerzner4:30   

    Disc Two

     

    No.
    TitleWriter(s)Length
    1."Biodome" (Instrumental)Dave Kerzner1:31
    2."Crossing of Fates" (Instrumental)Kerzner4:49
    3."Theta"Kerzner4:01
    4."My Old Friend"Kerzner5:18
    5."Ocean of Stars"Kerzner6:41
    6."Solitude"Kerzner5:00
    7."Nothing"Kerzner, Perdomo6:17
    8."Erased" (Instrumental)Kerzner2:03
    9."Realign"Kerzner5:04
    10."Nexus" (Instrumental)Kerzner5:38
    11."New World"Kerzner5:44
    12."Redemption (Stranded, Pts. 6-10)
    • Part Six:  The Oasis
    • Part Seven:  Resilience II
    • Part Eight:  High On The Dunes
    • Part Nine:  Mirage Of The Machines
    • Part Ten:  To The Light"