17 December 2019: A FreeForm Bob Rivers Comedy Corp Twisted Christmas

Join us for a FreeForm Radio holiday tradition, Twisted Christmas, as we spotlight hilarious Christmas song parodies from the Bob Rivers Comedy Corp.   We'll also hear tunes from the Capitol Steps, the Fools, Mojo Nixon, John Prine, the Reduced Shakespeare Company, and others.  There will be COWS!!!
Both Elvis AND Sarah Palin will be on the show - you won't want to miss it!

Tune in to the Tuesday Morning Show at 9 am for a preview of tonight's show after the Island Messenger.

And it's not too late to pledge your support to public radio KMXT online at kmxt.org

10 December 2019: Steve Hackett - Genesis Revisited Band & Orchestra: Live At The Festival Hall

Following a sensational 2018 UK tour, legendary guitarist Steve Hackett has announced the release of a 2CD + Blu-Ray digipak titled 'Genesis Revisited Band & Orchestra: Live at the Royal Festival Hall' on 25th October 2019 via InsideOutMusic.
The album was recorded on 5th October 2018 at The Royal Festival Hall, London, during the 2018 Genesis Revisited Tour which fulfilled a long held ambition of Steve's: to perform the music of Genesis with a live orchestra. The concert featured Steve's regular touring band of Roger King (keyboards), Gary O'Toole (drums/percussion), Rob Townsend (saxes) with Nad Sylvan on vocals and Jonas Reingold (The Flower Kings) on bass, together with special guests John Hackett and Amanda Lehmann, and augmented by the 41-piece Heart Of England Orchestra conducted by Bradley Thachuk.
Steve commented - "It was a fantastic experience for both the band and myself to play alongside an orchestra and to feel the power of the sound this extraordinary combo created. It sounds equally compelling on both film and audio. I'm proud to release this exciting product."
The 2CD set includes tracks from Steve's time with Genesis and also from his extensive solo career.
* Please note that:
Blu-Ray has concert (stereo + 5.1 audio), documentary, promo videos
DVD only has the concert (stereo + 5.1 audio), no extras.
The full track-listing is:
2CD & Blu-Ray Digipak Tracklisting
CD 1:
1. Dance On A Volcano
2. Out Of The Body
3. The Steppes
4. Firth of Fifth
5. Dancing With The Moonlit Knight
6. Blood On The Rooftops
8. Shadow of the Hierophant

CD 2:
1. In That Quiet Earth
2. Afterglow
3. Serpentine Song
4. El Nino
5. Supper's Ready
10. The Musical Box

The Blu-Ray digipak also includes a behind the scenes documentary plus promotional videos for Under The Eye Of The Sun, Beasts In Our Time and Peace.

03 December 2019: Ian Boddy & Nigel Mullaney; Intergalactic Touring Band

Concerts are unique experiences especially when the musicians on stage are improvising. Tracks grow and build only to be torn down and from the sonic debris the next piece slowly coalesces and takes its own shape.

This organic process comes naturally to DiN label boss Ian Boddy and his long time musical collaborator Nigel Mullaney. They have between them a wealth of experience both on the DiN label and in the commercial world of music production. Utilising an array of modular synth racks as well as hands on sequencers and drum machines the duo can constantly mold and shape their performances. Along with Boddy’s signature Ondes Martenot synth lead lines and Mullaney’s tasty Moog keyboard licks Schemes & Ruses is an audio document of their performance at the Capstone Theatre in Liverpool on 2nd March 2019. The evening was a celebration of the DiN label and it’s 20th year anniversary and the duo were supported by d’Voxx who recently released their debut album Télégraphe (DiN58) on the label.

The music starts in mysterious fashion with the enigmatic “Hidden Rooms” which builds to an astonishing orchestral climax before the steady, insistent drum grooves of Mullaney take over. Boddy’s Berlin School tinted sequence lines intertwine with these rhythms as the performance takes the listener on a sonic journey from ambient atmospheres to toe tapping slices of up tempo electronica that slowly increase in intensity to the heavily sequenced encore track “Showdown”.

Released on the download only sub-label of DiN Schemes & Ruses showcases two musicians whose natural habitat is as much on the stage as in a studio and captures a mesmerising one off evening of live electronic music.


released November 15, 2019

All tracks composed, played and produced by Ian Boddy & Nigel Mullaney.

Recorded live at the Capstone Theatre, Liverpool on 2nd March 2019.

Mixed & mastered by Nigel Mullaney (May 2019).

Cover image Wendy Carroll
Concert promotion Neil Campbell
Sound engineer & lights David Williams

Ian Boddy:
Eurorack modular, Roland System 500, Analogue Systems French Connection, Folktek Resonant Garden

Nigel Mullaney:
Eurorack modular, Polyend SEQ, Elektron Digitone & Digitaky, Moog Sub37


Intergalactic Touring Band

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Intergalactic Touring Band Album Cover
The Intergalactic Touring Band (IGTB) was not an actual music group but rather a science fiction pop music concept album released in 1977 by the now defunct Passport Records in America and Charisma Records in England. The ensemble album featured many star performers from progressive rock and other genres, including Meat LoafBen E. KingLarry Fast (Synergy), Percy JonesAnnie HaslamRod ArgentPeppi Marchello (Good Rats),[1] and many others. The songs are loosely held together by an epic theme of multi-generational space travel and human space colonization.

Fictional band members[edit]

  • Hope Larson — Lase Keyboard Panel
  • Ixol Phaane — Computerized Keyboard Synthesis
  • Justice Conrad — Globe Lase Base
  • Krys — Holographic Percussion
  • Raif Reed — Lase Guitar

List of songs and performers[edit]

Approach (Overture)
Silver Lady
Universal Zoo/Why
  • Lead vocal, "Universal Zoo": Arthur Brown
  • Lead vocal, "Why": Joel Krantz
  • Electric guitars: David Scance
  • Fender bass: Peter Sobel
  • Fretless Bass on "Why": Percy Jones
  • Keyboards: Brian Cuomo
  • Drums and percussion: Paul Marchetti
  • Primitive percussion: Paul Marchetti, Marty Scott, Peter Sobel
  • Synthesizers and vocoder: Larry Fast
  • Group vocals: Joel Krantz, Frank D'Agostino, Shelley Thompson
  • Additional vocals: Marty Scott, Peter Sobel, Bill Guerra
  • Orchestral arrangement: Danny Beckerman
  • Effects vocal: "The Boss"
Starship Jingle
  • Lead vocal: Peppi Marchello (misspelled Pepe in album credits)
  • Electric and acoustic guitars: David Scance
  • Electric Autoharp: Marty Scott
  • Fender bass: Peter Sobel
  • Keyboards: Brian Cuomo
  • Drums and percussion: Paul Marchetti
  • Synthesizers: Larry Fast
  • FlutesJohn Zangrando
  • Group vocals: Joel Krantz, Frank D'Agostino, Shelley Thompson
  • Prepared effects: Larry Fast, Marty Scott, Peter Sobel
  • Orchestral arrangement: Wil Malone, Stephan Galfas
  • Lead vocal: Dave Cousins
  • Electric and acoustic guitars: David Scance
  • Bass guitar: Peter Sobel
  • Keyboards: Brian Cuomo
  • Drums and percussion: Paul Marchetti
  • Synthesizers: Larry Fast
  • Flutes: John Zangrando
  • Group vocals: Joel Krantz, Frank D'Agostino, Shelley Thompson
  • Orchestral arrangement: David Bedford, Stephan Galfas
Reaching Out
First Landing
  • Lead vocal: Steve Barth
  • Electric and acoustic guitars: David Scance
  • Bass guitar: Frank Prescod and Peter Sobel
  • Keyboards: Brian Cuomo
  • Drums and percussion: Paul Marchetti
  • Additional percussion: Mighty Young Joe Intile, B. E.
  • Synthesizers: Larry Fast
  • Orchestral arrangement: Wil Malone and Danny Beckerman
  • Group vocals: Joel Krantz, Frank D'Agostino, Shelley Thompson
  • Additional vocals: The Passport Munchkins
Space Commando
  • Lead vocal: Mr. Snips
  • Electric and acoustic guitars: David Scance
  • Bass guitar: Peter Sobel
  • Keyboards: Brian Cuomo
  • Drums and percussion: Paul Marchetti
  • Additional percussion: Marty Scott
  • Synthesizers: Larry Fast
  • Orchestral arrangement: David Bedford and Stephan Galfas
  • Group vocals: Joel Krantz, Frank D'Agostino, Shelley Thompson
Robot Salesman
  • Lead vocal: Jim Cuomo
  • Electric and acoustic guitars: David Scance
  • Electric guitar: Ryche Chlanda
  • Acoustic guitar: Peter Sobel
  • Bass guitar: Frank Prescod
  • Drums and percussion: Paul Marchetti
  • Synthesizers, Mellotron and vocoder: Larry Fast
  • Orchestral arrangement: Stephan Galfas and Brian Cuomo
Love Station
  • Lead vocal: Ben E. King
  • Electric guitars: John Tropea
  • Bass guitar: Frank Prescod
  • Keyboards: Brian Cuomo
  • Drums and percussion: Paul Marchetti
  • Additional percussion: Peter Sobel
  • Synthesizers: Larry Fast
  • Saxophone soloClarence Clemons
  • Guitar solo: John Tropea
  • Orchestral arrangement: David Bedford, Stephan Galfas and Brian Cuomo
  • Background vocals: Janice Pendarvis and Friends
A Planet Called Monday/Epilogue
  • Lead vocal, "A Planet Called Monday": Francis Rossi and Rick Parfitt
  • Lead vocal, "Epilogue": Jeffrey Leynor
  • Drums and percussion: Paul Marchetti
  • Synthesizers: Larry Fast
  • Group vocals: Joel Krantz, Frank D'Agostino, Shelley Thompson, David Scance
  • Orchestral arrangement: Danny Beckerman
  • Electric guitars: David Scance
  • Bass guitar: Peter Sobel
  • Keyboards: Brian Cuomo
Keeper Keep Us
  • Lead vocal: Meat Loaf
  • Electric and acoustic guitars: David Scance
  • Acoustic and bass guitars: Peter Sobel
  • Fretless bass: Percy Jones
  • Keyboards: Brian Cuomo
  • Drums and percussion: Paul Marchetti
  • Synthesizers: Larry Fast
  • Group vocals: Joel Krantz, Frank D'Agostino, Shelley Thompson
  • Orchestral arrangement: Wil Malone

26 November 2019: Stick Men with David Cross, Live in San Jose, Costa Rica

Tonight we'll play an entire show from 2018, recorded in San Jose, Costa Rica.
Stick Men — touch guitarist Markus Reuter, bassist/Stick player Tony Levin and percussionist Pat Mastelotto — have been expanding the frontiers of progressive music since 2007.  With a repertoire that encompasses Levin & Mastelotto’s legacy in King Crimson, Reuter’s innovative soundscapes and searing improvisations, 4 studio albums as a group and even Igor Stravinsky’s Firebird, they are the real deal, whether as a self-contained unit or joined by other groundbreaking musicians.  I heard them live in 2011 when they toured with The Adrian Belew Power Trio, both performing their own music and joining Belew’s band for an awe-inspiring set of Crimson classics.
In August and September 2018, Stick Men teamed with violinist David Cross (best known for his contributions to King Crimson from 1972 to 1974), touring ten countries in Latin America.  The results are documented on the new Panamerica, due for release in September.  Expanding on previous live Stick Men releases Midori (recorded with Cross in Japan) and Roppongi  (recorded with saxophonist Mel Collins), the set will include:
  •   A complete show recorded live in Costa Rica
  • “Pan America Specials” recorded live in Argentina and Brazil
  • “Pan America Suites” recorded live in Peru, Chile, Argentina, and Uruguay
  • “Fire Starters”, a continuous mix of selected Cross/Reuter show opening pieces
Go here for all the details!
— Rick Krueger

Disc III – Full Show, Part 1 (Costa Rica)

3-1 Opening Improv
3-2 Hide The Trees
3-3 Cusp
3-4 The Talking Drum
3-5 Larks’ Tongues In Aspic, Part II
3-6 Crack In The Sky
3-7 David’s Improv
3-8 Schattenhaft
3-9 Sartori In Tangier
3-10 Swimming In T

Disc IV – Full Show, Part 2 (Costa Rica)

4-1 Plutonium
4-2 Red
4-3 Mantra
4-4 Prog Noir
4-5 Shades Of Starless
4-6 Level 5
4-7 OPEN

Scott Medina writes:

As they cross the globe celebrating their 50th Anniversary, the mighty King Crimson continue to leave their mark on progressive rock in more ways than one, not the least being the many offshoot ProjeKcts and other ensembles that have been spawned in their wake. Such is the pedigree and devotion of the musicians involved that even when Robert Fripp himself isn’t in a particular grouping, the aura of his influence is still felt yet again. Cue the music of… Stick Men.
Although Stick Men is primarily the trio of Markus Reuter and Crimson alumni Tony Levin and Pat Mastelotto, they truly come into their own when joined by special guest David Cross on violin and keyboards. With three different decades represented from Crimson’s history – Cross starting in the 70s, Levin in the 80s and Mastelotto in the 90s – there is more than enough credibility to include a healthy dose of material from that band in the Stick Men set-list. Equally important as any specific songs “covered” in the set is the ethos of the musicians’ approach, which is heavily rooted in improvisation. And this is why a 5-disc set recounting the band’s travels across Central and South America may be of interest to their more devoted fans, though not an ideal starting point for a newcomer. “PanAmerica”’s main full show, which comprises Discs 3 & 4, has many of the same selections as their previous 2015 release “Midori – Live in Tokyo” which also featured Cross with the band. But as many Crimson aficionados will attest – given the endless supply of multi-disc live boxed sets continuously emerging from that band’s history – more is never enough, as there are innumerable nuances and variations on display in each song and improvisation as they are played night after night. In this case, not only has an excellent full show been captured live in Costa Rica, but the remaining 3 discs offer a deep dive into the improvisational nature of the band, culled from shows in several different countries.
Let’s start with the complete show first. The mix is considerably different from the “Midori” release, which will give completists a new vantage point from the get-go. After the traditional beginning with an “Improv”, the band launch into two of their fine original pieces “Hide the Trees” and “Cusp”, both of which establish the strength of Cross’ inclusion to the band. As a trio, Stick Men produce a dizzying amount of sounds: Mastelotto’s wide-reaching attack on his extensive percussive kit, Levin’s stick playing serving the role of a bassist and guitarist simultaneously, and Reuter’s Touch guitars and other effects soaring high overhead. Adding Cross into the mix is a secret weapon which enables them to more fully traverse the thrilling terrain of “Red”, “The Talking Drum” and “Larks Tongues in Aspic II”, and of course brings additional color to their improvisational nature. It feels like a natural fit, and the members themselves aren’t shy about praising one another. It’s endearing to hear Cross call Stick Men “The best rock band in the world!”
While much of the material is instrumental, a few pieces feature spoken word or sung vocals, offering a nice contrast. One of the most successful of these is “Crack in the Sky” which features Tony Levin’s smoky spoken vocals over an atmospheric groove, not unlike Robbie Robertson’s “Somewhere down the Crazy River” on which Levin also played bass. Reuter gets to have fun with his spoken section on the quirky “Plutonium”, and of course who wouldn’t love the genre’s theme song “Prog Noir”, sung by Levin? With blistering versions of Crimson’s “Level Five”, original pieces “Schattenhaft” and “Mantra” and much more, there’s plenty of material to keep Stick fans happy, as well as a generous dose of between-song banter and stories. You can even learn how to properly count-out “Mantra”’s time signatures, a much more daunting proposition than “We Will Rock You”.
“Panamerica” Box Set Artwork
The real depth of this box set reveals itself in the other 3 discs, all of which are largely improvised. Disc 1 plays with extended and shorter versions of improv-based songs that are present in their regular concert set on Discs 3 & 4. For example, “Swimming in T” has a longer version on Disc 1 in addition to two shorter “Swimming Improvs” as well; the “Opening Improv” on Disc 1 is 12 minutes longer than the full-concert version on Disc 3, and we get two versions of the track “Open” as well as “Shades of Starless” which is a meditation on the Crimson classic. Disc 5 immerses the listener into soundscapes: relatively shorter ambient pieces which are heavy on the synth and without percussive accompaniment. These actually were sourced from using only the isolated improvised parts of Markus and David. The songs have been edited to run into each other without any audience applause, so the result feels like one continuous studio recording for the entire disc. Finally, Disc 2 features 4 longer “Suites” with each track being sourced from 3 separate pieces and then titled for the region in which they were played. These are the most interactive and engaging improvs of the lot, with some delightful percussion from Mastelotto, Levin’s stick holding down the lower end while Cross and Reuter unleash frenzied playing over top on “Montevideo Suite”.
The box set itself is beautifully packaged, featuring artwork by Hajo Müller with slip case, individual jackets for the CDs plus a 24-page booklet with exclusive tour photographs by Tony Levin. The music of Stick Men is not for everyone, and being that this 5-disc set focuses so much on improvisation it is likely that a newcomer would be overwhelmed. But for the faithful, this approach offers an immersive exploration into the development of the band over the length of the tour. And let us not forget that experimentation such as this is surely one aspect of what “progressive” music is all about.
Released by: Iapetus / MoonJune Records
Released Date: November 8th, 2019
Genre: Progressive Rock


  • Tony Levin / Chapman Stick, Voice
  • Pat Mastelotto / Acoustic Drums, Electronic Drums, Percussion
  • Markus Reuter / Touch Guitar, Electronics Soundscapes, Keyboards
  • David Cross / Electric Violin, Keyboards

05 November 2019: Mostly Autumn / Bernhard Wostheinrich

This week FreeForm returns to its progressive rock roots by featuring Mostly Autumn's  2019 release White Rainbow.
According to The Prog Mind:
Sometimes, albums just appear out of thin air.  That’s what it felt like for the new Mostly Autumn record.  I see now that Prog Magazine shared the information, and the band did, too, but for some reason Facebook decided to omit it from my timeline, so the album seemingly came out of nowhere for me.  In fact, the limited edition was mailed out to fans around Christmas, so some people have had it for a couple months already.  In the end, the band seems to consider this a 2019 release, and I believe the release date was officially the 1st of March.
Mostly Autumn hails from the UK and has been at the game since 1995.  The band currently consists of Olivia Sparnenn on vocals, Bryan Josh on guitars and vocals, Chris Johnson on guitars, Iain Jennings on keyboards, Angela Gordon on flute and keys, Andy Smith on bass, and Alex Cromarty on drums.  A couple things to note: This is Olivia’s fifth album with the band since the original singer left in 2010.  This is also only the second album without original rhythm guitarist Liam Davison after his death in 2017.
Mostly Autumn has been around so long that I feel as if progressive folk rock is literally defined by them in some ways.  Their music is definitely progressive rock, but they focus on soaring vocal melodies, momentous guitar solos, hefty folk portions, and organic atmospheric accents that elevate the whole experience.  Hearing one of their albums will truly transport you to dark forests, starry night skies, and inner turmoil.  So, this band is more like Renaissance than like the typical prog legends of yesteryear.
“White Rainbow” feels far more textured than any of their past albums.  The music come across as effervescent, mysterious, and nostalgic.  You will again hear weighty portions of folk and Celtic music, but progressive rock shines through in several important moments, such as the 19 minute long title track.  It’s truly a haunting experience from beginning to end, and that is exactly what I want from a Mostly Autumn record.
This is one of those albums that just has so many “heavy hitter” songs.  It seems like every song on it is well-written, well-structured, and a pure joy to behold.  For instance, “Procession” and “Viking Funeral” begin the album.  “Procession” is beautiful Celtic music intro, and you’d think that “Viking Funeral” would follow this ethnic suit, but it actually has more of an electronic overlay to it that gives it both modern and an ancient feelings.  The combination is outstanding.  The song actually revisits some melodies from my favorite Mostly Autumn album, “The Ghost Moon Orchestra”, and the baritone vocal harmonies near the end are perfect.
Once you move passed such an amazing couple of tracks, you almost expect a filler song.  However, what we get is “Burn”, the first track with Olivia on lead vocals.  It is a brightly shining star in the exquisite darkness of this album with huge melodies and this overwhelming sense of longing.  “Run for the Sun” follows and offers a similarly brilliant performance, specifically with an epic and emotional guitar solo.  And so the album continues with strong track after beautiful track.  It may be the band’s most consistent album to date.
Some of my other favorites are just as strong.  “Western Skies” starts out as a soaring ballad, but transitions into an orchestral gallop of huge proportions.  The title track itself, though, is a work of pure brilliance, and in some ways outshines everything else.  It is an epic only in the sense that is almost 20 minutes long: The way it plays, however, is as a collection of dark transitions that pass through melodic highs to riffing lows.  Rather than being an over the top expression of the Mostly Autumn sound, it is more subdued and subtle.  It feels introspective and grounded, and I absolutely love that: This restraint applies even for the crescendo near the end, which maintains its mature tone.
Overall, “White Rainbow” is a 78 minute album that doesn’t feel anywhere near that long.  It spirits you away to dark nights and distant feelings, but still feels organic, human, and grounded.  That is not an easy balance to maintain, but the band pulls it off with flying colors.  If you are fan of progressive rock with folk tendencies, like so many newer bands, it is time to visit the band that I consider to be the modern mother of them all.

In the second half of tonight's show, we'll be playing Live at Electrozone Festival 2018, Part 1 from Bernhard Wostheinrich's 2018 release, Live in Ithaca.   This release is available at a pay what you want download at Wostheinrich's Bandcamp page - click on the title for the link.  There are several other titles also available as pay what you want at this link.
Materiaal Series, Part XXI

Recorded at ElectroZone festival, Risley Hall, Cornell University, Ithaca, on October 14, 2018.

Composed, programmed, and recorded in real-time by a crazy mind and his laptop. No prepared sequences, patterns, or melodies used.

This was the closing performance at the Big EZ Festival; the first ElectroZone multi-day event at Risley Hall on the Cornell campus.

The ElectroZone's goal is to create an electromusic community that celebrates inclusion, collaboration, empowerment, and performance innovation.

"We were so fortunate to have Bernhard perform at our festival. He was our headliner and final performer. Crouched on mats on that dark the stage he was like a figure from a fairy tale, Bernhard’s music transported us to the shared place of our imagination and artistry. He was the perfect summary of all that we were trying to do with the festival. His music was not a conclusion to the event, but an inspirational mandate to go out and create. I am honored to know Bernhard and I wish all you listening the same privilege" - Elijah Joseph Weber-Han



released October 11, 2019

Bernhard Wöstheinrich: Keyboards and virtual synthesizers, Minimoog ModelD (reissue), Live-Sequencing

Editing, mixing and mastering: Markus Reuter
Cover drawing: Christine Kriegerowski

Special thanks to Elijah Joseph Weber-Han, Mike Hunter and George "G$" Bley

29 October 2019: Halloween!

In a departure from previous programs, tonight I'll be playing songs related to the theme of "Death". 

Tonight's playlist:

22 October 2019: Witchcraft & Black Magic in the UK / Final Strike of the Pumpkin Witch

Tonight is the first of two FreeForm shows with a Halloween theme.

Witchcraft has had a fascinating and turbulent history in the UK. Through periods of persecution and prejudice, it has survived to the present day and many people still practise the tradition now.From the 7th century onwards, attitudes towards the practise began to change. During the medieval period, fears over so-called ‘black magic’ began to emerge. This referred to the power of witchcraft to bring harm to others. An association was also drawn between witchcraft and the devil.
Read the full article by Brett Almond: www.holisticshop.co.uk/articles/history-witchcraft
This Eighth Tower Records release is dedicated to the memory of Daniel Williams, brilliant music critic, musician and dearest friend, I had the honor and pleasure to collaborate on this project. His sudden departure hurt me deeply, but didn't stop me from carrying on with the work we started together. A work in which his memory continues to be alive.
Raffaele Pezzella


releases October 31, 2019


Avant Music News

1208 North Fuller Ave Apt 1

© Eighth Tower Records
Curated by Raffaele Pezzella (a.k.a. Sonologyst)
Cover Image: "Three Women and Three Wolves",
Eugene Grasset painting (1900)
Design: Francesco Di Stasio
Mastering: Sonologyst
© All rights reserved

June 3rd, 2019:
Good God. I've escaped the clutches of the Pumpkin Witch. But for how long, I know not.

I was torn from my home, last October, by three dark figures: The Disgraced Scientist, The Vampire Tyrant, and Haunter of Darkened Forests. These are the three villains responsible for summoning the Pumpkin Witch and conjuring chaos and death in my small town. And soon, the rest of the world.

While trapped in the hovel of the Pumpkin Witch, her terrible plans became mockingly revealed to me. Knowing what may be the ghastly fate of humanity was but a part of the barrage on my psyche. Just laying eyes on that half-rotted gourd hag was torture enough. I wish not to delve much more into what I suffered at the hands of my vile tormentors, for my own mental well-being. Some good may have come from my entrapment by the Pumpkin Witch and her cohorts though: I discovered a possible weakness.

The Pumpkin Witch is a seemingly ancient phantasm that can inhabit any body prepared for her. If I can expel her spirit, the very essence of the Pumpkin Witch, from the sickening physical vessel she currently inhabits, and transfer it to another vessel of my own...  more


released October 13, 2019

Pumpkin Witch is The Disgraced Scientist, The Vampire Tyrant and Haunter of Darkened Forests

Bonus tracks "The Shape in the Darkness" and "Ghosts in the Graveyard" recorded live in a cemetery


all rights reserved




15 October 2019. Tone Science Module No.3 Cosines and Tangents (DiN:TS03) / Candy L "Forest Dreams"

Tone Science sub-label, from DiN records, continues to explore the world of modular synth music.

Following the success and critical acclaim of the first two Tone Science compilation albums, DiN label boss Ian Boddy has collated another nine tracks from musicians of varying backgrounds working in the realms of modular synthesis.

Three of these names will be familiar to DiN listeners whereas the other six are new to the label.
Thus the album opens with a shimmering soundscape from American ambient pioneer Robert Rich who has previously collaborated with Boddy on three DiN releases. Well known for his infamous “sleep concerts” Rich here focuses in on the sonic details that modular synthesisers can offer the composer. The following two tracks by Caspar Hesselager and Little Ambient Machine show beautifully how a simple melodic sequenced phrase can be shifted, fractured and refocused in the analogue domain.

The mid album section then features two very different tracks with a more experimental feel. Radek Rudnicki cleverly mixes samples of traditional Japanese music controlled in the modular world with great swathes of analogue synth whereas Eden Grey uses her...  more


releases October 18, 2019

1. Robert Rich Cyclosporum 6:32
A simple keyboard improvisation, playing chords through an arpeggiator, into an analog shift register to create four voices of shimmering repetition. 

2. Caspar Hesselager The Divided Apparatus 8:51
Made on a Make Noise Shared System, patched and recorded within a few hours to one stereo track. A simple pattern is developed in different ways in terms of accents and timbre.

3. Little Ambient Machine Anemones 9:02
Anemones is a ‘more or less’ generative patch using only 3 sound sources and fx. The heart of this patch is Chance in conjunction with an O&C quantizer, providing random triggers and pitch.

4. Radek Rudnicki En-Edge 7:04
En-Edge explores re-contextualisation of traditional Japanese music with granular and FM synthesis. I use recordings of Buddhist chants from Kyoto, featuring Biwa master Shoukou Okada and Shoei Mizo. 

5. Eden Grey AVA 2 7:27
A sonic meditation composed with my custom Eurorack modular synthesizer, focusing on the slow rhythmic dispersion of sounds combined with a drone vibe.  I am concentrating on the tones created with subtle movements & the silences between them. 

6. Benge Round #2 6:02
Having set up a tone-sequence on ARP2500 I then processed some percussive loops on MODCAN-A, making use of the CV-Recorder, which can be used as a crude audio sampler.

7. d’Voxx Angel 5:34
Angel, a performance composition for new modular instrument. Centred upon both analogue & digital voices, modulation and sequenced under control voltage, it invokes a transient spirit trapped in the twilight.

8. Redshift Berserker 7:48
Music for me is about one thing and one thing only, emotion. Without that everything else is irrelevant.

9. Jogging House Hands 6:30
Hands is about the sensation you feel, when the touch of a loved one pulls you out of your daydreams and back to reality - just to drift off again afterwards.


all rights reserved


Forest Dreams. An ambient, dark ambient soundtrack for events imagined. As much about "sound" and perception as about music.
Loosely based on the "War Of The Worlds" by Orson Welles.

I thank Colin Blake (Playman 54) for his amazing and haunting synth work on "Whose Woods These Are"


released December 9, 2016

All compositions and music by Candy L except "Whose Woods These Are" by Candy L & Colin Blake (Playman 54)

All of my music is created with the following: Yamaha MM6 synthesizer, Yamaha 61 key digital, Novation Launchkey, Alesis QX49 midi keyboard, with occasional live guitar, bass or other, instrumentation. Software used: Kontakt, Reaktor, VStation, Bass Station, Replika, Valhalla, Hypersonic, Guitar Rig, VS20, Izotope, Ableton Live, Protools, Blocks Wired, Kontour, Kinetic Metal and numerous other vst FX.


all rights reserved



ambient cinematic dark ambient heavy metal ambient neoclassical soundtrack themed United State