28 March 2023: Sebastian Hardie; Markus Reuter featuring Sha; Experimental Music from Latin America

 Be sure to follow KMXT FreeForm Radio on Facebook and Bandcamp.  

Please support FreeForm Radio and KMXT by going to KMXT.org and pledging your support.

The music you hear on tonight's show is available on the artists' Bandcamp pages and websites. (links below) 

We urge you to support the musicians you hear on FreeForm Radio.

 

Sebastian Hardie were Australia's first symphonic rock band. They formed in Sydney in 1967 as Sebastian Hardie Blues Band but dropped the 'Blues Band' reference when they became pop-oriented. By 1973 they developed a more progressive rock style, and later performed as Windchase, but disbanded in 1977.  

From Prog Archives:  With the compositional knack and know-how of second-wave contemporaries CAMEL--most notably to the style herein, The Snow Goose was released a year prior, 1975, and Moonmadness the same year as this, 1976--I also hear stylistic choices derived most likely from YES and GENESIS, respectively (in terms of how much of each you're likely to hear on this album).

Overall, a solid release, especially, I would say, for a sophomore album (and especially one following up such a solid debut). Some of the compositions are a tad stale and we only get so much interest throughout. The opening title track, a 20-minute epic, is beautiful and at times interesting and is without a doubt the strongest song (and strongest overall material offered) on the album. Most notably otherwise is track 4, "Hello Phimistar". It's very hard, in this case, not to compare directly to Camel, but Australia's Sebastian Hardie is fortunately no carbon copy (I think it's overstated just how many carbon copies in Prog there are in The Second Wave... there just aren't that many ultimately).

 

Electro-acoustic improvisations with an ambient character and contemporary classical sensibility. Sha is feeding Markus' live processing setup with mostly long and intricately textured notes that then get transformed into deep and ever evolving soundscapes.

0000 is the first album in Markus Reuter's "featuring" series of releases with extraordinary musicians.

credits

released September 15, 2011

Stefan Haslebacher: Bass Clarinet
Markus Reuter: Live Electronics

Music by Reuter/Haslebacher

Recorded to 2-track stereo at PROGR, Bern, October 2008
Mastered by Lee Fletcher

Produced by Markus Reuter for Unsung Productions

Tags

ambient classical experimental liquid mind modern jazz new age ambient spa yoga bass clarinet bärtsch markus reuter relaxation music sedative therapeutic Berlin

 

Not the walls that should collapse is that passive place and "of craftsmanship" that the market has given to the Latin American. Today, for a Latin American artist to be recognized in the global art markets, he must be able to say "from here I speak". Recovering myths, traditions, ancestral cultures and popular are some of the twists that artists seek to be legitimized. "And I wonder: why? Already when you start working with record labels, you realize that it is the same market that imposes these criteria of legitimacy. It's interesting. Why do not other people need it to create their own language? We need instrumentalists able to think and live up to their time. They will be accused of heretics, yes, but I invite you to heresy.

Susan Campos Fonseca


The Neokhipumancers Manifesto
khipumantes.github.io


After almost 6 years from the latest compilation focused on experimental music from Latina America, finally Unexplained Sounds Group publishes a cd release including, in addition to some of the musicians who participated in the initial project, many other artists from Argentina, Brazil, Colombia, Bolivia, Peru, Mexico, Costa Rica, Chile and Venezuela, thereby providing evidence of continuous aesthetic research beyond all conventional barriers.

credits

released February 3, 2023

REVIEWS

THE WIRE MAGAZINE
Anthology Of Experimental Music From Latin America Various Unexplained Sounds CD/ DL 

Italy’s Unexplained Sounds label specialises in international experimental compilations. Anthology Of Experimental Music From Latin America is among the label’s most compelling collections. “Leaving The Body” – from Mexico’s Tarme Til Alle – leaves this planet in cascading, shoegaze-y whorls of flammable synthesizer. On “KhipuKoding”, Peru’s Paola Torres Núñez del Prado shaloms through mirrored, hallucinated chutes. Argentina’s Pablo Ribot wraps cracked prisms in cellophane with “Mantra”. Paulo Motta of Brazil contributes “Index Dial Maracatu”, a vortex of shattering digital crystals and bedazzled rainpool bleep. Spain’s Emiliano HernandezSantana massages dark seethe and rattling segue into “Islas De Fango”, the soundtrack to an imagined cult noir where the nameless city never stops changing colours and all the actors lack faces.
Raymon Cummings

If nothing else, the ongoing Sound Mapping project from Unexplained Sounds Group has established that excellent experimental music can be found in every populated geography on the planet. We should all know that intuitively, but at this point there is no counterargument.
Avant Music News

full review: avantmusicnews.com/2023/02/11/amn-reviews-various-artists-anthology-of-experimental-music-from-latin-america-2023-unexplained-sounds-group/

Our thanks to Raffaele Pezzella for providing us with a promo copy of this release.

Published by ©Unexplained Sounds Group
Curated and mastered by Raffaele Pezzella
Cover image “The Harbinger of Autumn” (Paul Klee, 1922)
© 2023. All rights reserved

Tags

experimental avant-garde drone improvisation musique concrete sound art Italy

 

 

21 March 2023: Granada; Node; Deep Red: A Tribute to the Cinema of Dario Argento

 Be sure to follow KMXT FreeForm Radio on Facebook and Bandcamp.  

Please support FreeForm Radio and KMXT by going to KMXT.org and pledging your support.

The music you hear on tonight's show is available on the artists' Bandcamp pages and websites. (links below) 

We urge you to support the musicians you hear on FreeForm Radio.

 

 

Granada biography
Founded in Madrid, Spain in 1974 - Disbanded in 1979

Pioneering early-70's Spanish progressive band, GRANADA (from Madrid...) was the musical project of multi-instrumentalist Carlos Carcamo (flute, violin, acoustic - and electric piano, mellotron, clavicordio, 12-string guitar, percussion and vocals!) and the other musicians Michael Vortreflich (electric guitar), Antonio Garcia Oteyza (bass) and Juan Bona (drums and vocals).

GRANADA had a unique style. They remind of the Mexicans ICONOCLASTA, and also other Spanish bands like TRIANA or COTO EN PEL. The British influences come from YES, JETHRO TULL and other Italian bands very present in their sound. The emphasis of GRANADA relies on the keyboards (with profusion of moog and mellotron) and guitar instrumental passages, but with more keys than guitar. They sound like a mix of fusion and symphonic influences. 

 Excellent disc of Spanish Symphonic Prog with all caracterist of genre and one of most complete of the history of the symphonic rock in Spain (excellent mellotron). Instrumental Master combination of styles like Canterbury Jazz, Symphonic Prog Classic and RockAndalus.

 

Singularity (DiN78) by Node

When synth supergroup Node first surfaced with their eponymous album in 1995 they, more than anyone else, nailed “that sound and vibe”, which had become the obsession of so many others. They seemed to encapsulate the very essence of the early German electronic music pioneers such as Tangerine Dream but with production values to die for courtesy of Node founder members Ed Buller & Flood, who were of course internationally renowned producers in their own right. But it was another 19 years before their follow up album appeared on DiN as “Node 2”, (DiN44) to be closely followed (by Node standards), with their live concert album performed at the Royal College of Music, London.

Up to that point that was the total canon of their work except for the EP “Terminus” recorded at their infamous Paddington Station gig. Surely they must have more material hidden away in their vaults and indeed this is exactly what the album “Singularity” is, the legendary “lost” Node album. Recorded at the same time as their original sessions in 1994 this has DiN stalwart Dave Bessell join Buller & Flood alongside original member Gary Stout who was later replaced by Mel Wesson for the two DiN releases. Presented here for the first time, mastered to modern standards but otherwise untouched and in its original form and recorded to two track with no overdubs. As a bonus the track “Terminus”, mentioned above, is included in the release.

The music is a snapshot in time 29 years ago when Node were first powering up their huge banks of vintage modulars and sequencers to create a tapestry of electronic sound. At times raw and almost out of control and at others delicate and ethereal this quartet of fabled musicians can create atmospheres and soundscapes like no other. The crackling energy of the sounds they coax out of these steam driven behemoths positively pulsates with life and organic energy and will be a real treat for aficionados of the Berlin school style of electronic music.

Another great release from the DiN imprint released in a beautiful Digipak CD edition with a special 8 track booklet with photos taken at the time of the original recording sessions. 

credits

released March 17, 2023
Our thanks to Ian Boddy for a promotional copy of this release.

Dave Bessell - disguised guitar, interactive phrase synthesizer, atmospheres and keys
Ed Buller - monster moog, sequences and keys
Flood - sonic interventions, sequences
Gary Stout - ring modulated trumpet, atmospheres and keys

The legendary lost Node album. Recorded in 1995 in the same sessions as the first album but largely unheard until now. Over the intervening years one or two things intended for the album escaped into the world but the majority of the material on this recording is previously unreleased. Presented here for the first time mastered to modern standards but otherwise in its original form - recorded straight to two track with no overdubs. These recordings include original member Gary Stout who was later replaced on more recent Node recordings by Mel Wesson.

Node wish to thank all those who were involved in the Node project over the years, too many to list but you know who you are!

Cover photos from the collection of Hans Jenny (1904-1972) who coined the term Cymatics to describe the patterns made by soundwaves on a sand covered metal plate.

Tags

ambient berlin school em electronic electronic music electronica modular synth moog sequencer Sunderland

Deep Red. A Tribute to the Cinema of Dario Argento

Dario Argento was born in Rome, Italy, on September 7, 1940.Before becoming a screenwriter and later a director, he was a film critic. Ever since his "The Bird with the Crystal Plumage" heart-stopping directorial debut in 1970, Dario Argento has been redrawing the boundaries of cinematic horror with flamboyant violence, feverish plotting, and deliriously stylized compositions. Initially associated with giallo, the pulpy Italian subgenre he helped formalize and would later take to unprecedented heights with his international breakthrough, Deep Red (1975), Argento embraces a gamut of fantastical influences—from sublime Gothic art and penny dreadfuls to Murnau, Hitchcock, and Disney with his distinctively baroque style of disorientating cinematography, stained-glass colorwork, and elaborate musical scores (often composed by his own rotating house group, Goblin). As far as horror film directors go, few are more influential and prolific than Dario Argento. With over half a century of films under his belt, the Italian Argento became a popular purveyor of giallo, but none made more of an impact than Argento.
"With his first cinematic foray, Argento instantly elevated giallo into an art form. Horror was never the same again. The director is often referred to as the Italian Alfred Hitchcock, and while both auteurs were skillful at building pressure-cookers for plots, Argento developed a trademark style, sophistication, and perversity all his own. In film after film — The Cat o’ Nine Tails, Deep Red, and Suspiria among his very best — he employed the familiar trope of a maniac on the loose to build delicious, glamorous, vivid, and vicious jigsaw puzzles, with plenty of blood, eerie electronic music, whispering psychopaths, children’s nursery rhymes, vertiginous camera angles, odd animal cameos, and, Argento’s particular forte, over-the-top baroque deaths. Argento was making murder and mayhem into something far stranger: a seductive deep dive into our dark psychologies, with all the attendant political and sexual upheaval of the time".

To celebrate the cinema of Dario Argento, Eighth Tower has called musicians from various countries and asked them their musical interpretation of his movies and his "dark giallo" universe". 

credits

released March 3, 2023 

Our thanks to Raffaele Pezzella (SONOLOGYST) for a promotional copy of this release.

REVIEWS

Ver Sacrum
www.versacrum.com/vs/2023/03/aa-vv-deep-red-a-tribute-to-the-cinema-of-dario-argento.html

Bizarrechats (Michael Housel)
bizarrechats.blogspot.com/2023/03/dark-fiction-6-terrorvision-stories.html


Previously unreleased music by:
Michael Bonaventure, Grey Frequency, Rapoon, Joel Gilardini, 400 Lonely Things, David Strother & Carl Royce, Gianluca Becuzzi, Kloob, Mario Lino Stancati, Arrighi-Bocci-Fontana-Lepore, Pluhm.


Published by Eighth Tower Records
Curated and mastered by Raffaele Pezzella
Design by RhaD
© 2023. All rights reserved

Tags

ambient dark ambient dark chamber drone industrial noise Italy

14 March 2023: Pink Floyd DSoTM at 50; SONOLOGYST

 Be sure to follow KMXT FreeForm Radio on Facebook and Bandcamp.  

Please support FreeForm Radio and KMXT by going to KMXT.org and pledging your support.

The music you hear on tonight's show is available on the artists' Bandcamp pages and websites. (links below) 

We urge you to support the musicians you hear on FreeForm Radio.

Tonight we celebrate the 50th Anniversary of Pink Floyd's Dark Side of the Moon, one of the most popular albums ever.  We will be featuring a live recording of their magnum opus from 1974.  We will also play "Echoes" from that same concert.

	The Dark Side of the Moon Live at Wembley 1974 Pink Floyd David Gilmour – guitars, vocals, Hammond organ on "The Great Gig in the Sky" Roger Waters – bass, vocals Richard Wright – keyboards, vocals, Azimuth Co-ordinator Nick Mason – drums, percussion with Dick Parry – saxophones The Blackberries – backing vocals, lead vocals on "The Great Gig in the Sky" Vanetta Fields Carlena Williams

The last part of tonight's show will feature the experimental sounds of SONOLOGYST. Our thanks to Raffaele Pezzella (SONOLOGYST) for providing us with a promo copy of Electrons (New Edition) for tonight's show. As the theory of the atom, quantum mechanics is perhaps the most successful theory in the history of science. It enables physicists, chemists, and technicians to calculate and predict the outcome of a vast number of experiments and to create new and advanced technology based on the insight into the behaviour of atomic objects. But it is also a theory that challenges our imagination. It seems to violate some fundamental principles of classical physics, principles that eventually have become a part of western common sense since the rise of the modern worldview in the Renaissance. The aim of any metaphysical interpretation of quantum mechanics is to account for these violations. In this theory, the electron had maintained some measure of identity as an independent physical system. Even this was lost as the electron continued to mutate into forms ever more remote from Thomson’s corpuscles. In the 1967-68 Glashow-Salam-Weinberg theory of electroweak interactions, the electron is an even stranger beast: it has massless left-handed and right-handed parts that unite to form a massive particle through interactions with a scalar Higgs field. Finally, in the current Standard Model of fundamental interactions, the electron is a member of the first of three generations of similar leptonic particles that are related in a non-trivial way to three generations of hadronic quarks. With its public person displaying more aliases than a master confidence trickster, we may well doubt that we have or ever will unmask the identity of the real electron in our theorizing. Do we not learn the lesson of history if we cease to take our theories of the electron as credible reports of physical reality? Such concerns have long been a subject of analysis in philosophy of science. They have been given precise form in the “pessimistic meta-induction”: Every theory we can name in the history of science is, in retrospect, erroneous in some respect. At the moment the question remains: do electron exist or not? Excerpt from "What Should Philosophers of Science Learn From the History of the Electron?". Jonathan Bain and John D. Norton. Department of History and Philosophy of Science University of Pittsburgh. --------------------------------------- When I thought to release a CD edition of Electrons previously only digitally released in 2016, I came back to that world of experiments with electronics that I'd been doing six years before. It was like listening to the music of a stranger, not to mention the fact that to create the unreleased track “LHC” I was missing the equipment of analogue synthesizers that I used at the time of the original work. This became a stimulating challenge, a voyage into memories of so many nights spent working on knobs and patches, immersed in the fascination of the quantum physics theory. And rather than a testament of a past music path I was following, it was soon revealed to be an impulse for more experiments to come. This publication is this work, and it comes in the 10th anniversary of the Sonologyst project. I dedicate it to all the followers who supported the project along the decade. Raffaele Pezzella  credits released January 19, 2023 REVIEWS VITAL WEEKLY Raffaele Pezzella returns as Sonologyst with an album already available in 2016, albeit only in the digital domain. It is a celebration of ten years of working under this banner. The music he recorded using analogue synthesizers, which, I believe, he no longer has. He found inspiration in the world of electrons, including an excerpt from a book, 'What Should Philosophers Of Science Learn From The History Of The Electron?'. However, one is free to enjoy the album on a more fundamental level, taking the music as pure as it is. Over the years, I reviewed various of his works (Vital Weekly 1274, 1225, 1194, 1134, and 1038), and overall I enjoy his work a lot. There might be an element of ritual music that I fail to understand, but luckily, that is not present on this disc that much. His music is very much in the realm of experimental electronics, in which we find traces of pure drone music, early electronics and on 'Electrons' also a bit of noise. The latter he keeps to a minimum, and it works more in the background, adding weight to some of the more upfront delicacies. Even if I take a more romantic notion of electrons, I see this as a work of buzzing and whirring electronics cobbled together and forming a web of its own. Not a straightforward thing, this web, though. You see a general pattern, but there are smaller threads, making new connections that only become apparent later on. There might be a retro feeling here; I am thinking of an old science fiction movie in black and white and Sonologyst providing the rusty soundtrack of it. Dark and reflective, but no doubt, space music. A man shrunk to an invisible size and walked down machines where everything cable and knob was alive. More than the previous works from Sonologyst, field recording seem to play no role, and it is all pure electronics. A slightly different outcome than what we usually hear from him, and a damn fine album at that. (FdW) Avant Music News avantmusicnews.com/2023/02/28/amn-reviews-sonologyst-electrons-2016-2023-unexplained-sounds-group Dark Room Magazine www.darkroom-magazine.it/ita/108/Recensione.php?r=4901 Sonologyst: analogue synthesizers, processing, mastering. Published by Unexplained Sounds Group Cover design by RhaD 2023 © All Rights Reserved license all rights reserved tags Tags experimental avant-garde drone improvisation musique concrete sound art Italy

07 March 2023: Surface 10 - "A Stray Ending" (DiN77); Parallel Worlds "Reflections"

KMXT is live broadcasting the Kodiak City Council work session which may run past 9 pm.  

The show will begin as soon as the work session ends or 9 pm if the meeting ends early.

Be sure to follow KMXT FreeForm Radio on Facebook and Bandcamp.  

Please support FreeForm Radio and KMXT by going to KMXT.org and pledging your support.

The music you hear on tonight's show is available on the artists' Bandcamp pages and websites. (links below) 

We urge you to support the musicians you hear on FreeForm Radio.

 

Surface 10 is the moniker of Californian electronic musician Dean De Benedictus. He has previously released albums on the DiN label with In Vitro Tide (DiN8) & Surface Tensions (DiN24). Finishing a hiatus of over a decade, which saw him pursuing several film projects, he returns to DiN with a stunningly original new album, “A Stray Ending” (DiN77).

The DiN label has always actively encouraged the blurring of genre boundaries and with this new opus Dean has certainly done that with influences as far flung as Electronica, Ambient, IDM, Berlin School, Glitch, Progressive Jazz Fusion, World and Cinematic music. Such a heady mixture is immediately apparent on the opener “Neverheart” with its achingly beautiful and haunting chordal themes overlaid with an intertwining tapestry of percussion and glitched out effects. The album rises and falls through layers of dazzling sound design and compositional complexity to reach its apex with the freak-out intensity of “Azz”. The following track “Dorothy Spearhead” is perhaps the most concise piece on show here, with its vocal melodic hook and danceable drum groove. This leads into the spectacular “Non Fi” which propels the listener on an epic tour de force of electronic invention before the album closes with the melancholic shimmering beauty of “Universal Winter (Rework)”.

This new album from Surface 10 is almost beyond categorisation and is full of so many inventive and detailed sonic and musical elements that it will give the listener something new to focus in on each and every listen. Another truly unique addition to the DiN catalogue. 

credits

released February 17, 2023

All tracks composed and produced by Dean De Benedictis between 2008 & 2022.

Mastered by Dean De Benedictis August 2022.

Musicans:
Dean De Benedictis - laptops and software, concert flute, Mayahachi flute, harmonica, piano, percussion & vocals
Phil Williams - electric guitar and FX on “Azz”
Claire Reymond - additional vocals

“Universal Winter (Rework)” is a self-remix of the track “Universal Winter” from Dean’s 2009 album - “A Cambient Variations”.

Thanks go out to the many nameless, faceless and/or unassociated artists, popular and unpopular, present and deceased, whose work was used to varying degrees in the making of “A Stray Ending”. The album’s completion was an adventure, we hope listening will be one also.

Special thanks to:
Claire Reymond for her massive support.
Frank Prinzen and Deborah Martin for additional inspiration on “Neverheart” and “DT5 United”.
Ian Boddy for your support, your patience, your faith & your belief in me.

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

Reflections

Parallel Worlds

 Listener Reviews:

dbssll Quite a varied release - from ambient drone to more rhythmic tracks full of electronic details. The more rhythmic tracks vary in mood from light almost pastoral to dark bordering on the industrial occasionally. A distinctive voice that will repay detailed listening.

mamonulabs music to travel to the Parallel Worlds of your mind. Fax-heads will love this album Favorite track: Mister E.

selfoscillate This is a really captivating and varied Album, almost like a cinematic soundtrack. It is a melting pot of different moods and styles, dark at times, but also with moments of hope. It brings Ambient, Drone and elements of IDM together nicely, with lots of details that encourage repeated listens. Another great effort by the master of modular synths. Well done, Bakis. Favorite track: Spectral.

#13 release in UMFT series
Catalog number: UMFT013

Machines used: Buchla modular, Eurorack modular, Korg opsix.

credits

released February 9, 2023

Written by Bakis Sirros
Design by Mason Verger
Mastered by Árni Grétar
(p) (c) Móatún 7 2023

license

all rights reserved

electronic idm ambient buchla eurorack modular opsix techno Tálknafjörður

28 February 2023: Stick Men Umeda, Live in Osaka 2022

 Be sure to follow KMXT FreeForm Radio on Facebook and Bandcamp.  

Please support FreeForm Radio and KMXT by going to KMXT.org and pledging your support.

The music you hear on tonight's show is available on the artists' Bandcamp pages and websites. (links below) 

We urge you to support the musicians you hear on FreeForm Radio.

 

 Recorded live at BBL in Osaka, Japan, July 14, 2022.

AVAILABLE EXCLUSIVELY at STICK MEN CONCERTS and MOONJUNE's BANDCAMP, until the official release of the CD in May of 2023.

stickmenband.com
www.youtube.com/@officialstickmen
www.facebook.com/stickmenofficial

credits

released February 3, 2023

Tony Levin: Chapman Stick, Voice
Pat Mastelotto: Acoustic and Electronic Drums & Percussion
Markus Reuter: Touch Guitars@ U8 Custom, Soundscapes

Written and produced by Stick Men

Recorded and mixed by Robert Frazza
Mastered by Lee Fletcher

Cover artwork by Brother Bow
Layout by Bernhard Wöstheinrich

license

all rights reserved

tags

Tags

moonjune records rock adrian belew king crimson prog rock progressive rock

 

1.	Prog Noir 06:59
	2.	Ringtone 05:50
	3.	Cusp 04:55
	4.	Red 06:04
	5.	Tentacles 04:39
	6.	Schattenhaft 02:43
	7.	Breathless 04:42
	8.	Mantra 05:22
	9.	Danger In The Workplace 06:23
	10.	Swimming In Tea 10:00
	11.	Larks Tongues In Aspic, Part 2 06:24
	12.	The Sheltering Sky 05:26