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I am also hosting Rural Electric from 7-9 pm on November 19
Live
albums have always been a big feature of the DiN imprints output with
many of its releases featuring performances by label boss Boddy either
solo or in conjunction with other artists. Seven such albums have been
as the duo ARC with Boddy alongside his friend and musical collaborator
Mark Shreeve who sadly passed away in 2022. Their show at E-Live in The
Netherlands from 2007 was the only concert of theirs so far unreleased
and hence Chronicle (DiN89) is both here to fill that gap and to provide
a reminder of the power this duo could create in a live setting.
This concert was unusual in that ARC used it as a chance to showcase their recently released album Fracture (DiN28) and indeed the duo constructed their set around the five tracks from that album, interlinked by short ambient passages. Underpinning the rhythmic elements of each piece is the huge Moog modular utilised by Mark over the years to such sensational effect, not only in the ARC project but his band Redshift. In creating that Berlin School sound this system is the real deal and under his skilled sequencing the pieces have an organic life that breathe and can grow from a tiny staccato rhythm to a huge growl in seconds. Over this structure Boddy and Shreeve layer atmospheric effects, warm chordal motifs and blistering solo lines. The concert culminates in the sensational 22 minute epic track Rapture which begins with spacey, drifting atmospheres before chordal Mellotrons add a sense of the grandiose. This just lulls the audience into a sense of calm before those sequencers thunder in to produce a truly hypnotic and incredible sonic climax.
Chronicle is a testament to the music of ARC but more particularly in remembering Mark Shreeve who left us all way too early.
This concert was unusual in that ARC used it as a chance to showcase their recently released album Fracture (DiN28) and indeed the duo constructed their set around the five tracks from that album, interlinked by short ambient passages. Underpinning the rhythmic elements of each piece is the huge Moog modular utilised by Mark over the years to such sensational effect, not only in the ARC project but his band Redshift. In creating that Berlin School sound this system is the real deal and under his skilled sequencing the pieces have an organic life that breathe and can grow from a tiny staccato rhythm to a huge growl in seconds. Over this structure Boddy and Shreeve layer atmospheric effects, warm chordal motifs and blistering solo lines. The concert culminates in the sensational 22 minute epic track Rapture which begins with spacey, drifting atmospheres before chordal Mellotrons add a sense of the grandiose. This just lulls the audience into a sense of calm before those sequencers thunder in to produce a truly hypnotic and incredible sonic climax.
Chronicle is a testament to the music of ARC but more particularly in remembering Mark Shreeve who left us all way too early.
credits
released November 15, 2024
Our thanks to Ian Boddy for providing us with a copy of this release.
Performed by Ian Boddy & Mark Shreeve as ARC at E-Live, Auditorium of the T.U., Eindhoven, The Netherlands on 13/10/2007.
Mastered by Ian Boddy August 2024.
Thanks for making this album happen: Ron Boots and Sue Shreeve.
One-third of the proceeds of this album will be donated to cancerresearchuk.org
Dedicated to Mark Shreeve (June 2nd 1957 - August 31st 2022)
ARC played eight concerts between 1998 & 2017 and up till now seven of these have been released on the DiN label. Mark left us way too soon in 2022 and I have so many happy memories of the music we did together. I have two in particular from this trip. Firstly we had an incredible reaction from the audience after we played Mark’s track System Six as the encore (included on the 25 Years of DiN album) that the gig organiser Ron Boots said “you must play more” - Mark & I looked at each other behind stage and shrugged our shoulders, we had nothing else prepared - to which Ron replied “play that again”, which we did to even more applause. Then secondly as Mark drove the van around the M25 with our gear onboard we realised that the vehicle was speed limited and so we had to drive all the way to Eindhoven at a top rate of 55mph - rock n roll!
So here we have Chronicle (DiN89) the final ARC concert to be released. I hope you enjoy the music as much as we had fun playing it.
Our thanks to Ian Boddy for providing us with a copy of this release.
Performed by Ian Boddy & Mark Shreeve as ARC at E-Live, Auditorium of the T.U., Eindhoven, The Netherlands on 13/10/2007.
Mastered by Ian Boddy August 2024.
Thanks for making this album happen: Ron Boots and Sue Shreeve.
One-third of the proceeds of this album will be donated to cancerresearchuk.org
Dedicated to Mark Shreeve (June 2nd 1957 - August 31st 2022)
ARC played eight concerts between 1998 & 2017 and up till now seven of these have been released on the DiN label. Mark left us way too soon in 2022 and I have so many happy memories of the music we did together. I have two in particular from this trip. Firstly we had an incredible reaction from the audience after we played Mark’s track System Six as the encore (included on the 25 Years of DiN album) that the gig organiser Ron Boots said “you must play more” - Mark & I looked at each other behind stage and shrugged our shoulders, we had nothing else prepared - to which Ron replied “play that again”, which we did to even more applause. Then secondly as Mark drove the van around the M25 with our gear onboard we realised that the vehicle was speed limited and so we had to drive all the way to Eindhoven at a top rate of 55mph - rock n roll!
So here we have Chronicle (DiN89) the final ARC concert to be released. I hope you enjoy the music as much as we had fun playing it.
ambient berlin school em electronic electronic music electronica downtempo modular synth Sunderland
Music by r beny
Mastered by Alex at quiet details studios
Mastered by Alex at quiet details studios
Our thanks to Alex for providing us with a copy of this release.
Artwork by quiet details in collaboration with r beny
Design by quiet details
© quiet details 2024 all rights reserved
Overjoyed to say that coming next, with a jaw-dropping interpretation of the quiet details idea, is the dearly-loved Californian artist, Austin Cairns, otherwise known as r beny.
Known for his incredible run of releases on Dauw and other labels such as Seil Records, Longform Editions, Past Inside the Present and numerous self-releases - he captured the hearts of listeners like few others with his innate melodic sensibility, unique talent for sonic world-building, and vast technical skill.
Austin’s huge and loyal fan-base have been looking forward to this moment and they’ve been rewarded with something truly special - ‘discerned in the fugue of streams’ is the product of all his emotion and introspection, an artist demonstrating complete affinity with his instruments and the ability to musically realise his innermost feelings with perfect clarity.
r beny’s music has always been typified by elegant and stirring melody, coupled with exceptionally sculpted textures - here we see him expanding on what has gone before, beautifully portraying the profound nature of his creativity.
Amaranthine clouds of pastoral bliss, inspired by the natural world and its nuances, completely immerse the listener. Each track emanating deep and soothing tranquility, expressed through expert manipulation of synthesisers, mandolin, samplers and field recordings.
Austin displays his finely honed ability to touch our spirits with his musical sincerity - his willingness to lay his soul bare comes through so powerfully on this album - that’s the very reason there’s something about his music that so many people can relate to: honest; full of integrity; and distilled to its purest essence.
As he says himself:
In times of distress and discomfort, I often find myself seeking out the white noise chorus of water in motion. With soft fascination, one can start to take notice of the individual resonances and frequencies that make up the whole. In a state of sense- making, solace can be found amongst the distinct tones of the water cascading over moss and stone - calm can be found amongst the roar of a busy mind.
This album is a contemplation on slowing down and paying mind to the quiet details within the threads of noise and patterns - finding meaning and hope in bodies of water in motion, the wind blowing through the forest, the white noise of a warming world, the endless barrage of algorithms and advertising, and the cacophony of internal voices and feedback memories of my anxious brain.
So pleased to share it with you, a gorgeous album of breathtaking beauty. Huge thanks to Austin for everything, a wonderful addition to the series.
The artwork was made as always influenced by the music and idea behind the album - originating from a photo from Austin which was then captured with analogue photography and processed here at quiet details studios.
As usual, the album is presented on the physical edition, a custom 6-panel digipack with a separate fine art print too.
The CD also has a special long-form continuous mix of the album, representing the music in its purest form.
rbeny.bandcamp.com
Artwork by quiet details in collaboration with r beny
Design by quiet details
© quiet details 2024 all rights reserved
Overjoyed to say that coming next, with a jaw-dropping interpretation of the quiet details idea, is the dearly-loved Californian artist, Austin Cairns, otherwise known as r beny.
Known for his incredible run of releases on Dauw and other labels such as Seil Records, Longform Editions, Past Inside the Present and numerous self-releases - he captured the hearts of listeners like few others with his innate melodic sensibility, unique talent for sonic world-building, and vast technical skill.
Austin’s huge and loyal fan-base have been looking forward to this moment and they’ve been rewarded with something truly special - ‘discerned in the fugue of streams’ is the product of all his emotion and introspection, an artist demonstrating complete affinity with his instruments and the ability to musically realise his innermost feelings with perfect clarity.
r beny’s music has always been typified by elegant and stirring melody, coupled with exceptionally sculpted textures - here we see him expanding on what has gone before, beautifully portraying the profound nature of his creativity.
Amaranthine clouds of pastoral bliss, inspired by the natural world and its nuances, completely immerse the listener. Each track emanating deep and soothing tranquility, expressed through expert manipulation of synthesisers, mandolin, samplers and field recordings.
Austin displays his finely honed ability to touch our spirits with his musical sincerity - his willingness to lay his soul bare comes through so powerfully on this album - that’s the very reason there’s something about his music that so many people can relate to: honest; full of integrity; and distilled to its purest essence.
As he says himself:
In times of distress and discomfort, I often find myself seeking out the white noise chorus of water in motion. With soft fascination, one can start to take notice of the individual resonances and frequencies that make up the whole. In a state of sense- making, solace can be found amongst the distinct tones of the water cascading over moss and stone - calm can be found amongst the roar of a busy mind.
This album is a contemplation on slowing down and paying mind to the quiet details within the threads of noise and patterns - finding meaning and hope in bodies of water in motion, the wind blowing through the forest, the white noise of a warming world, the endless barrage of algorithms and advertising, and the cacophony of internal voices and feedback memories of my anxious brain.
So pleased to share it with you, a gorgeous album of breathtaking beauty. Huge thanks to Austin for everything, a wonderful addition to the series.
The artwork was made as always influenced by the music and idea behind the album - originating from a photo from Austin which was then captured with analogue photography and processed here at quiet details studios.
As usual, the album is presented on the physical edition, a custom 6-panel digipack with a separate fine art print too.
The CD also has a special long-form continuous mix of the album, representing the music in its purest form.
rbeny.bandcamp.com
credits
released October 23, 2024
lambient chill-out downtempo drone electronic field recordings granular modular r beny United Kingdom
Riconnessione Iconoclastica Sacrale (USG100 / Dissipatio). PAOLO L. BANDERA (a.k.a. NG5361)
“Does destruction of sacred images imply anything for the erosion of the role of the imperial icons?
Because divinity being destroyed is not a representation of a spiritual form disappearing, but a consequence of historian interpretation, scientists are doing exactly what everyone would do when tripping in ego-fixation, creating a transformation which is itself subversive and self-deconditioning.
The church of the Virgin has been rebuilt and lavishly refurbished, due to major insights regarding the biblical-theological backdrop: ecstasy combined with erotic and sexually-charge images drives the entire practice, which could be described as a meticulous process of reconnection.
Discussion about religious changes within the framework of monotheism opens an enclosure where it is fundamental to craft a discourse inside a radical environmental movement, aspiring to what can only be characterized as a move from nostalgia to wish-fulfillment.
The flux of the universe pertains to a higher epistemic realm, where a dark figure of iconoclastic power has acted against religious material cultures, that have subsequently left no trace.
The return and interpretation of a spiritual and academic heritage is visualized as a series of animal figures, set up by the gods of fashion, modernism, renaissance and renewal… urban topography becomes conscious and imprisons mental coordinates behind a desk.
Gestures direct viewers to names and key sentiments of the inscribed prayers, where they find a
rich ethnographic dataset of embodied and multi-sensuous performances: they breathe to reshape light inside and outside, in a gravitational bending of electromagnetic waves by massive bodies, subject of contemporary and future disasters becoming super dense and acting as a lens.” Paolo L. Bandera
Paolo L. Bandera (a.k.a. NG5361) has been propagating unconventional sounds and deviated cultural streams for decades with SIGILLUM S, together with Eraldo Bernocchi and other various acolytes.
On top of this, he has been generating noise textures in solo configuration as SSHE RETINA STIMULANTS, besides supporting and participating in many mutant projects by friends (THE SODALITY, IUGULA-THOR, ENSEMBLE SACRE GARCONS, SIDRA and more).
SSHE RETINA STIMULANTS devastates post-industrial sounds with a hyper - intellectual twist, in an apocalyptic context with morbidly visionary features: it’s a space where the most antagonist and abrasive currents get crazy, while pursuing a limitless synergy between underground acoustics and nightmarish visuals…under this moniker tens of works have been released through the years, in parallel with live performances in a lot of geographies.
Most recently, Paolo has started releasing some works under his own name, in order to differentiate more conceptually severe and abstract electronic productions from the SRS harsh volume.
Collaborations with other similarly alien projects are an important driver, including those with Aube, Mark Solotroff, Bad Sector, I Burn, The Fortieth Day, Gerstein, MSBR, Terence Hannum, Neil Jendon, The Land Of The Snow, Uncodified, Macelleria Mobile di Mezzanotte, LCB, Satanismo Calibro 9, Lorenzo Abbatoir, Avamposto Malato e many others.
Paolo has also written for various magazines (on music and other topics ), as well as having curated the two Italian editions of the Industrial Culture Handbook and having collaborated to RUMORI SACRI, a reference book on the Italian post-industrial music underground.
Because divinity being destroyed is not a representation of a spiritual form disappearing, but a consequence of historian interpretation, scientists are doing exactly what everyone would do when tripping in ego-fixation, creating a transformation which is itself subversive and self-deconditioning.
The church of the Virgin has been rebuilt and lavishly refurbished, due to major insights regarding the biblical-theological backdrop: ecstasy combined with erotic and sexually-charge images drives the entire practice, which could be described as a meticulous process of reconnection.
Discussion about religious changes within the framework of monotheism opens an enclosure where it is fundamental to craft a discourse inside a radical environmental movement, aspiring to what can only be characterized as a move from nostalgia to wish-fulfillment.
The flux of the universe pertains to a higher epistemic realm, where a dark figure of iconoclastic power has acted against religious material cultures, that have subsequently left no trace.
The return and interpretation of a spiritual and academic heritage is visualized as a series of animal figures, set up by the gods of fashion, modernism, renaissance and renewal… urban topography becomes conscious and imprisons mental coordinates behind a desk.
Gestures direct viewers to names and key sentiments of the inscribed prayers, where they find a
rich ethnographic dataset of embodied and multi-sensuous performances: they breathe to reshape light inside and outside, in a gravitational bending of electromagnetic waves by massive bodies, subject of contemporary and future disasters becoming super dense and acting as a lens.” Paolo L. Bandera
Paolo L. Bandera (a.k.a. NG5361) has been propagating unconventional sounds and deviated cultural streams for decades with SIGILLUM S, together with Eraldo Bernocchi and other various acolytes.
On top of this, he has been generating noise textures in solo configuration as SSHE RETINA STIMULANTS, besides supporting and participating in many mutant projects by friends (THE SODALITY, IUGULA-THOR, ENSEMBLE SACRE GARCONS, SIDRA and more).
SSHE RETINA STIMULANTS devastates post-industrial sounds with a hyper - intellectual twist, in an apocalyptic context with morbidly visionary features: it’s a space where the most antagonist and abrasive currents get crazy, while pursuing a limitless synergy between underground acoustics and nightmarish visuals…under this moniker tens of works have been released through the years, in parallel with live performances in a lot of geographies.
Most recently, Paolo has started releasing some works under his own name, in order to differentiate more conceptually severe and abstract electronic productions from the SRS harsh volume.
Collaborations with other similarly alien projects are an important driver, including those with Aube, Mark Solotroff, Bad Sector, I Burn, The Fortieth Day, Gerstein, MSBR, Terence Hannum, Neil Jendon, The Land Of The Snow, Uncodified, Macelleria Mobile di Mezzanotte, LCB, Satanismo Calibro 9, Lorenzo Abbatoir, Avamposto Malato e many others.
Paolo has also written for various magazines (on music and other topics ), as well as having curated the two Italian editions of the Industrial Culture Handbook and having collaborated to RUMORI SACRI, a reference book on the Italian post-industrial music underground.
credits
released October 24, 2024
Bad Alchemy
Having become intrigued and invited by Pezzella, I gladly turn my ears to Riconnessione Iconoclastica Sacrale (USG100 / Dissipatio). This is another work by PAOLO L. BANDERA (a.k.a. NG5361), former Sigillum S member, and known as Sshe Retina Stimulants with "Ecclesiastic Audition Stories" featured in BA 116. He provides an equally cryptic explanation for the cryptic titles "Flessione Titanica Gravitazionale (expanded version)," "Moltiplicazione Infinitesimale Reattiva (evaporated version)," "Accolita Prostetico Oceanico (fermented version)," and "Territori Interiori Antecedenti (maximal version)."
It discusses the reconnection (Riconnessione) with divine urges obscured by iconoclastic power, in erotic-mystical ecstasy, and a longing that screams from nostalgia to wish fulfillment, feminine in the 'Church of the Virgin' and radically environmentally conscious. Accompanied by archetypal animal symbols, mental coordinates, key emotions, and multisensory performances—like his own.
It seeks to reform the light inside and outside, through a gravitational bending of electromagnetic waves by massive bodies, a subject of present and future catastrophes that become super dense and act as lenses. With droning glissando curves, dystopian impressions, through iron-like percussive sounds, a roaring, "breathing," abyssal groaning or singing wave. From resignation to sacred Risorgimento. With whistling and roaring wooshes, a slow, donging heartbeat, an organ-like sustained tone. Nietzsche’s The world is deep comes to mind... But from this deep dream, it has not yet awakened, trapped in nightmarish loops, disturbed by alarms. [BA 126 rbd]
Ver Sacrum
www.versacrum.com/vs/2024/10/paolo-l-bandera-riconnessione-iconoclastica-sacrale.html
Luminous Dash
luminousdash.be/reviews/paolo-l-bandera-riconnessione-iconoclastica-sacrale-unexplained-sounds-group/
Our thanks to Raffaele Pezzella for providing us with a copy of this release.
Co-released by Unexplained Sounds Group and Dissipatio.
Mastered by Paolo L. Bandera
Cd artwork by Nicola Quiriconi.
Cat. Num. USG100.
2024. All rights reserved.
Bad Alchemy
Having become intrigued and invited by Pezzella, I gladly turn my ears to Riconnessione Iconoclastica Sacrale (USG100 / Dissipatio). This is another work by PAOLO L. BANDERA (a.k.a. NG5361), former Sigillum S member, and known as Sshe Retina Stimulants with "Ecclesiastic Audition Stories" featured in BA 116. He provides an equally cryptic explanation for the cryptic titles "Flessione Titanica Gravitazionale (expanded version)," "Moltiplicazione Infinitesimale Reattiva (evaporated version)," "Accolita Prostetico Oceanico (fermented version)," and "Territori Interiori Antecedenti (maximal version)."
It discusses the reconnection (Riconnessione) with divine urges obscured by iconoclastic power, in erotic-mystical ecstasy, and a longing that screams from nostalgia to wish fulfillment, feminine in the 'Church of the Virgin' and radically environmentally conscious. Accompanied by archetypal animal symbols, mental coordinates, key emotions, and multisensory performances—like his own.
It seeks to reform the light inside and outside, through a gravitational bending of electromagnetic waves by massive bodies, a subject of present and future catastrophes that become super dense and act as lenses. With droning glissando curves, dystopian impressions, through iron-like percussive sounds, a roaring, "breathing," abyssal groaning or singing wave. From resignation to sacred Risorgimento. With whistling and roaring wooshes, a slow, donging heartbeat, an organ-like sustained tone. Nietzsche’s The world is deep comes to mind... But from this deep dream, it has not yet awakened, trapped in nightmarish loops, disturbed by alarms. [BA 126 rbd]
Ver Sacrum
www.versacrum.com/vs/2024/10/paolo-l-bandera-riconnessione-iconoclastica-sacrale.html
Luminous Dash
luminousdash.be/reviews/paolo-l-bandera-riconnessione-iconoclastica-sacrale-unexplained-sounds-group/
Our thanks to Raffaele Pezzella for providing us with a copy of this release.
Co-released by Unexplained Sounds Group and Dissipatio.
Mastered by Paolo L. Bandera
Cd artwork by Nicola Quiriconi.
Cat. Num. USG100.
2024. All rights reserved.
Finally a modern accessible Opera Rock, which can be appreciated by a
wider crowd of
listeners (not for the prog fans only!!), of course with the same mood
of a musical, even
though I can not say it's equal to the 70's majestic opera rocks, such
as "Jesus Christ
Superstar for example or the good work by Who entitled
"Tommy"...nevertheless it's
suitable for a thrilling music event live on stage (as foreseen in the
next concert
programme of 2006), starring the whole old line up of PFM, plus a few
guest stars, as well
as a young talented female singer called "Dolcenera", singing in the
final track "Un Destino
di Rondine"... the good and the evil living together, the perfect
representation of Dracula,
this latter character already represented in the cinematographic
masterpiece by F. Ford
Coppola and here helped by the orchestral sections and the symphonic
chorus as well,
really delightful ; it's strange that it's the second concept album
only, after the
controversial (and quite disappointing too) "Ulisse" dated 1997, as They
try to be involved
in the development of a famous story and this time reaching their goal
in a lot of
circumstances: in fact the style of PFM is inspiring both in the
accessible classic rock genre
and in the symphonic breaks-through as well, close to a kind of classic
music and with a
certain creativity which is often remarkable. The lyrics by Vincenzo
Incenzo are clever, thanks also
to the melodramatic passages (think of the overture): of course it's not
a
prog masterpiece nor strictly a progressive concept album, but their
music taste is always
pleasant, being able to represent the various dramatic and romantic
moods!! It should be worth a "3 stars" righter score in comparison to
their best albums ...long live PFM, anyway!! 
Another under appreciated gem here that deserves the Big Mick treatment.
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