29 October 2024: The Annual FreeForm Halloween Show!: PFM "Dracula"; Jacula

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We'll be playing the one disc release; a more comprehensive Dracula: The Musical two-disc version has also been released.
 
Review by lor68
PROG REVIEWER
4 stars 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!! 

Premiata Forneria Marconi (PFM) (translation: Award-winning Marconi Bakery) is an Italian progressive rock band founded in 1970 which continues to the present day. They were the first Italian group to have success internationally. The group recorded five albums with English lyrics between 1973 and 1977. During this period they entered both the British and American charts. They also had several successful European and American tours, playing at the popular Reading Festival in England and on The Midnight Special, a popular national television program in the United States.

PFM introduced new sounds, such as the synthesizer, to the Italian musical world. They were also among the first to combine symphonic classical and traditional Italian musical influences in a rock music context. Such innovations and their longevity have earned PFM a place among the most important bands in the Progressive rock genre. 

                            In Cauda Semper Stat Venenum is an album by Italian rock band Jacula

According to the band sources it was recorded and self-released by the band (on their Gnome label in 1969) in 300 copies "for distribution to friends and the occult community".[1] In 2001 Black Widow Records released the album to the public market[2] but Antonio Bartoccetti (guitarist and bandleader) claims the reissue (as he calls it) is highly edited with Pro Tools, distorted guitars and samplers. No copy of the original issue can be found to support his claims though (if it exists at all).


 Review by micky
SPECIAL COLLABORATOR Honorary Collaborator

3 stars Another under appreciated gem here that deserves the Big Mick treatment.

For those who want a snapshot description of the music... look at the album cover... look closely at it and conjure up thoughts of music that might fit it. Music that conjures up up images of rotting decaying flesh, souls not at rest but tormented by things that can only be dreamed of the the most vivid of nightmares. A cover so descriptive of the music... they used the same cover on their second album 3 years later.

Jacula was formed in Milan in 1968 by occultist Antonio Bartoccetti. After finding his creative partner in Doris Norton, a partnership that would last through the next decade, they recorded a landmark album in London in 1969. The album had a limited pressing of some 300 albums, and for many years was forgotten. In fact many texts list their second album as their debut album. The otherwise excellent 'Return of Italian Pop' book evens says the group was founded in 1972. This group though predates many groups of Italian Progressive music if not in formation.. but the crafting of what we now know as Progressive Rock.

The music is fascinatingly dark, moody, atmospheric brand of music that conjures up Sabbath like gloom and doom without crunchingly heavy riffs but through the use of the organ, the church organ in particular. Also absent are silly childish lyrics that some have tried to use to convey horror or darkness. There are vocals here.. spoken word in places.. chantlike in others..that are interspersed through the songs. Never the focus of the songs.. being a narrative if you will. Bartoccetti is often regarded as one of the finest guitarist to come from this period of Italian rock. This is not his album to shine but what strikes me about his playing on this in ...lets check the year here... a tone that is downright metallic. Very different from what others were doing in that year. Commonplace a decade later.. but to these ears at least... very novel for the last year of the 1960's. His guitar is mainly texture on this album though and it leaves plenty of space for keyboardist Charles Tiring. The album is an organ lovers FANTASY. Along with Battiato's 'Melle le Gladiator' this is the album I point out to people who want to hear Church Organ in prog.. not a solo or a dash of it. but driving a whole album.

Anyhow. Another short album by today's standards, but we don't mind do we. I'll take 38 minutes of high-quality music over 80 filled with filler anyday. An album that non-Italian speakers will have no problems dealing with. When a man says he wants to rip your guts out and savor it with a nice Brunello di Montalcino, you really don't need a translation do you. For me 4 stars, an album that I reach for when I am looking to match a particular mood ..or wish to set a particular mood. For the site.. 3 stars. A good addition to any prog collection. Obviously not a varied album and one that may only apply to certain prog fans.. and even then.. at certain times and moods. But when the time comes for wanting something dark and atmospheric.. there are few albums better.

Michael aka Micky

 

22 October 2024: Ragnarok; Cousin Silas and Jonathan Ewald (litmus0001)

 

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Ragnarök is a Swedish prog-rock band, founded in Kalmar in 1972, by Peter Bryngelsson, Henrik Strindberg and Staffan Strindberg. Their first album was released 1976 by Silence Records
 
Ragnarök biography
Formed in Kalmar, Sweden in 1972 - Recording hiatus from 1992 to 2007 - Reformed in 2003

These Swedes managed four albums on Silence Record and some more (not listed here) in the early 90's. They are a typical example of atmospheric and melancholic prog like only Sweden can produce them. Their first album is a real classic known as a minor classic among progheads and they will participate to another group (KUNG TUNG - much harder) before doing their second album where those influences from that group will leave a mark. It is reputed to be as good as their debut. The later albums listed here remain of a good standard. Among the non-listed albums is "Well"(91) and is rather new age and sometimes industrial - not much to do with the earlier works.

: : : Hugues Chantraine, BELGIUM : : :

NOTE: Not to be confused with the New Zealand symphonic prog group from those very same years (also HERE on PA) or the Heavy Metal unit from the 80-90's.  

Review by siLLy puPPy
Special Collaborator PSIKE, JRF/Canterbury, P Metal, Eclectic

4 stars RAGNORÖK has been one of Sweden's longest running progressive acts engaging in both progressive rock and progressive folk since its formation in Kalmar in 1972. Founded by Peter Bryngelsson (guitar, bass, vocals), Henrik Strindberg (guitar, flute) and Staffan Strindberg (bass), throughout the band's existence it has seen more than 25 members come and go. Despite this long existence the band has only released a total of six studio albums which all began with this 1976 self-titled debut. While mostly active during the 70s and 80s, the band took a hiatus and then reformed in 2002 but has only released one album "Path" since.

While RAGNORÖK would take a turn towards progressive jazz rock on its sophomore album "Fjärilar i magen," on this eponymous debut the band delivers a lush pastoral form of progressive folk that belies the band name that refers to the great event in Norse mythology that includes a great battle. On the contrary, RAGNORÖK's first album is one of the most mellow and dreamy styles of prog you could possibly experience with slow moving guitar and flute, piano arpeggios and a controlled drum and bass section. Hints of the jazz direction are dropped in some of the percussion moves but otherwise this sounds more like a mix of Bo Hanssen and Camel without any true points where the band rocks out.

A veritable mix of folk, classical guitar, semi-jazzy interludes and the pastoral aspects of prog ranging from Genesis to Anthony Phillips (sans vocals). The music also includes some interesting Swedish folk flavors including a bit of that famous circus music feel on the short "Fjottot" but mostly this is an acoustic guitar, piano and flute dominated album that takes you into prog placidity. While mellow prog such as this can often fall into tedium, RAGNORÖK keeps the album interesting by crafting an excellent instrumental interplay that keeps you in the zone. Too often folky albums will unnecessarily attempt to rock out at inappropriate moments and while that can be effective if done well, often it falls flat. In this case the band simply stays on mellow mode for the entire ride which makes it a beautifully compelling listen. Of course this would all amount to nought if not for the beautiful melodies crafted.

Another strength is the use of varying styles of folk music with even Celtic folk sounds being implemented on "Stiltje-uppbrott." Personally i find these low key prog albums hit or miss but occasionally a band nails it perfectly. This is something like Sweden's equivalent to Italy's Celeste who also went against the grain and delivered a rock-free slice of piano-based mellowness. To my ears this sounds like the prog equivalent of cool jazz and if Miles Davis was Swedish and took on the world of prog folk then perhaps this is the kind of album he would've produced. Any way you slice it, RAGNORÖK's debut is a one of those pleasant surprises that works because of its high quality and consistency throughout its run. The mix of instrumentation is family unique and the album doesn't sound like much else. A nice late to the game addition to the world of prog folk in 1976. 

 


Thanks to Litmus for his contribution.

litmus0001.bandcamp.com
 
This is the second Cousin Silas/litmus0001 collaboration to be featured on FreeForm Radio 

credits

released October 4, 2024

Thanks to Thomas Mathie for the cover design 
 

 

15 October 2024: Parallel Worlds; David Gilmour

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I'll also be hosting Rural Electric (Mostly) Country Music from 7-9 this evening.

 

                                                            Impressions by Parallel Worlds

Listener Reviews:

dbssll Parallel Worlds is an original and distinctive voice in a sea of samey electronic music. Off kilter quirky rhythms alternate with slightly uneasy ambience. The melodic fragments always arrive from an unexpected angle and catch your ear as they float by. Give it a go.
selfoscillate thumbnail
selfoscillate Another great album by modular master Bakis Sirros, crafted in his instantly recognisable style. His music arouses emotions without the need for overcrowded arrangements. The melodies speak for themselves and the delicate percussion programming is the perfect surrounding for them. It is all done to the point without clutter. Very nice. Fully recommended. Favorite track: Time Dimension.
mamonulabs thumbnail
mamonulabs This album delivers a rich tapestry of autumnal IDM and ambient sounds. A fusion of analog modular synthesis with digital / granular elements in classic Parallel Worlds style. Favorite track: In Harmony.


Artist: Parallel Worlds
Release: Impressions
Type: Album (Double 10",CD, Digital)
Genre: Ambient, Experimental, IDM
Year: 2024
Catalog number: MOA1225
Label: Móatún 7

bit.ly/--impressions

Machines used:

Eurorack Modular
Korg Wavestate
Buchla Modular
SQ64

credits

Our thanks to Bakis Sirros for providing us with a copy of this release.

released October 10, 2024

Written by Bakis Sirros
Design by Mason Verger
Mastered by Árni Grétar
© Móatún 7 2024

license

all rights reserved

tags

 

From Wikipedia, the free encyclopedia

Luck and Strange is the fifth studio album by English guitarist and songwriter David Gilmour, released on 6 September 2024 by Sony Music. It was produced by Gilmour and Charlie Andrew. Gilmour said Andrew challenged him musically and was not intimidated by his past work with Pink Floyd.

Gilmour's wife, novelist Polly Samson, wrote most of the lyrics, which she said addressed mortality and ageing. Their children contributed additional vocals, lyrics and instrumentation. The song "Luck and Strange" features keyboards recorded in 2007 by the Pink Floyd keyboardist, Richard Wright, who died in 2008. The album also features a cover of the 1999 song "Between Two Points," originally by the British band the Montgolfier Brothers.

Luck and Strange became Gilmour's third number-one album on the UK Albums Chart. "The Piper's Call," "Between Two Points," "Dark and Velvet Nights" and "Luck and Strange" were released as singles. Gilmour began a tour supporting the album in September 2024.

 
Luck and Strange

Studio album by
Released6 September 2024
StudioMedina Studio
Salvation Studios
British Grove Studios
Angel Studios
Astoria Studio
Iguana Studios
Length43:21
LabelSony
Producer
David Gilmour chronology
Live at Pompeii
(2017)
Luck and Strange
(2024)


Singles from Luck and Strange
  1. "The Piper's Call"
    Released: 25 April 2024
  2. "Between Two Points"
    Released: 17 June 2024
  3. "Dark and Velvet Nights"
    Released: 9 August 2024
  4. "Luck and Strange"
    Released: 12 September 2024
Professional ratings
Aggregate scores
SourceRating
Metacritic83/100[1]
Review scores
SourceRating
Financial Times[2]
The Independent[3]
The Irish Times[4]
Mojo[5]
Rolling Stone[6]

 

08 October 2024: Tony Levin; Nad Sylvan & Bonamici (aka Christian Thordin) - Unifaun

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Tune in to the Fisheries Debate broadcast live on KMXT from 7-9 before the show.

Over the past half century, Tony Levin has been a prolific session player and one of the most active live performers on the planet. He’s contributed his talents to over five hundred albums amongst which include 15 with Peter Gabriel and 18 with King Crimson (counting live, studio, and compilations) alongside contributions to the work of John Lennon, Alice Cooper, Lou Reed, Herbie Mann, Paul Simon and many others. On tour, he’s traveled the World many times over with the aforementioned King Crimson, Peter Gabriel, and several of his own bands including Stick Men
.
This Fall, he’ll stage 65 performances in North America as a member of BEAT, celebrating King Crimson’s ‘80s repertoire alongside Adrian Belew, Steve Vai and Danny Carey interpreting “Discipline, Beat and Three of a Perfect Pair.”

Levin’s seventh solo album, and his first since 2007, is an autobiography of sorts, with the themes drawn from Levin’s musical life. It features a myriad of collaborators from his half-century-plus on the road and in the studio with Peter Gabriel, King Crimson and many, many others.

Features a Murderer’s Row of guest musicians including Robert Fripp, Vinnie Colaiuta, Earl Slick, Mike Portnoy, Steve Gadd, Jerry Marotta, Gary Husband, L. Shankar, Pete Levin, Jeremy Stacey, David Torn, Pat Mastelotto, Larry Fast, Steve Hunter, Manu Katche, Alex Foster, Dominic Miller, Markus Reuter, Collin Gatwood, Chris Pasin, Jay Collins, Josh Shpak, Don Mikkelsen. 

credits

released September 13, 2024

1. BRINGING IT DOWN TO THE BASS
Drums: Manu Katche
Guitar: (solo) Dominic Miller
Keyboard: Pete Levin
Trumpet: Chris Pasin
Alto sax: (solo) Alex Foster
Baritone sax: Jay Collins
Bass: TL
Drums recorded by Toby Gendron at Planet Studios, Montreal
Guitar recorded by Tony Lake
Horns recorded by Scott Petito at NRS Studio
Horn arrangement by Pete Levin

2. ME AND MY AXE
Drums: Jerry Marotta
Guitar: Steve Hunter
Keyboards: Larry Fast, Pete Levin
Bass: TL
Drums recorded by Ariel Shafir at Dreamland Studios

3. ROAD DOGS
Drums: Jeremy Stacey
Keyboard: Pete Levin
Bridge rhythm touch guitar: Markus Reuter
Bass, cello, stick, vox: TL
Drums recorded by Milo Jerreira-Hayes at The Bert Jansch Studio

4. UNCLE FUNKSTER
Drums: Vinnie Colaiuta
Stick: TL

5. BOSTON ROCKS
Drums: Mike Portnoy
Guitar: Earl Slick
Keyboard: Gary Husband
Stick, vox: TL
Guitar recorded by Ariel Shafir at Dreamland Studios

6. ESPRESSOVILLE
Drums: Steve Gadd
Guitar: Joe Caro
Keyboard: Pete Levin
Bass: TL
Trumpet: Josh Shpak
Trumpet: Chris Pasin
Trombone: Don Mikkelsen
Drums recorded by Rob Katz at Wackerman Studios
Horn arrangement: Pete Levin
Espresso machine sounds by Tony’s Breville

7. GIVE THE CELLO SOME
Drums: Jerry Marotta
Organ: Pete Levin
NS cello, bass, vox: TL
Drums recorded by Ariel Shafir at Jersville Studio

8. SIDE B / TURN IT OVER
Vox and bass: TL

9. BEYOND THE BASS CLEF
Violin: L. Shankar (Shenkar)
Keyboards: Gary Husband
Oboe, English horn: Colin Gatwood
Stick, cello, bass: TL

10. BUNGIE BASS
Drums: Pat Mastelotto
Guitar: David Torn
NS Bass, cello: TL

11. FIRE CROSS THE SKY
Stick, vox: TL

12. FLOATING IN DARK WATERS
Soundscape: Robert Fripp
Percussion: Jerry Marotta
Steinberger bass: TL

13. ON THE DRUMS
Vox: TL

14. CODA
Cello: Linnea Olsson, & Bess Brydolf (in utero)
NS Bass, piano: TL 
 
 

Founded in 2004

Nad Sylvan and Bonamici (aka Christian Thordin) accidently stumbled upon each other on the Genesis website´s forum in 2003. Bon had written an instrumental song, "Tribute to Genesis" and wanted some critics from Genesis board members. Nad certainly liked it, contacted Bon and suggested a collaboration. Since they both live in Sweden, they teamed up quite effortlessly. What they both seemed to have in common, besides a passionate love for progressive rock, was also their backgrounds; At the age of five, both Nad and Bon started to play the piano - only relying upon their ears as they are self-taught.

Bon musical journey wandered towards jazz, fusion, folk/world music and latterly progressive rock.
He studied and improvised music at Hubbard High School, Ohio, USA 1977-78 and played keyboards in various musical constellations in the US, Sweden and Norway during the 70´s and 80´s.

With a young family and racing two small kids during the 90´s as his primary, it wasn´t until the 00´s that time had come for a full-blown musical endeavour, composing in many different styles - but in general more in the tradition of world/folk music as well as piano driven jazz excursions.

Nad picked up on his singing ability in his early teens, just as he did with a few more instruments besides the piano. Writing/recording and performing his own songs as a solo artist and in various bands throughout the 70´s, 80´s and the 90´s has become a lifestyle.

He looks at his singing voice being more of that of an instrument that can be "tuned" and changed to fit the music, rather than the other way around, hence the associations with Collins/Gabriel. You listen to Nad´s solo work, and you will hear quite a different approach - yes, Nad is a chameleon!

After three solo albums from 1995-2003, where Nad played and sang everything himself - he longed for a long term musical relationship, and found the perfect partner in Bonamici.

Together with Nad, progressive rock have become the foundation of this duo - and in the old farm house, Bon´s studio has grown into a high tech facility, incorporating everything from advanced gear for creating motion pictures, to all kinds of vintage- as well as software instruments.

With this first offering with "UNIFAUN", the duo set out to do "the songs Genesis never did", initially as a very innocent flirt with their old heroes and basically just for fun and games - very much with a glint in the eye!
After the second song ("Mr. Marmaduke and the Minister") had been uploaded to their website, a demand for a full album began to emerge from fans of both Gabriel- and Collins era Genesis. Seemed like fun!

After four years of writing/recording - the duo where approached by Hansi Cross of Progress Records, Sweden. And here we are.

"Ok, we survived goal number one! Now we must live up to the next one, "to become rock stars before we hit 50!", says Nad, 49 and Bon, 48... :)

Biography provided by Nad Sylvan of UNIFAUN

01 October 2024: Jimi Hendrix; Brendon Moeller (quiet details 24)

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The first Tuesday of every month we spotlight a classic progressive rock album from the 1960s or 70s. This week we feature Jimi Hendrix's classic album, Electric Ladyland, in its entirety. I bought this album when it was first released and I am still impressed with the variety of styles of music and Hendrix's virtuosity on this album.

From Wikipedia:

Electric Ladyland is the third and final studio album by the Jimi Hendrix Experience, released in October 1968. A double album, it was the only record from the Experience with production solely credited to Hendrix.[nb 1] The band's most commercially successful release and its only number one album, it was released by Reprise Records in the United States on October 16, 1968, and by Track Records in the UK nine days later. By mid-November, it had reached number 1 on the Billboard Top LPs chart, spending two weeks there. In the UK it peaked at number 6, where it spent 12 weeks on the British charts.

Electric Ladyland includes a cover of Bob Dylan's "All Along the Watchtower", which became the Experience's best-selling single, reaching number six in the UK and number 20 in the United States. Although the album confounded critics upon its release, it has since been viewed as one of Hendrix's best works and one of the greatest albums of all time, being featured on various "greatest albums" lists, including Q's 2003 list of the 100 greatest albums and various editions of Rolling Stone's list of the "500 Greatest Albums of All Time", on which it was ranked 53rd in the 2020 iteration.     

Mirage - Brendon Moeller

Quiet Details 24

 Under a range of monikers, Brendon has been at the forefront of exploring some of the deepest planes of electronic music for nearly two decades. Dub, house, techno, experimental, drum and bass and more - releases on labels such as Echochord, Electric Deluxe, Soul People Music, Silent Season, Delsin, Deep Space Media, Mule Music and many others, show how well-regarded and widely-loved his music is.

Mirage sees Brendon take this wealth of experience to create the most incredible journey of hypnotic atmospherics - we get the feeling of a composer completely at ease with themselves and their vision of electronic music.

Grounded by the heaviest of bass-weight, each track presents a vast and seemingly endless sonic universe - gorgeous trails of musical fragments drift in every direction, floating away on crumbling echos and near-infinite reverberant decay.

Highly textured sonic particles come in and out of view - shifting drones, acidic undulations, synthetic waves, field recordings and broken percussion - all within a framework that harks back to the original dub masters, yet completely of today and this moment in time.

Deft and precise studio techniques mix with an intuitive and truly hands on approach to music creation - Brendon has a unique and innate understanding of both the exact sounds needed and the exact moment to let them live - conducting this dubwise ensemble with the maximum finesse to evoke the most powerful emotions and feelings at will.

As he says himself:
The soundscapes you’re listening to were recorded over a few days in the middle of a Summer heatwave in Patterson, New York, July 2024.

Endless hum… nature grinding slow, steady decay.  
Unmeasured rhythms syncopate… heat’s dissonance, fractured airwaves.  
Time drips, pools, melts—liquefied, slipping into cracks of unreality.  
Like vapor, slipping between what is and isn’t. The mirage hums.  
Frequencies hit—familiar but formless, just the pulse.  
Always the pulse.


So pleased to share it with you, a wonderful album of breathtaking beauty.
Huge thanks to Brendon 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 Brendon 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.

Credits:

FreeForm thanks Alex at quiet details for providing us with a copy of this release.
Music by Brendon Moeller
Mastered by Alex at quiet details studios
Artwork by quiet details in collaboration with Brendon Moeller
Design by quiet details
© quiet details 2024 all rights reserved

24 September 2024: litmus0001 & Cousin Silas; James Murray "

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I am also hosting Rural Electric (Mostly) Country Music after the Island Messenger at 7 pm.  Tonight's playlist includes a few country songs by the Rolling Stones.

                                                                    Letters From America

New collaboration between Cousin Silas and litmus0001. This new release also includes three bonus tracks Cousin Silas and Jonathan Ewald collaborated on from the dark distant past.

credits

released September 13, 2024

Cover by Jonathan Ewald

license

tags

 
 

Weeds.  James Murray(Quiet Details 23)

Music by James Murray
Mastered by Alex at quiet details studios
Artwork by quiet details in collaboration with James Murray
Design by quiet details
© quiet details 2024 all rights reserved 
Promo Copy provided by Alex at quiet details.

Delighted to say that giving us the next instalment in the quiet details series is the prolific and much-loved visionary of minimal and ambient music, James Murray.

James is responsible for a back catalogue of the highest quality - establishing himself as an artist that falls squarely into the ‘essential listening’ category. With releases on top labels such as Home Normal, Ultimae, Eilean Rec, Fluid Audio, Morr Music (as Slow Reels) and more, and many on his own Slowcraft, his immaculate productions have earned him a place at the top table of modern ambient music.

Having already graced quiet details as part of qd15 Slow Reels (with Ian Hawgood), here we find James diving deep into experimental processes, guided by his peerless intuition and refined musical sensibilities.
The album is as conceptually fascinating as it is aurally beautiful, as James says:

Each track is a loose study of various structural, cultural or biochemical aspects of each plant's nature and reputation. As a collection Weeds celebrates the understated, overlooked, so-called inconvenient or arbitrarily maligned.

He continues:

This is a kind of sister album to Soundflowers (Slowcraft), though less sculpted and less formal. I've dialled back some of the intentionality and let generative methods take more of the lead compositionally and in terms of textural, granular detail.

This manifests itself into an album of gorgeous musicality created with vast technical skill. Each contains layer upon layer of detail, structured as a highly elegant and finely balanced whole. They unfurl in a serene and constantly shifting way, allowing the listener to be fully enveloped in these highly textured exquisite waves of sounds.

Minimal and perfectly formed melodic phrases dance freely within extended harmonies and ever-expanding atmospheric soundscapes - James has a way of creating ambient music that is engaging and demands close listening, and at the same time meditative and powerfully hypnotic.

This is music that rewards many listens and reveals more each time, and can be a companion to so many states of mind - truly timeless in its conception and delivery.

So pleased to share it with you, a wonderful album of breathtaking beauty. Huge thanks to James 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 James 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.

As a label we support the Cancer Centre - Milton Keynes University Hospital and all their wonderful NHS staff.

jamesmurray.bandcamp.com
 

credits

released September 11, 2024

license

all rights reserved

tags


10 September 2024: Gilgamesh; M.B. & Sonologyst; Markus Reuter & Stephan Thelen

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

I am also hosting Rural Electric (Mostly) Country Music after the Meet the Candidates live broadcast beginning around 8 pm.


Gilgamesh (1972–1975, 1977–1978) were a British jazz fusion band in the 1970s led by keyboardist Alan Gowen, part of the Canterbury scene.

History

The original basis of Gilgamesh was keyboardist Alan Gowen and drummer Mike Travis, the two working together on a band project with guitarist Rick Morcombe. The original Gilgamesh line-up consisted of Gowen, Travis, Morcombe, Jeff Clyne and Alan Wakeman on saxophone.[1]

Review by sgtpepper

4 stars Gilgamesh was formed at the peak of progressive rock era when ambitions met with sophisticated and maturity. That characteristics matches their music well. Though labeled as Cantebury band (and they definitely match that comparison when looking at the line-up), they are actually closer to the jazz-rock/fusion area. Music on that album is quite nuanced with proficient playing that is exploratory rather than rigorous, more atmospheric than energetic. It is one of the less accessible "Canterbury" music which may be an advantage for instrumental freaks and may put off folks looking for good compositions. The first composition (over 10-minutes) is, in my opinion, the landmark of Gilgamesh, blending several advanced motives to create an impressive instrumental suite. Shorter pieces are less substantial but we still have two tracks well worth attention - number 5 and 7 (their names are too long to write here ;-)). The 5th track evolves from a fine jazzy keyboard-guitar tandem into a "Hatfieldesque" fiery upbeat piece. The seventh track graces us with the female vocals again in the "Hatfield" way, but before that, I must again highlight the excellent guitar leads supported by Rhodes. Really tight playing by all band members.

I wanted to give it 3.5 stars but due to highly proficient playing, will round it up to 4. 

                                                    Forme by M.B. & Sonologyst
 

Maurizio Bianchi, referred to as the father of Italian electronic music, rarely looks backward. When asked where to start exploring his extensive discography, he recommends an album from his early period in the 1980s and whatever release is his latest. This relentless push for novelty has been at the core of his experimentalism for almost five decades. Despite his long career, he remains in the vanguard. Bianchi’s early work is a departure from traditional musical forms, using a textural and process-oriented approach. His pieces explore psychological states, using sound as a medium. He often discusses his music as a form of resistance against the commodification of culture, seeking to maintain an integrity that challenges both the listener and prevailing norms. Bianchi’s intellectual and artistic independence is central to his explorations of sound, technology, and their impact on emotion.
A similar form of unquiet exploration has defined the career of Raffaele Pezzella. In addition to music recorded under various pseudonyms, Pezzella publishes two or three releases per month across the four labels making up his Unexplained Sounds Network. Pezzella is curator in addition to sound engineer, artist, and label head, finding a wide variety of music from around the world that falls somewhere in the Venn diagram of ambient, acousmatic, post-industrial, sound art, and the outright weird. His Sound Mapping project consists of more thirty-five releases, a valuable document of modern sonic avant-garde from around the world. As Sonologyst, Pezzella integrates digital methods with analog instruments, producing abstract, dreamlike soundscapes haunted by phantoms of the mind. His work is deeply influenced by musique concrète, sound libraries of old documentaries, and he looks to figures such as Brian Eno, Pauline Oliveros, Terry Riley, Jon Hassel and - of course - Bianchi as inspiration. His interdisciplinary approach also draws from literature (Lovecraft, Burroughs, Ballard), film (Tarkowskij, Cronenberg), philosophy (hauntology, nihilism), and science (particle physics).
While Bianchi and Pezzella differ in generation and sound, their artistic philosophies align - the urge to innovate and willingness to push against artificial boundaries of genre are manifested in restless manipulations of the raw fabric of sound. While from different eras, the Euclidean distance between Bianchi and Pezzella in musical space is quite small.

Forme is the first collaboration between this duo. It is not so much a combination of discrete contributions from Bianchi and Pezzella as a deep integration between two minds. There is no roadmap to where Bianchi ends and Pezzella begins - Forme is not a Frankenstein’s monster constructed on an ad-hoc basis from spare parts. Instead, their musical processes and philosophies merge to the point of being largely indivisible. The resulting seven tracks fit well into either’s oeuvre. The album includes electronics and hypnotic bassy oscillations, suggesting themes of psychological horror, societal breakdown, and dystopian futures. The compositions use dense, layered soundscapes that incorporate industrial noises, shifting sound walls, and detailed textures, evoking a range of sensations from cosmic expanses to the claustrophobic intensity of sleep paralysis.
Culturally and aesthetically important art asks you to think and feel differently. It can be challenging, difficult, and even frustrating. It does not spoonfeed its message and it may not provide any answers. But this type of art is the most worthwhile. While Forme may be challenging and difficult, when approached with a curious mind it is also intriguing and immensely enjoyable. The previous works of both Bianchi and Pezzella have consistently engaged with fundamental questions about the very nature and potential of music. Forme not only continues this exploration of music's essence and its boundless possibilities but also invites listeners to actively participate in these inquiries.

Mike Borella

In music, the definition of "form" describes a musical structure in two or more sections, with various characteristics in the articulation, melody, and rhythm of a composition. But when it intersects with experimentation, the form takes on a more autonomous and uncompromising characteristic, so that a connotation of such research is the meeting between tradition and innovation. This is intended to be "Forme," a work pervaded by investigative exploration of the unknown electro-modulatory. And the user of such emotional torrentiality will be able to receive an existential fulfillment that leads to formal irrationality.

Maurizio Bianchi
 

credits

released July 25, 2024
Our thanks to Raffaele Pezzella for providing us with a copy of this release.
REVIEWS

Vital Weekly
Does Maurizio Bianchi need an introduction? I hope this name is familiar, playing unsettling electronic music since the late 1970s. Raffaele Pezzella is from the next generation of likewise unsettling electronic musicians and works as Sonologyst. His work was also reviewed a lot. The two of them would one day work together, and it’s perhaps a mystery why this didn’t happen sooner. Whereas Bianchi’s influences may lie in very early industrial music and musique concrète, without any specific names, for Pezzella, it’s a lot more, Brian Eno, Pauline Oliveros, Terry Riley, Jon Hassel and, no surprise, Bianchi, besides influences from films books, philosophy (hauntology, nihilism), and science (particle physics). “Forme” is a work pervaded by investigative exploration of the unknown electro-modulatory. And the user of such emotional torrentiality will be able to receive an existential fulfillment that leads to formal irrationality”, which is, I guess to say there isn’t much form here, but more of a flow of sounds, electronic in nature. Who does what on these seven tracks is unclear and hardly necessary. Whatever they do, it all blends well. There is a consistent flow in these pieces, rather than tight composing, almost as if mistakes were left in, creating odd shifts. Maybe I read too much into it, and is all of this carefully planned? I love this sort of rusty spaceship accident waiting to happen soundtrack; the leaky nuclear reactor minutes before combustion and we feel the burn slowly arriving. Enough metaphors to describe the music, and I am sure you’ll get my drift. Bianchi, in particular, produced a massive catalogue in his 40-plus career, and pinpointing the masterpieces was not easy. I couldn’t say if this is one of those, partly because I haven’t heard all of his output. I can say I enjoyed this one a lot! (FdW)

Avant Music News
avantmusicnews.com/2024/07/26/amn-reviews-m-b-maurizio-bianchi-sonologyst-forme-2024-unexplained-sounds-group

Ver Sacrum
www.versacrum.com/vs/2024/08/maurizio-bianchi-sonologyst-forme.html

This Is Darkness
The latest release on the wonderful Unexplained Sounds Group label is this delightful album from M.B. & Sonologyst in which playful electronic music is blended with dark ambient undertones. The end result is absolutely gorgeous and reminds me in places of early 19070’s Tangerine Dream. This is one of those albums that reveals something new with each and every listen, and deserves to be listened to as you lie back in a darkened room and lose yourself to the unfolding music. Stunning!



FreeForm Radio thanks Raffaele Pezzella for providing us with a copy of this release.
M.B. music credits.
Material composed at the beginning of the second decade of the third millennium, using digitized equipment mixed with outdoor soundscapes. Amorphous collages, compiled at the beginning of 2024.

Sonologyst music credits
Analog synths, processing, sampling, mix intersections, and mastering.

Special thanks to P.U.M.A. for contributing to the tracks "Forma Farraginosa" and "Forma Farraginosa Estesa". Also thanks to Monica Calanni Rindina for making M.B. and Sonologyst terrestrial forms interact on so many planes; and to Mikko Saarikoski for the electric guitar part in "Forma Siderale".


Published by ©Unexplained Sounds Group
Mastered by Raffaele Pezzella (Sonologyst)
Artwork (Policromie) by Maurizio Bianchi
Layout by Matteo Mariano
Cat. Num. USG098
© 2024. All rights reserved.

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ROTHKO SPACES, VOLUME 2

American painter Mark Rothko famously said that “the only theme noble enough for art is tragedy.” This is what I told Markus when we met on April 22, 2024 at Castle Studios close to Dresden, Germany, and what he had in mind when he improvised the pieces that became the foundations for the 6 tracks on this album.

The original concept of the ‘Rothko Spaces’ project - realized in volume 1 with David Torn - was to combine electric guitar performances (played with a massive amount of feedback and distortion) with the sounds of a string orchestra. For volume 2 and the involvement of Markus, the guitar was of course going to be replaced by

touch guitar. Markus also took the feedback idea to the next level by setting up a sound system consisting of 5 cranked-up tube amps that made the whole tracking room a vibrating and unpredictable instrument with a sonic life of its own. There were microphones everywhere, including inside the grand piano (with the sustain pedal held down by a brick) and in the cellar (where you can hear the occasional car going by).

While Markus was recording his improvisations in the studio, I started to hear a choir in my head, so when I started working on the pieces in Zurich, I expanded the original concept to include voices and also some orchestral percussion. Thanks also to our friend Jon Durant, who contributed his signature ‘cloud guitar’ to some of the pieces.

Stephan Thelen, Bucharest, July 5th, 2024


Markus Reuter: Touch Guitars© AU8
Stephan Thelen: Orchestra and Choir Samples, Guitar, Arrangements

All tracks written by Reuter/Thelen, except ‘A Safe Haven’ and ‘No Way Out, Part 2’, written by Reuter/Thelen/Durant

Markus‘ touch guitar was recorded on April 22, 2024 at Castle Studios, Röhrsdorf, Germany Engineer: Arno Jordan

Mixed by Stephan Thelen, May/June 2024 in Zurich, Switzerland / Mastered by Alexandr Vatagin, June 2024 in Vienna, Austria / Dolby Atmos mix by Neeraj Khajanchi


Special thanks to Jon Durant for additional samples, cloud guitar on ‘A Safe Haven’ and inspiration for the fugue-like theme on ‘No Way Out, Part 2’. His cloud guitar on ‘A Safe Haven’ was recorded on April 26, 2024 at Dead Aunt Thelma‘s studio in Portland, Oregon. 

FreeForm Radio thanks Markus Reuter for providing us with a copy of this release.


RELEASE DATE: September 6, 2024
https://iapetus.bandcamp.com https://www.markusreuter.com https://www.youtube.com/markusreuter