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DiN
label boss
Ian Boddy follows up his 2020 studio release “Axiom” (DiN64)
with another vinyl album length slice of vintage electronic music synth
heritage:
Coil (DiN74). Whilst there are many focusing in on the world of
possibilities of modular synths to the detriment of form and composition
Boddy uses his 40 plus years of experience to create six succinct
slices of analogue warmth and emotion.
The title track which opens procedures is a case in point. Boddy crams
into its seven minutes more drama than many would manage in a side
length track. Soft textural chords soon give way to a pulsing
arpeggiator playing from his venerable Roland System 100-M modular. Just
when the piece seems to be settling into a cyclical groove a series of
transpositions move the harmonic interest along before a climax of
percussion and synth textures soar toward a stunning crescendo.
The next piece, “Messiaen M31”, in contrast is a calm, floating track
with an unusual harmonic chord progression based on Olivier Messiaen’s
music theory with a beautiful Ondes Martenot style solo line. “Rings”
features layers of sequencers and arpeggios that twist and turn through
various key changes toward another stunning
climax.
“Teutonium” is pure Berlin School with a thundering Moog bass line
interspersed with edgy, glitchy interjections before subsiding to the
calm, gentle fluctuations of “Flow”.
Finally “Silver Surfer” is a slice of Synthwave fun featuring the crisp
tones of the 100-M set against a syncopated bass line and a beautiful
Ondes Martenot duet over a transposing sequencer line.
“Coil” will be released on both CD digipak as well as a limited edition 180g vinyl edition.
From Minilog on Bandcamp: "Ian at his peak. An
incredible album, full of melancholic and haunted beauty, in which the
modulations operate like "melodic steps", and where the sequences wind
and unfold like glittering vines. Just like the superb cover by Wendy
Carroll : a must have !"
credits
Our thanks to Ian for providing us with a promo copy of this release.
releases October 14, 2022
All tracks composed, patched and recorded by Ian Boddy January - March 2022.
Mixed and mastered by Ian Boddy March 2022.
Instrumentation:
Serge & Eurorack modular systems
Roland System 100-M
Buchla Easel Command
Make Noise 0-Coast
Moog Voyager & Matriarch
Novation Summit
VCS3
Analogue Systems French Connection
Analogue Solutions Generator
Spectrasonics Omnisphere
Kontakt playing sample libraries by Spitfire Audio & Soniccouture
Ableton Live
ambient
em
electronic
electronic music
electronica
downtempo
modular synth
synthwave
Sunderland
Mark Shreeve (2 June 1957 – 31 August 2022) was a British electronic music composer. After initially releasing his early work on cassette through the label Mirage Records, he went on to sign for the newly formed Jive Electro in the early 1980s,[1] and released the albums Assassin, Legion, and Crash Head.[2] His last solo album to date, Nocturne, was released in 1995. A live album, Collide, was released in 1996 featuring his live performance at EMMA two years before.
Shreeve was born in Great Yarmouth on 2 June 1957.[3]
Shreeve also composed scores or sections of scores for some feature films, recorded a number of library music CDs and wrote the song "Touch Me (I Want Your Body)" for Samantha Fox, which was released and hit the chart in 1986. He also worked briefly with Christopher Franke of Tangerine Dream and has had some technical association with producer and modular synthesiser expert Ed Buller.
In 1996, Shreeve formed the group Redshift
with his brother Julian, James Goddard and Rob Jenkins. The group has
recorded nine albums to date and played live in the UK and in all
Europe, including one concert made at Jodrell Bank Observatory.
Shreeve died on 31 August 2022, at the age of 65.[4]
From Sylvain Lupari:
Fan of horror movies and books? Unconditional of Stephen King? How about listening to the music The Stand? It's obviously inspired by this book that Mark Shreeve built the 7 tracks, the 40 minutes of his 8th solo album. LEGION stands out from the more exploratory genre of Mark Shreeve's first solo albums with shorter and more explosive compositions. A catchy EM conceived around hard sequencing patterns, synths more in synth-pop style and samplings drawn from the sonic librarie of 1980's horror movies. Without a doubt, it's England School's most rock album at the time when Tangerine Dream still enthralled thousands of fans and dozens of musicians with its Underwater Sunlight tour in 1986. It's also possibly the flagship album of English artists' response to Berlin School. Movement which brings EM into more rock basis and which popped out with the emergence of Ian Boddy, Andy Pickford, David Wright and Wavestar, just to name a few. As far as I'm concerned, it's the most pop, heaviest and the most catchy album I've ever heard in the wonderful world of Electronic Music. A heavy opus with jerky and unbridled rhythms that are backed up by a sequencer and breathless electronic percussion to support simple, effective and catchy melodies. An album that has aged quite well!
Using samplings to the maximum, LEGION is full of satanic winks. It's therefore with a strange incantation, like a Black Mass, that a big and heavy line of bass sequences, like a bass, opens the procession of Legion. From then on, the rhythm becomes fast. It coughs on good percussion, metallic chords and a powerful sequencer that sculpts a hard and heavy rhythm with the support of a swarm of percussive keys that roll like the drumming of drums. Subsequently, the rhythm gets tribal. Big trance-like percussions (which may have inspired Juno Reactor) pushes the limits of synthesizer strings a bit philharmonic, but which sound like guitar riffs. It's a heavy, fast and totally demonic title that you've probably heard. Because it was part of the soundtrack of the film; The Jewel of the Nile in addition that it played a lot on dance floors, as evidenced by the many mix and the 7'' that have been made since its release. This shot is not isolated! There are several other very rhythmic tracks that are animated by a sequencer as heavy as fluid on this album. Like Sybex Factor with its hammering percussions and its long synth solos combined with those of Chrissie Bonnacci's guitar. There is Icon with its unbridled rhythm and the ultra paced sequencer, and as fast as that of Chris Franke for example, as well as these metal wings and these cries of bats. Finally, there is Hammer & Cross which arrived on the late. This is a bonus track that appeared on the 1st CD edition on Centaur Discs.
The melodies are still well anchored. And there are some that are simply catchy. Like Storm Column rolling on a structure of rhythm as wild, as jerky as the title-track. It's a loud and nervous title with light and melodious choruses that are in harmony with a very sharp synth. Moreover, this mixture of voice samplings on a rhythm as that jerky is quite great. Flagg is another stroke of genius! The longest track of LEGION opens with a very gloomy intro, as in a horror movie of series B. A little keyboard turns a melody into a threatening rhyme on a line of diabolical sequences that accelerates the pace in the long winding lines of a magnetising synth. The pace pounding a slow walk, at times it looks like a walk of vitamined zombies, and again the sampling is superbly successful. With Domain 7, it feels like being in a surreal marsh with birds and wolves coexisting on momentums of violins and a harmonium keyboard that hovers with good silky impetus whose lines follow the long sensual curves of a dark electric guitar and suggestive of Pat McManus. The effect is demonic! And even more with the violin strings that resonate on little more symphonic layers. The guitar is sublime. We feel the strings being scratched so much the effect is realistic. Being more sentimental than rocker, it's my favorite track. But after The Stand! We hear a synth crying and suffering in an envelope of melancholy so deep that we feel the threads of our soul shivering. Behind a slower rhythm structure and a lot fog effects, a synth line turns its harmonies into those of a trumpet. This track finally comes to give me these goosebumps that has resisted so far throughout this adventure that is LEGION. Not by its roughness, but by its sensitivity and the hold of evil that seems to triumph. It sounds like Ennio Morriconne who made a pact with the Devil in a more Mexican final than Mephistophelic. But the crying of a baby brings us back to reality behind the precepts of LEGION.
Even if closer to a synth-pop, quite progressive and very worked on the other hand, than the other albums of Mark Shreeve, LEGION remains a major album. Just see the asking price on Ebay so one understands its importance in the chessboard of contemporary EM. Its canvas is the kind that can appeal to fans of Gothic music, even if at times the melodies are at skin's edge, lovers of synth-pop and/or hard and heavy E-rock. Everything is well structured. It's a music filled of surprising samplings and unbridled sequences which preserves, in spite of these two elements, all of its melodic dimension. Simply great ... And that should be very kind if one day Mark Shreeve decides to reissue it, because the asking price on eBay is closer to a stealing option than to please the fans of Mark Shreeve.
Sylvain Lupari (September 8th, 2006) *****
SynthSequences.com
Recorded at Battery Studios, London.
Words to 'Flagg' by Mark Shreeve based on a character created by Stephen King.
Equipment used on this record:
Fairlight
CMI, Emu Systems Emulator II, P.P.G. Wave 2.2, Oberheim OB8, Roland
Jupiter 6, Roland Jupiter 8, Yamaha DX7, Linn Drum 9000
Linn Drum 2, S.C.I. Drumtraks, Roland TR808, Roland MSQ 700
Tracks 8 and 9 are bonus tracks.
In
ancient Greece, music played a central role in all areas of life, both
public and private. We can only imagine how this music sounded. But
there are many visual sources that can tell us who was playing which
instruments and in which settings, as well as showing us that there were
often people dancing together. Listening to "The M. band" by Pina
Bounce, one seems to perceive a sonic glimpse into those ancient times,
reverberating through the long notes of the trumpet and filtered by the
distortions of the electrical equipment. Grim Machines' "Sparagmos"
showcases primitive noise rituals, combining analog equipment and
amplified built instruments, thus creating music informed by a creative
blend of ethnological study and ancient culture. "Luc" by
epavlispavlakis and Nicolas Malevitsis sounds like a requiem played in
an abandoned Arcadian monastery. These are some examples of music which,
alongside the abstract minimalism and the electronic and
electroacoustic experimentation of Costis Drygianakis, Michalis
Paraskakis, melophobia, Meteoros Meteor, Savvas Metaxas, Dimitris Savva,
and many other talented musicians, can testify to how tradition and
innovation, past and present, history and future are in a constant
dialectical relationship; and how, incredibly, music in Greece is still
flourishing through its youth, despite the millennia of culture behind
it.
Raffaele Pezzellacredits
Our thanks to Raffaele Pezzella and the Unexplained Sounds Group for providing us with a promo copy of this release.
released September 2, 2022
Published by ©Unexplained Sounds Group
Curated and mastered by Raffaele Pezzella (Sonologyst)
Special thanks for their precious collaboration to Nicolas Malevitsis, Ion Christodoulidis, Dimitris Tsironis.
Cover image “Dyonisus on a boat”, 550-540 BC.
© 2022. All rights reserved
Ukraine-based band KARFAGEN is a somewhat personal best of young composer/keyboardist
Antony Kalugin,who founded this project in 1997 (at the age of 16!),being himself a student at
school.Before the turn of the millenium he started writing material for the first KARFAGEN
album and actually the band played a few gigs as well,before they were put on ice with Kalugin
following a personal career,mostly composing and participating on new-age albums.By mid-
00's Antony had been a self-employed musician,so he gave birth to his former band and
recorded the long-awaited KARFAGEN debut in 2005 on the Canadian Unicorn Records.
DEAF were an extremely obscure Swiss Krautrock outfit around 1970 and we can hear their "real"
soundscape only from their one and only compilation "Alpha" including the longest album-titled suite
and three live sessions. Of the whole album, such a mixture of heavy & peppery guitar-based kick and
drunken keyboard walk can notify us some fragrance of Krautrock.
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