29 November 2022: Dancer; litmus0001; Capricorni Pneumatici

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THIS FRIDAY IS BANDCAMP FRIDAY WHEN THE MUSICIANS GET TO KEEP ALL REVENUE FROM SALES AND PAY NO FEES TO BANDCAMP.

 

Sonnenmensch Mar 9, 2013

referencing Tales Of The Riverbank (CD, Album) KSCD 917

ProgArchives:

DANCER were formed from remnants of Isle of Wight folk rockers SHIDE & ACORN and future famed film director the late Anthony Minghella. Minghella had previously appeared as keyboardist in a small jazz group known as EARTHLIGHT.

The musicians were discovered by Wilf Pine, former manager of BLACK SABBATH and future reputed ranking member of the Gotti mafia syndicate in the United States. Pine secured the group studio time at Olympia in the Barnes suburb of London in 1972, where they recorded seven tracks over a month's period under the direction of GROUNDHOGS guitarist Tony McPhee. McPhee, despite having an arm in a cast offered the guitar solo to close the title track. DANCER dissolved soon afterwards and their recordings remained forgotten until copies emerged nearly thirty years later and were released by Kissing Spell.

Minghella would go on to a lengthy and successful career as a film producer, while Athey and Cuffe would form the funk band BIG SWIFTY.

DANCER merit a place in the ProgArchives.com for their brief but enjoyable contribution to progressive music at a transitional and largely forgotten period in the individual members' careers.

biography by Bob Moore (aka ClemofNazareth)

 

Hear the entire album on YouTube.

 

 

From Jonathan Ewald:

This release, negative fundamental,  was recorded 12/27/2021 in a single take, all improvised, one track recorded live, no overdubs. The only thing I had a good idea about was to play around the modes associated with G min/Bb maj. 6 string bass thru loops and delays and fx. Knife glissando. Alligator clips chimes. MC202 old school analog synth thru a tremolo pedal and then, programmed sequence thru a delay pedal. 

 

Influences: Robert Fripp, Steve Hillage, Manuel Gottsching/AshRa, Bill Laswell, Godspeed You! Black Emperor, Sunn O))) ,Boards of Canada.

 

In my process, when these recording sessions turn out best, all but the most bare of plans goes out the window. I try to be patient and build a worthwhile soundscape with minimalist intent. Ideally, this leaves room for development and turning corners, changing the mood and direction of the piece slowly so it all just gently flows together.

I try to have my mind as blank as possible while open to what my ears are hearing. I try to be patient. Again, slow development seems to allow avoidance of trainwrecks... maybe.

A factor contributing to the success of these longform improvised pieces is to approach the primary instrument, the 6 string bass, more as an means to make sounds than as a musical instrument.

Right now working on an extension of the litmus0001 project, called Uberwacht. Essentially, litmus0001 + drummer.

 

This release is available on Bandcamp.  Bandcamp Friday is this Friday.   Our thanks to Jonathan for providing us with a copy of this release.

Eighth Tower Records re-discovers by a cd publication the cult 1989 tape cassette "Nibbas" by Capricorni Pneumatici. They took their name from the Aleister Crowley "Liber A' ASH vel Capricorni Pneumatici SUB FIGURA CCCVII", and between 1987 and 1991 were one of the most active projects of the esoteric/industrial Italian underground.

All tracks composed and performed by Capricorni Pneumatici
Recordings and mixing 1988 - 1989
Cover design by CPS

credits

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

released November 17, 2022

Original tape release by Minus Habens, 1989
Remastered at CPS, Jan 2022
© CP & ETR 2022 all rights reserved
Published by Eighth Tower Records

 

ambient dark ambient dark chamber drone industrial noise Italy

22 November 2022: d'Voxx; Deaf; Granada

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It’s always said that the second album by any band is the difficult one to create and release. This could well have been the case for the duo d’Voxx who launched their debut record “Télégraphe” (DiN58) on DiN in 2019 too much critical acclaim. Rather than continuing in the same vein they have really raised the bar with a stunning sonic interpretation of the classic twentieth century novel “1984” by George Orwell. Not only that but they have the blessing and permission of the estate of the late Sonia Brownell Orwell to not just use the novel’s title but to directly quote from this seminal work.

Over the course of eight tightly focused tracks, which feature stunning sound design, what unfolds is a musical work that really captures the essence of this great work. Male and female voices quote from the novel as modular systems churn and chatter around their syllables. Throbbing sequence lines and incessant percussion grooves worm their way into your consciousness as the overall sense of unease and paranoia is gradually ramped up throughout the course of the album. Heartrending strings and melodic themes twist and turn to superimpose an emotional layer over the brutality of the underlying message.

Written in 1949 the dystopian themes of the novel seem even more relevant today than when it was first published. Most importantly the ways that truth and reality can be manipulated by governments and large corporations seem to be an insidious force that affects us all. This unique album by d’Voxx could well be the greatest musical interpretation of this novel to date and is another milestone in the burgeoning catalogue of the DiN imprint. 

credits

Our thanks to Ian Boddy and DiN for supplying us with a promo copy of this release.

released November 18, 2022

Composed and produced by Nino Auricchio and Paul Borg.

Nino Auricchio plays Winston
Wendy Auricchio plays Julia
Paul Borg plays O’Brien

Mastered by Nino Auricchio

Cover image by Nino Auricchio
Designed by Jamie Currey

Special Thanks to Ian Boddy, Florence Reese & Bill Hamilton at A.M. Heath, Penguin Random House, HMH Books & Media, Mark Roland & Neil Mason at Electronic Sound Magazine.

This album is a musical interpretation of George Orwell’s 1949 novel, 1984.

Use of the album title 1984 and spoken text has been granted by permission of the estate of the late Sonia Brownell Orwell.

ambient em electronic electronic music electronica eurorack downtempo eurorack modular modular synth Sunderland

Review by DamoXt7942
FORUM & SITE ADMIN GROUP Avant/Cross/Neo/Post Teams

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.

From the beginning "No Time" we can be knocked out by freak out flute, percussive rhythm section, simple and persistently fluctuate bass, and sometimes familiar sometimes heavy attacking Samuraish rock ensemble. Against clear heavy rock texture, obscure voices (like this band's history ... cannot understand what they said) are there. In the latter half, eerie keyboards catecholamine intermittently follows drumming solo. A mysterious and interesting stuff. The second "Run You Off The Hill" can shoot into our brain dreamy drowsy bluesy heavy missiles from Swiss Deaf-y launcher. Basically a simple blues number, but simultaneously with groovy keyboard-based glimmering psychedelia. In "The Galactic Pack Of Kari" a warped flute and a greasy acoustic guitar can be very active and aggressive over the percussive rhythm stage especially in the middle part. Definitely not a single poppy ballad but delightful tragedy theme we can hear alright?

The last Ravel's Boléro-based extreme suite "Alpha", one of their few and rare studio sessions, should be absolutely beyond expression. Calm and gracious falsetto chorus with exotic, ethnic woody-moody percussive melodies by flute and clarinet solos, plus a bit weird shouts, not entirely united and polished but slightly scattered into each of instrumental pieces. Nutty and dry-fruity merged organ sounds themselves can remind us some Kraut-ish keyboard-based soundshower. Quirky percussion and a bass solo with spacey synthesizer-elevated tribal jamming ensemble is not fundamentally honest at all but a bit whacked-out with merry-go-rounder flute sounds and complex, flexible drumming. Certainly shoegazey garagey made-on-trip sounds follow the whackey bloody footprints by struggle between a guitar and a synthesizer. Maybe they cannot be too soft nor too heavy in the last part. Well-balanced bluesy boogie fever can rush into confusion world. We cannot realize and well-read where and how this longest suite goes until the very last, and just after listening to it, no fresh air nor comfort but something missing (maybe DEAF themselves I do consider!) should be left around us surely.

Listen to the entire album, Alpha, by Deaf 1972

 Studio Album, released in 1975

Review by apps79
SPECIAL COLLABORATOR Honorary Collaborator

3.5 stars...

Short-lived but worth hearing,GRANADA were the brainchild of multi-instrumentalist/vocalist Carlos Carcamo,who started this project in 1974 in Madrid.Musicians would come and go,before Carcamo found a stable trio for the guitar/bass/drums section,while he was responsible for the vocals and the rest of the instruments,including violins,keyboards,accordion and flutes.

''Hablo de una tierra'' came out a year after GRANADA's formation and it is an album of pure progressive rock with different influences and sounds.In this work mellotrons and pianos battle with Spanish folklore through flamenco guitars and accordion,while a jazzy feeling tries to capture the symphonicism of the album.Carcamo does an excellent job,especially his mellotron playing is dreamy and nostalgic,while he also handles the flutes in a fine way,sometimes in a softer style,while others he marks JETHRO TULL's Ian Anderson as a big influence.I'm not really sure if he is also responsible for the flamenco guitars,but this blending of Spanish sounds with nice keys and backing vocals is also very attractive,not far from what co-patriots TRIANA were trying around the same time.Besides this flamenco stuff,the album contains also a fair amount of acoustic passages with backing mellotron and flutes and a balanced dose of vocals to make it even more interesting and worth searching for,while several Italian bands of the same style come to mind (PREMIATA FORNERIA MARCONI, BLOCCO MENTALE, OSANNA,QUELLA VECCHIA LOCCANDA).This is absolutely fascinating Spanish flamenco-tinged symphonic rock with tons of romanticism and a relaxed but atmospheric dimension.Recommended! 

Hear the entire album here.

 
 

15 November 2022: Campo Di Marte; Wigmam, Cristiano Bocci

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Campo Di Marte biography

Founded in Florence, Italy in 1971 - Disbanded in 1975 - Reformed in 2003 for Live acts

The story of CAMPO DI MARTE (named after an area of Florence) is a familiar one in the annals of Italian progressive rock. Like many of their fellow countrymen they released one album and due to a lack of interest and record company promotion split up. In fact the band had already called it a day before the album was released. Nevertheless it remains an important release and well worth seeking out for anyone with more than a passing interest in the genre.

The band was formed in Florence in 1971 by ex-SENSO UNICO guitarist Enrico Rosa who also composed all the material. Drummer/flautist Mauro Sarti had previously played with Rosa in LA VERDE STAGIONE and the line-up was completed by American bassist Paul Richard (real name Richard Ursillo), on keyboards and French horn Alfredo Barducci and second drummer Carlo Felice Marcovecchio who had previously played with I CALIFFI. All band members are credited with vocals, though they only appear sporadically, the album being for the greater part instrumental.

Musically the band played classical influenced symphonic prog alternating with a heavy rock style. Fans of PFM should find much to their liking and parallels can be drawn with DE DE LIND on the heavier sections. A high standard of musicianship is present and the albums subject matter deals with the futility of war. Confusion may arise with the sequencing of the album. After completion their record company decided to swap side A and B around due to their feeling that what had been conceived as side B was the stronger of the two and more immediate. This understandably messed with the concept causing the original titles of the seven tracks to be changed to I Tempo through to VII Tempo. The current cd version sees the originally intended running order restored.

After the split Rosa formed a completely new version of CAMPO DI MARTE and recorded a second album. Unfortunately to this day it has never been released. Shortly after this he turned down an offer to join BANCO DEL MUTUO SOCCORSO and moved to Denmark where he's still a professional musician to this day. Richard, now reverting to his real name of Richard Ursillo moved onto a career with SENSATION'S FIX and Sarti joined BELLA BAND. Both these bands can also be found on Prog Archives.

In 2003 CAMPO DI MARTE were to rise again with a line-up that included original members Rosa and Sarti. They were joined by bassist Maurilio Rossi, on recorder Eva Rosa and keyboardist Martin Alexander Sass. They played some live shows that were released as a double album which also included a concert recorded in 1972.
 -Paul Fowler/Nightflyhttps://www.progarchives.com/video.asp?id=4873   

 

Hard N' Horny is the debut album by Finnish band Wigwam, released in 1969. The progressive rock album contains both Finnish and English lyrics. The track "633 Jesu Fåglar", marked with Huldén's name at the beginning of the A-side, contains about 5 seconds of mimicking the sounds of birds, because the actual track did not fit on the album, but the labels of the album had already been printed. The Swedish lyrics of the song are printed on the cover booklet of the first edition of the album and the 2003 remastered CD version. The other songs on the A-side were written by Jukka Gustavson. The B-side of the album features a series of songs composed by Jim Pembroke about a man named Henry, which forms a kind of miniature rock opera. The covers of the first edition of the album are hand-drawn by the band members. The single "Luulosairas", released at the time of the album, became a big hit and is still one of Wigwam's best-known songs today.                                                                                         Wigwam biography
Formed in 1968 - Disbanded in 1978 - Reformed in the 1990s and are still active (as of 2017)

Finland's WIGWAM were truly one of the pioneers of early progressive rock. The history of WIGWAM can be subdivided into two separate eras: the original or "old" WIGWAM of 1969-1974 and the "new" WIGWAM of 1974-1977. The two were dramatically different, in terms of personnel and overall sound. The music of this unique band is dominated by the piano and organ sounds, all of those wrapped up in a sometimes dark music filled with typical Scandinavian influences. There is some great interplay between all the musicians. It gives you the feeling they were doing this to stay warm!

Though not a classic album, "Tombstone Valentine" was the first WIGWAM album that seems to show the band members getting to grips with each ones individual musical desires. In many ways, "Fairyport" was a continuation of "Tombstone Valentine", but I would say it is a bit more experimental and progressive. Nowadays, this album is considered a classic within progressive rock circles and it has a number of features that make it stand out as one of the great progressive albums of the seventies. "Being" (1974) was the last album by the legendary Pembroke/Gustavson/Pohjola/Österberg lineup. This album is a concept album, with most of the music and lyrics written by Jukka GUSTAVSON. This is an essential album for any fan of progressive rock. In early 1975, the new lineup was up and released the album that became an instant classic, "Nuclear Nightclub". When the new titled "Dark Album" was released in late 1977, WIGWAM had ceased to exist.

In the nineties PEMBROKE, RECHARDT and GROUNDSTRÖM suprised many by coming back with a third edition of WIGWAM, but that's a whole new story, to be continued...     

 

       

   

 

Cristiano Bocci’s Beyond the Dark Zones does just what its title promises. It takes us beyond the heavy sounds of dark ambience—not only beyond them, but through them. Bocci’s poetics is rooted in the electronic soil of texture-based music; the plant that grows from it is a multi-faceted, many-branched thing.

First, the electronics. Bocci is a skilled creator of audio software; many of the programs he uses to generate and manipulate sound are his own custom designs. These are basic compositional tools for him; with them he composes floating drones and dirges, thickly woven textures of overlapped and interleaved timbres, stretched and compressed tones, basic motifs that are looped, granulated, and otherwise transfigured.

But for all their ability to expand on the possibilities of sound-as-sound, the electronics are ultimately in the service of the music. Many of the compositions on Beyond the Dark Zones seamlessly incorporate acoustic instruments, modal tonalities, and cyclical rhythms into surrounding electronic frameworks of varying abstraction. Bocci has a fine ear for creating ad hoc instrumental ensembles from disparate parts; brass, reeds, piano, and even the human voice all have a place here, along with Bocci’s signature 6-string electric bass. One of the most striking features of the album, in fact, is its unusual employment of trumpet or flugelhorn as the melodic voice in an electronic setting.
Certainly, the aesthetic core of the album is defined by the deep pitches and minor keys of dark ambience as well as by an associated sensibility, but this is a point of departure rather than a destination reached at the end of a cul-de-sac. Along the way, there are echoes of jazz and slowed-down jazz fusion, hints of field recordings, harmonies of a multi-tracked brass ensemble, down-tempo electronica, portentous prog rock, spoken word performance, and choral music.
Ultimately, in Beyond the Dark Zones, genre is an irrelevance; creative interfusion is of the essence.

Daniel Barbiero 

credits

released September 22, 2022
Our thanks to Raffaele Pezzella for providing us with a promo copy of this release.
REVIEWS

Avant Music News
avantmusicnews.com/2022/09/24/amn-reviews-cristiano-bocci-beyond-the-dark-zone-2022-unexplained-sounds-group/


Music composed by Cristiano Bocci

Cristiano Bocci: electric basses, electric upright bass, contro-baritone 8, string guitar, electronics, synths, drum programming.
Paolo Acquaviva: trombone on tracks 5, 6 and 8
Gianluca Becuzzi: voice on track 4
Mara Lepore: piano on track 8
STIGMATE (a.k.a. Nicola Locci): noise on track 2
Emiliano Nencioni: trumpet and flugelhorn on tracks 2, 3, 4, 5, and 8
Diego Rossi: baritone saxophone on tracks 5, 6 and 8

Published by Unexplained Sounds Group
Mastered by Raffaele Pezzella
Artwork by Marinella Caslini / DisGrafica Atelier
© 2022. All rights reserved

license

experimental avant-garde drone improvisation musique concrete sound art Italy

 

 

 

C