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

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

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

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

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

 

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

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

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

 

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

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

credits

released September 15, 2011

Stefan Haslebacher: Bass Clarinet
Markus Reuter: Live Electronics

Music by Reuter/Haslebacher

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

Produced by Markus Reuter for Unsung Productions

Tags

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

 

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

Susan Campos Fonseca


The Neokhipumancers Manifesto
khipumantes.github.io


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

credits

released February 3, 2023

REVIEWS

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

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

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

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

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

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

Tags

experimental avant-garde drone improvisation musique concrete sound art Italy