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.
I'll be hosting "Rural Electric" from 7-9 pm tonight, leading into FreeForm Radio at 9 pm. My playlist will include country music from New Zealand as well as a number of excellent singer-songwriters.
Our first featured release tonight is an excellent hour of electronic music from Nigel Mullaney.
Our thanks to Ian Boddy and DiN for providing us with a promo copy of this release.
Nigel Mullaney for many years has lived a life of relative musical anonymity
preferring to inhabit the worlds of soundtrack and library music. Whilst
he has been involved with several other collaborative musical projects
it is only in the last couple of years that he has started to spread his
solo musical wings with the album releases “31 Days” on DiN and
“The Navigator” on Behind the Sky Music.
The last year has shown all of us how fragile our existence is and how
vital it is to nurture a physical and artistic connection to creativity
and those that surround us. The Turning is an album that was forged from
the concepts and ideas first explored in the album
“
31 Days” (DiN61), a
desire to capture the raw emotion of a live electronic performance
coupled with the expression of Jonathan Jowett’s piano playing and
Mullaney's work with the Elemental Chamber Orchestra. Modular & Moog
synthesizers were used to assemble a deep sonic palette that reflects
the emotional concepts of the album fused with a variety of studio
sessions, acoustic recordings and Elektron machines. The tracks were all
mixed on to a vintage Ampex ATR-102 using an SSL desk and numerous
vintage outboard equipment.
The 10 tracks on this album, whilst dominated by modular textures and sequences take this style of composition to new
heights in their truly widescreen cinematic landscapes. The opener
“Lost At Sea” is a beautiful example of how to create such a journey in
under seven minutes. The following eight pieces take the listener on an
emotional travelogue before succumbing to the blissful closing of the
album with “Nostalgia Bomb”.
DiN label boss Ian Boddy curated the track selection and running order
to create an electronic music album full of emotional complexity and
hope.
credits
released July 16, 2021
All tracks composed, programmed and recorded by Nigel Mullaney
August 2020 - January 2021.
Instruments:
Moog, Eurorack Modular, Elektron, Korg & Taylor T5 Guitar
The Elemental Chamber Orchestra
Jonathan Paul Jowett - Piano
Special thanks to:
Jonathan Paul Jowett - Phoenix Creative Media Ltd
Ian Boddy - DiN Records
Wendy Carroll - DiN Records
Ben Wilson - DivKid
Robin Rimbaud - Scanner
Dan Wahlbeck - DPW design
all rights reserved
ambient
edm
em
electronic
electronic music
electronica
idm
downtempo
modular synth
Sunderland
For the second half of tonight's show, we offer our listeners a little more challenging listening experience.
Lucio
Fulci, born in Rome in 1927, remains as controversial in death as he
was in life. A gifted craftsman with a sharp tongue and a wicked sense
of dark humor, Fulci achieved some measure of notoriety for his gore
epics of the late 1970s and early 1980s. Abandoning his early career as a
med student, Fulci entered the film industry as a screenwriter and
assistant director, working alongside such directors as Steno and
Riccardo Freda. Fulci quickly established himself as a prolific
craftsman adept at musicals, comedies and westerns. In 1979, Fulci's
film making career hit a high point with him breaking into the
international market with Zombi 2 (1979), an in-name-only sequel to
George A. Romero's Zombi (1978), which had been released in Italy as
'Zombi'. With its flamboyant imagery, graphic gore and moody
atmospherics, the film established Fulci as a gore director par
excellence. Over the next three years, Fulci plied his trade with
finesse and flair, rivaling even the popularity of his "opponent" Dario
Argento. Bleak horrors are transformed into bloody poetry - Fulci's
loving camera technique, and the decayed splendour of his art design,
make the films more than just a gross endurance test. His opus
latifundium, his “real estate” is the “Trilogy of Death”: Paura nella
città dei morti viventi (City of the Living Dead
,
1980), a Lovecraftian story of a priest who hangs himself thus opening
the gates of hell; L’aldila (The Beyond, 1981), about a hotel which is a
gate to hell, and Quella villa accanto al cimitero (House by the
Cemetery, 1981), about one Dr Freudstein who, by transplanting parts of
his victims to his body for over a century has managed to stay alive.
These films are about intrinsic quality, texture, consistency. For this
reason they affect sense rather than intellect – confusion, disgust,
suffering, delight at the pangs of horror are the qualities these films
evoke. The screen is not the marker between actual and virtual but, in
Paul Virilio’s words, the “osmotic membrane”. Or in the Gilles Deleuze’s
words “not in a different world but in a link between humanity and the
world…to believe in this as in the impossible, the unthinkable, which
nonetheless cannot be but thought”. By the 1990s, Fulci went on a hiatus
with film making for further health and personal reasons as the Italian
cinema market went into a further decline. Lucio Fulci passed away at
his home on March 13, 1996 at the age of 68.
This new Eighth Tower Records project, dedicated to the Lucio Fulci’s “Trilogy Of Death”, a unique and unrepeatable corpus in the history of
Italian “supernatural cinema”, tries to imagine an alternative
soundtrack for those movies. The several souls of Fulci’s movies are
evoked by the musicians - Nàresh Ran, Mario Lino Stancati, Daniel
Ferreira (Kloob), Leonardo Granchi (Bad Girl), Cristiano Bocci, Paolo
Acquaviva (DuoSerpe), Sara Fontana, Dario Arrighi (Progetto No Name) -
through a variety of music styles (electroacoustic, dark ambient,
concrete music, progressive rock, drone music). Some of them kept in
mind the lesson of the master Fabio Frizzi, the well known composer of
the original soundtracks, while others escaped any attempt to revive
that glorious tradition and interpreted Fulci’s horror universe in a
totally contemporary and unedited way. credits
all rights reserved
ambient
dark ambient
dark chamber
drone
industrial
noise
Italy
[6]
Posts
