11 August 2026: The Anaton Project "The Ocean Conductor"; Andrew Latimer "One Word"; Mark Hjothroy "The Static Between Heartbeats"

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You can now listen to the livestream of the show through the KMXT app; it's available through the Mac App Store or Google Play. The stream is also available at www.kmxt.org

Please support FreeForm Radio and KMXT by going to www.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

I am also hosting Rural Electric from 7-9 pm, this week spotlighting Mel Parsons' new album Castle Hill 

 

The Anaton Project is a Oslo-based progressive reminder of what can happen when musicians from very different backgrounds come together with a shared curiosity rather than a fixed formula. The band was founded by guitarist and vocalist Johnny Normann Berg, whose roots lie in neo-progressive rock, and quickly evolved into a collaborative project shaped by contrasting influences.

The current lineup features drummer Jimmy Dapper (The Lucky Bullets), bringing a rockabilly-informed sense of groove, Carl Fredrik Berg (The Multiverse Ensemble) on synthesizers and sound design, with a strong focus on analog textures, and bassist Magnus Charles Døssland Bjørnstad (Tempelheks), whose background in heavier music adds weight and edge. Together, they form a sound that moves freely between progressive rock, melodic songwriting, and exploratory arrangements.

The band released their debut EP Luck in late 2024, introducing a project still in motion but clearly defined by strong compositions and a willingness to cross stylistic boundaries.

Their first full-length album, The Ocean Conductor, was released on February 13, 2026. The album is a progressive concept record inspired by classic maritime literature, including The Odyssey, Moby-Dick, and The Old Man and the Sea, and presents a cohesive narrative framed by expansive arrangements and thematic songwriting.

REVIEW:  Not content to be a Winter Olympics powerhouse every four years, the space between is filled by a colossal fjord of incredible musical artists, most specifically within the progressive realm. Two Berg brothers are featured prominently, namely guitarist/vocalist Johnny Norman and Carl Fredrik, the keyboard man, ably assisted by a solid rhythmic crew of Magnus Charles Dossland Bjornstad and drum stool master Svein Age Lade Lillehamre (they each have four names because they have four tentacles). Debut album, so no preconceived notions nor any expectations, a situation that provides a clean slate to wander free and let the music decide. Though definitely on the more bombastic side of prog, clearly a concept on navigating the cruel seas and vast oceans, I am letting my hair down on this one, wherever the drakkar takes is fine with me.

“Blue Skies & Evidence of Things to Come (Chapter 1)” sets the ambitious mission onwards with a sombre intro, a whirlpool of striking cellos, forlorn narration and splashing waves, with piano tingling in the wake. The scorching upfront guitars steam full speed ahead, as the bass and drums initiate the route to be taken, ready for whatever nature brings, a compass and heartbeat in hand, and a distant siren seducing and beckoning the valiant to forge enough courage to resist any temptation. Exciting beginnings and a prefect set-up.

Sublime keyboards take the helm on “Mirador”, with austere orchestrations that temporarily hide the enormous tidal surge of overwhelming guitars that unfurl unchallenged. Inserting beams of sharp light into the storm, violins searching for salvation, warnings of imminent danger amid the rocky crags that the ocean hides in its endless ebb and flow.

Little girl narration and sweet piano, ‘the weather is perfect and the sky is blue’, the Starlette lament is a plea and a promise. “Lady Luna” maintains the subdued atmosphere, the cannonading drums mimic the sea’s infinite allure, and the high-pitched vocal is outright breathtaking. When the crushingly slow axe solo unfurls its sails, the paroxysm is reached due to a memorable melody that adheres immediately to the wet skin. Segueing into “Songs Only Sirens Sing” is so extraordinarily organic and absolute, the mind becomes embalmed in salty ocean spray, the gales turning into a breeze, the obscure sirens ahead perched on the stony bluffs. The intensity rises as the proximity dwindles, the unescapable power of nature in full regalia. Stunning cinematographic delight!

 The titanic, effect-laden “The Hunt” is propelled by an unrelenting marine bass line, trembling strings, and enough flotsam and jetsam to sink an entire armada. Gradually, the raging surf reaches uncontrollable heights, the pace helter-skelter, clanging guitars clinging to watery riffs, mellotrons elevating the pursuit, a lead violin setting its sights on the hapless target.

Incredibly, there is never any victory ahead, as the grinding orchestrations ensure the most abysmal melancholy, on  “Reflections Under a Starless Map (Chapter 2)” like a ‘barnacle clinging to a prayer, my breath a threat’, the narration impeccably expressing the angst of always sitting on the edge of silence. The scream says it all.

The oppressive title track combines all the elements that make this release a poignant affair. The captain always goes down with his ship, not as an act of tradition but rather one of defiance, as well as a tacit respect for the authority of mother nature. The second half institutes all the fury of swirling tsunamis, the iron clad guitars grating against the hull, aware that, in the end, silence will join the unseen.

“Goodbye Starlette (Chapter 4)” means only that the drowning sailor will not see his daughter again, he will never return to port, swallowed whole within a moment into the darkness of a watery grave. The scream of doom returns for a final plunge, before disappearing into the merciless void. The longest piece combines sonic snippets of waves, winds and worry. The swerving strings become a eulogy to those who have braved the intensity of depths, where nadir meets zenith, what was once up is now below. The piano plays the mariner’s tale, the effusive choir singing the praise of the valiant. What an emotional finale. Gulp!

A superb discovery, much more that I even hope for. Time for me to get out of these drenched clothes and have some well-deserved rum.

4.5 nautical skippers

 

Released July 30, 2026

Childhood
Ebb and Flow
Mother Earth
Supersister Groove
Rhumba
One Word
Fup
Sunset

Childhood : Written and played by Andrew Latimer & Joe Sigretto
All other tracks : Written and played by Andrew Latimer
Drums on One Word by Denis Clement
Artwork & Positivity by my dearest talented Brother Colin Bass

Mark Hjorthoy's "The Static Between Heartbeats" opens against the noise of constant connection, the endless stream of tools designed to keep us tethered, distracted, elsewhere. Against this saturation, the album proposes a threshold: a passage between presence and abstraction, between signal and static.The recordings follow a path upward, away from the device, through trees, through silence, through the slow accumulation of sound into atmosphere. Nature's rhythm becomes an electronic pulse here, filtered through memory and distance. The forest breathes through the circuit. The sky opens through the drone. Static settles between heartbeats, a soundtrack for walking outside the feed, a hike suspended between the physical and the perceived.

credits

released July 18, 2026

REVIEWS

Avant Music News
avantmusicnews.com/2026/07/26/amn-reviews-mark-hjorthoy-the-static-between-heartbeats-2026-zerok

Bad Alchemy
badalchemy.de


Music by Mark Hjorthoy
Photography by Gang Hao
Cat. Num. ZK14
© 2026. All Rights Reserved 

 

ambient dark ambient drone ambient industrial noise ambient soundscapes Italy

 

17 March 2026: d'Voxx - "Herzog: A Retrospective"; Pete Swinton & Julien Ash “Cave Dwellers”; Machinefabriek - "Lijnverkenning"

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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 

 

This bold new release by modular synth duo d’Voxx is their third on the DiN imprint, having previously released Télégraphe (DiN58) & 1984 (DiN75) to much critical acclaim. To give it its full title - HERZOG: A Retrospective by d’Voxx - sees Nino Auricchio and Paul Borg expanding their sonic horizons with musical interpretations of the five films legendary German film director Werner Herzog made between 1972 and 1987 with the mercurial actor Klaus Kinski.

Needless to say, this gives the album a very cinematic feel, where the modular systems that are at the core of their sound are still very much present but often in supporting roles around which the genre-bending five tracks rise and fall. Their ambitious sound worlds incorporate elements of prog, techno, rock, field recordings, and even a sample of a 1911 opera on, where else but the track Impossible Monolith, which references the epic film Fitzcarraldo. The duo state that these tracks do not attempt to score the films but rather to inhabit their territories: the fevered conquistador descending into megalomania; Woyzeck ground to psychological dust by institutional cruelty; Fitzcarraldo's monumental folly; Nosferatu's ancient weariness; the slave trader's trajectory through exploitation and dissolution.

This third outing from d’Voxx will delight and surprise their admirers in equal measure and once again proves that the DiN label never stands still but is constantly looking to push through the straitjacket of genre boundaries.

credits

FreeForm Radio thanks Ian Boddy & DiN for a promo copy of this release. 

released February 20, 2026

HERZOG: A Retrospective by d'Voxx

In the five films Werner Herzog made with Klaus Kinski between 1972 and 1987, we witness not collaboration but collision: two volatile temperaments locked in a creative struggle that yielded some of cinema's most unsettling meditations on power, obsession, and the dissolution of the civilised self. These are films that ask what remains when reason fails, when ambition exceeds all measure, when the jungle (literal or psychological) reclaims what we thought was ours.

HERZOG: A Retrospective does not attempt to score these films but to inhabit their territories: the fevered conquistador descending into megalomania; Woyzeck ground to psychological dust by institutional cruelty; Fitzcarraldo's monumental folly; Nosferatu's ancient weariness; the slave trader's trajectory through exploitation and dissolution. The sonic language deployed here, modular electronics meeting processed strings from the period these stories inhabit, seeks what Herzog himself called "ecstatic truth": not documentary accuracy but something deeper, achieved through what he termed "the voodoo of location."

The harmonic movement is deliberately constrained, often circling a single diminished chord as if unable to escape its own logic, a musical analogue to the closed systems of thought that trap Herzog's protagonists. Rhythms recall not just the pulse of techno but older patterns: military cadences, the regularity of scientific experiment, the measured tread of the condemned. The inclusion of a 1911 recording of Verdi's Rigoletto is no mere period decoration but a reminder that opera, that art form of impossible emotions made audible, haunts Herzog's vision as persistently as Caruso's voice haunted Fitzcarraldo's gramophone in the jungle.

What links these five films is their fascination with how civilised veneers crack under pressure: how quickly the dreamer becomes the fanatic, the man becomes the monster or the victim. Herzog's camera lingers on faces pushed to extremity, on landscapes that dwarf human ambition, on moments where only the image, only the sound, can convey what's happening to a consciousness under siege. And Kinski, for all his volatility, gave Herzog something irreplaceable: a willingness to be that extremity, to make visible the moment when the human cracks open.

This music asks for similar attention: not quick consumption but the focus Herzog demands, the willingness to sit with discomfort, to let patterns establish themselves before they mutate. From the fever dream of conquest to the ritualised violence of institutional power, from visionary grandeur to gothic isolation to the final reckoning with history's brutalities, these five pieces chart a descent that is also, somehow, an ascent into clarity. What remains is not resolution but resonance: the sound of ambitions that exceeded their means, of collaborations that survived their own volatility, of truths too ecstatic for comfortable consumption.
—Nino Auricchio and Paul Borg, 2025

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 all rights reserved

Tags

ambient em electronic electronic music electronica cinematic modular synth Sunderland

A collaboration between two dark ambient musicians, 95 minutes of dark subterranean soundscapes...
Pete Swinton is a very prolific indonesian-based british musician. 
peteswinton.bandcamp.com/music
credits
released June 10, 2022
All music written and recorded by Pete Swinton and Julien Ash June 2022. Mastering and photo by Ash, sleeve by Agent MS.
This is a joint release by Julien Ash - EDT / Pete Swinton / The Church of noisy Goat.

 

                                                    Machinefabriek - "Lijnverkenning" 
 

 

Credits:
Music by Machinefabriek
Accordion in Lijnverkenning 3 by Barbara Eva Ardenois
Vocals on Stemcassette and Lijnverkenning 4 taken from an unmarked cassette tape
Mastered by Alex at quiet details studios
Artwork by quiet details in collaboration with Rutger Zuydervelt
Design by quiet details
© quiet details 2026 all rights reserved 

FreeForm Radio thanks Alex at Quiet Details for a promo copy of this release.

For the next interpretation of quiet details, I have the pleasure of welcoming a true musical experimentalist, Rutger Zuydervelt, here as Machinefabriek.

Hailing from the Netherlands, Rutger has been active as Machinefabriek for over twenty years, releasing on highly regarded labels such as Western Vinyl, Type, Important, 12K, Entr'acte, Miasmah, Consouling Sounds, Eilean and Edition Wandelweiser. This, alongside many collaborations, music for film and dance, installations and live performances, has given him a place as one of the most admired artists working today.

Known for his ability to bring together various strands of musical exploration - from electro-acoustic, field recording, ambience, drone, sound art and minimalism - he has created something completely unique in the quiet details series

Lijnverkenning is an album of sparse and powerful textural beauty. Machinefabriek’s innate comprehension of the potential of sound to affect us in profound and unknowable ways.

This is an album where the personality of the machines dictated the direction of music - carefully and deftly guided by Rutger’s intuition and musicality.

There’s an exquisite subtlety throughout, layers of sound implying so much and the interplay creating something incredibly moving.

As Rutger says:

Of course I said yes when quiet details asked me to join their roster. I was playing Scanner’s Forces, Reactions, Deflections quite a bit at the time, and it inspired me to create my own take on the quiet details idea. I started working with cassette tapes and created a whole bunch of short, quite melodic compositions, but eventually decided they didn’t fit the label’s aesthetic, and definitely didn’t work in the long-form format that qt used for its CDs.

So I started anew, focusing on longer durations and moving toward a more free-form and intuitive direction. Taking time, letting my machines softly hum. In the process of creating the music, I think I found a strange form of intimacy within the sounds — as if eavesdropping on the ghosts inside the machines I was using.
The tracks here were mostly made by combining various layers of minimalistic improvisations with field recordings, oscillators, effect pedals, etc. I even hesitate to call these pieces “compositions,” because to me they feel more like entities that follow their own logic, rather than clearly defined and constructed songs.

Stemcassette is a different story. That track came to life after I used a short vocal sample taken from a tape I found in a second-hand memo recorder I had bought. It was filled with home recordings of rehearsals by an opera singer. A short, pitched-down snippet was used in the piece Lijnverkenning 3, but I couldn’t shake the idea of doing more with the sample. So I created the short Stemcassette from it, and felt it worked well as a mid-album “breather.”

Lijnverkenning means “line exploration.” It’s an expression I once saw marked on a public bus, presumably indicating a test of a new route. It’s a multifaceted word, with many connotations that also relate to the music. I hope listeners of this album will feel like explorers — Lijnverkenners — too.

Huge thanks to Rutger for this stunning addition to the series.

The artwork was made as always influenced by the music and idea behind the album - originating from a photo from Rutger 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 six-panel digipack with a separate fine art print too.
The CD also has a special long-form continuous mix of the album, created by the artist and representing the music in its purest form - highly recommended.

machinefabriek.bandcamp.com  

credits

released February 25, 2026

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all rights reserved

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Tags

ambient chill-out downtempo drone electronic field recordings United Kingdom

07 October 2025: The Black Noodle Project "Divided We Fall"; Scanner "Forces, Reactions, Deflections (quiet details 40); Codex of Pleasure and Pain - A Sonic Tribute to Clive Barker's "Hellraiser"

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

You can now listen to the livestream of the show through the KMXT app; it's available through the Mac App Store or Google Play. The stream is also available at www.kmxt.org

Please support FreeForm Radio and KMXT by going to www.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. 

I will also be hosting Rural Electric (Mostly) Country Music from 7-9 pm after the Island Messenger.  I'll be spotlighting Amanda Shires' new release: Nobody's Girl

The album is deeply personal, addressing themes of loss, resilience, self-discovery, and empowerment following a public divorce. 

Review by kev rowland
SPECIAL COLLABORATOR Prog Reviewer / Special Collaborator

 Four years on from their last album and Jérémie Grima (guitars, voice, programming) and Sébastien Bourdeix (guitars) are back with the sixth studio album. They are the only survivors from the line-up that recorded 'Ghosts & Memories', and here they are joined by Tommy Rizzitelli (drums) and Frédéric Motte (bass). The band was originally a solo outing by Jérémie, and we were first in contact at about the time of the debut album back in 2004. I have always enjoyed their music, but this time they appear to have taken it to another level. They have always been heavily influenced by the likes of Pink Floyd and Porcupine Tree, but this time I believe we need to add Muse to the mix plus a real feeling of self-awareness and control. Heavily instrumental, this is an emotional album with the guitar often at the forefront, with just a few notes plucked from the ether to create something that is very special indeed.

From the very first sounds of "Isolation" I felt that I was onto something very special indeed and decided to not listen to the album until I could sit and give it the sole attention it deserved. I decided against headphones, but instead sat quietly in the middle of a room and let the sound wash over me (accompanied just by a rather large glass of rum, just to keep me company). There is a presence and self-control in this album that other bands need to pay attention to: there is no need to play five thousand notes to the bar when every note is placed with such perfection. There is a deep melancholy within this, with emotions let rampant, and a crying guitar that David Gilmour would be proud of. I have found it hard to write the review as I keep stopping just to bask in the splendour of this release.

It may have come out right at the end of the year, but possibly that makes it the perfect Christmas present for the discerning proghead who doesn't know what he/she is missing out on? They riff when they need to, and there is so much space within the layers that the proverbial truck could waltz right through, while the rhythm section not only when to crunch into life, but also when to sit quietly drinking their caf' au lait, and let the two guys at the front create some real magic. Album of the year? Well, there have been some great releases and I would have to go back and play them all to be sure. But, easily in my Top Ten and I have reviewed nearly 600 in 2017. Wonderful, amazing, indispensable, and if you enjoy any of the bands listed above then you simply have to get this

An album that fans of late 70's Pink Floyd should take note of and check out at some point.  If you liked this album check out And Life Goes On (Remastered 2024)

The Black Noodle Project on Bandcamp

Forces, Reactions, Deflections (quiet details 40)

by Scanner

Credits:

FreeForm Radio thanks Alex for a complimentary copy of this release
Music by Robin Rimbaud
Mastered by Alex at quiet details studios
Artwork by quiet details in collaboration with Robin Rimbaud
Design by quiet details
© quiet details 2025 all rights reserved

Elated to welcome one of the most enduringly creative and boundary-pushing artists of the last few decades to quiet details, Robin Rimbaud, otherwise known as Scanner.

A towering figure in the worlds of music, sonic and visual art, dance, installation and a myriad of other disciplines - Robin has covered a huge amount of artistic ground since his earliest forays into our consciousness in 1991.

From countless albums and projects as a solo artist and in many collaborations, including the likes of Brian Ferry, Michale Nyman, Steve McQueen, Stella McCartney, Laurie Anderson and Hussein Chalayan, and Pauline Oliveros; to the first Sound Art commission at the Tate Modern London; scoring a dance piece for the UK Olympics; the list of his critically-acclaimed achievements goes on and on.

At the core of his work is always a deep curiosity, the ability to make cognitive leaps into the creative unknown and fashion something beautiful - it’s with this sense of wonder he’s made something truly incredible for quiet details.

The album is a stunning sonic exploration of the world around him, another fundamental element running through his work - realising the majesty contained within structures that has always been there, now brought to life.

As Robin says:

This album is forged entirely from the resonant clangs, echoes, and whispers of a stainless steel staircase at home, transforming everyday architecture into an unexpected orchestra.

By coaxing rhythm, tone, and atmosphere from the metallic body of a staircase, the work reimagines movement between floors as a passage through sound.

No synthesisers were used in the creation, only the natural sound of the staircase using a geophone seismic microphone and the gentle assistance of the occasional resonant filter and sample software.

This has led to an album of enveloping beauty - highly textured drones meet distant pulses; metallic fragments merge with hauntingly evocative melody. Physical architecture translated to harmonic structures in the most breathtaking way imaginable.

There’s so much to admire here - from the beauty of the original recordings to the highest level of craft to turn them into something so musically engaging - a true masterpiece from one of our finest artistic minds.

Huge thanks to Robin for being part of the series.

The artwork was made as always influenced by the music and idea behind the album - originating from a photo from Robin 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 six-panel digipack with a separate fine art print too.

The CD also has a special long-form continuous mix of the album, created by the artist and representing the music in its purest form.

scanner.bandcamp.com  

credits

released October 1, 2025

In Hellraiser, Barker introduced a world in which reality fractures under the weight of forbidden desire. The puzzle box – the Lament Configuration – is both a gateway and a warning, opening a portal to a dimension ruled by the Cenobites, beings who transcend the binary of agony and ecstasy. The film challenged conventional horror by embedding philosophical and existential questions within its gore-soaked narrative: What lies beyond the threshold of human experience? Can suffering be a form of transcendence? Is pleasure meaningful without pain?
Codex Of Pleasure And Pain. A Sonic Tribute to Clive Barker’s Hellraiser is a dark sonic journey inspired by one of the most iconic and disturbing visions in modern horror cinema. Drawing from the imagery, themes, and atmosphere of Clive Barker’s Hellraiser (1987), this compilation assembles 11 projects from the dark ambient, experimental, and post-industrial scenes to create an immersive experience that echoes the film’s haunting exploration of pain, pleasure, and the limits of human sensation.
The artists in Codex Of Pleasure And Pain offer abstract, oblique responses to its aesthetic and philosophical implications. The compilation functions as a sonic codex, an aural grimoire of sorts, where each piece contributes to a broader cosmology of the Hellraiser universe.
The release is accompanied by a printed volume of original short stories, also inspired by Clive Barker’s universe and the themes of Hellraiser, offering a powerful literary counterpart to the music. 

credits

releases October 16, 2025

REVIEWS

Avant Music News
avantmusicnews.com/2025/10/04/amn-reviews-various-artists-codex-of-pleasure-and-pain-a-sonic-tribute-to-clive-barkers-hellraiser-2025-eighth-tower-records/

Bizzarrechats
bizarrechats.blogspot.com/2025/10/codex-of-pleasure-and-pain-tales-music.html

FreeForm thanks Raffaele Pezzella (Sonologyst) for a complimentary copy of this release
Curated and mastered by Raffaele Pezzella (Sonologyst).
Published by Eighth Tower Records.
Layout by Matteo Mariano.
Cat. Number ETR066.
© 2025. All rights reserved.

12 August 2025: Marsupilami "Marsupilami"; Brad Rose "A Life We Once Lived". Quiet Details 37; Pete Swinton "Light Green, Vol. 2"

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

You can now listen to the livestream of the show through the KMXT app; it's available through the Mac App Store or Google Play. The stream is also available at www.kmxt.org

Please support FreeForm Radio and KMXT by going to www.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. 

 I'll also be hosting Rural Electric right after the Island Messenger at  7 pm until 9 pm

 

Marsupilami were an English progressive rock band active in the early 1970s. Their name was taken from a famous Belgian comics character created by Belgian artist André Franquin.^[1] In 1969, the band toured with Deep Purple, and played at the opening of the Isle of Wight Festival when King Crimson withdrew. They released two albums, Marsupilami (1970) and Arena (1971), on Transatlantic Records.^[2][3] The albums were reissued on Cherry Red Records in 2007. The band briefly reunited for gigs in 2011.

Personnel

• Mike Fouracre – Drums
• Fred Hasson – Vocals, harmonica, words and music
• Leary Hasson – Keyboards and music
• Richard Lathom Hicks – Bass
• Dave Laverock – Guitar, vocals, words and music
• Jessica Stanley Clarke – Flute and vocals
• Peter Bardens – Percussion and producer of Arena
• Mandi Riedelbauch – Woodwinds on 'Arena'
• Bob West – Vocals and words on 'Arena'
• Paul Dunmall – Tenor and soprano saxes and flute

Discography

• Marsupilami (Transatlantic TRA 213) 1970^[4]
• Arena (Transatlantic TRA 230) 1971^[5]

• In the beginning

  The band Marsupliami borrowed its name from the Belgian cartoonist André Franquin who created this comic character in 1952.   Marsupilami was a cross between a monkey and a cat, yellow with black spots; cute, resourceful and anti-authority.   Perhaps not an obvious choice, but the progenitors of the group, the Hasson brothers Fred (Vocals, harmonica, bongos) and Leary (Organ/piano), with their Anglo-French upbringing, had grown up with this comic character. 

  The idea was not to have a written name, and to use a drawing of the ‘animal’ to identify the group, rather than the name in letters (long time before Prince thought of Symbol) but when Transatlantic Record boss, Nat Joseph, wrote to seek permission, he neglected to mention this and clearance was given for the name only.  At that point a name change was suggested, but Nat Joseph said the name was cool and so it remained.   

  The idea for Marsupilami began in 1968 following a tour of Southern Spain, organised by Leary’s school R&B band, ‘Levitation.’  At the last minute Fred, was drafted in as a replacement for the absent lead singer, to sing standard Soul and R&B numbers. Returning to the UK the band secured gigs at the County Hotel Ballroom in its home town of Taunton (Somerset), backing both The Crazy World of Arthur Brown and Joe Cocker Band, , and who they shared a pint with in a nearby pub before the gig.  After these, Fred and Leary were completely smitten with playing live gigs but none of the other members of Levitation could make the commitment.  

  

  The band reformed going through numerous iterations, including a short period when a bassoon player (Johnno Packer) was featured. The eventual line up for the often called ‘eponymous first album’ was recruited from local bands.  The rhythm section of Mike Fouracre (drums) and Ricky Hicks (bass guitar) came from local blues outfit ‘Justin’s Timepiece’ and Dave Laverock (guitar) came from a semi-pro band, ‘The Sabres.’  Leary’s flute playing, art student girlfriend, Jessica Stanley Clarke (now Jekka McVicar, Britain’s foremost organic herb grower) completed the line up.  

  In a short time, most of the members of the band were living in a farmhouse with a hay barn serving as an ‘open all hours’ rehearsal studio.     Musical tastes were eclectic: Jazz, Classical, Rock and Folk records littered the place: John Coltrane, Pharoah Sanders,, Miles Davis, McCoy Tyner, Messiaen, Ravel, Debussy,  Stravinsky, Fairport Convention, Soft Machine, and Frank Zappa – (in particular Absolutely Free and ‘We’re only in it for the money’) and long sessions late into the nights were spent listening to and dissecting the music. Under these influences the music of Marsupilami soon evolved from R&B and Blues cover versions to a very particular brand of what became known as ‘progressive rock’ ; the synthesis of musical influences was the result of a lot of careful listening, inspired writing, hours of relentless practicing and some respected musicianship.  The material was eclectic and not easy with frequent rhythm changes and jazz-oriented chords. The  band never wrote the music down, all the tracks were played from memory.

  What Marsupilami needed more than anything else was a recording contract. They entered the Melody Maker ‘Find a band competition’, and a discussion about this was overheard, in the ‘Full Moon’ pub in Taunton’s High Street, by an eccentric looking barefooted and bearded guy called Julian Palmer–Hill.   ‘George’, as he became known by band members, was older and wiser, had rejected an army career and after hearing the band, proposed to be its manager and get the band the recognition he believed it deserved.   George hitch-hiked to London in his bare feet, and soon got results.

  In September 1969, Marsupilami signed with Transatlantic Records, an independent label, that the band identified with, and went into the studio soon after. [Transatlantic wanted to diversify into rock music and also signed Stray, Camel , Jody Grind and others; Their stable was mainly folk artists such as Pentangle – John Renbourne and Bert Jansch,  John Fahey, the The Humblebums (Billy Connelly and Jerry Rafferty), and also published a catalogue of stuff too weird, blasphemous,  or just too far out for most labels to take on such as  John Cage, and Frank Zappa’s ‘Uncle Meat’.] 

  Marsupilami – 1st Album

  “Marsupilami” the first album (Transatlantic TRA 213) was recorded in 1969 at the Sound Techniques Recording Studios, just off London’s King’s Road, and released in April 1970.  The studio, had been converted from an old dairy, and was just being fitted out with some new gizmo’s called Dolby’s!, when the band arrived. It is famous for the roster of artists recorded there by Joe Boyd: Nick Drake, Incredible String Band and Fairport Convention – the engineer was John Wood,  leave this out but the band got the feeling that their kind of music was not understood. 

  All 5 tracks were done in a handful of takes, virtually live. 

  The music is distinctive; complex and hardly emulated. The band did not want to create catchy tunes that finished off the same way they started – the tracks represented journeys into the mystical and subconscious  places of the mind, with changes of mood, and underpinned by strong and sublime melodies, time sequence changes, stylistic shifts and ruptures of mood following one another: passages move from light folky or jazzy ensembles, to  hard driving guitar and organ rock pumped up by the rhythm section, to slow ethereal dream sequences featuring flute, organ and chanting vocals.   The content of the album can only be described as apocalyptic, but hopeful for a better world.

  Facilis Descensus Averni, is the subject of one of the first music videos made by Jay Myrdal, who accompanied Pete Smith to do a photo shoot for the first album. https://www.youtube.com/watch?v=n2-Qti7H42U

  and ‘The eagle chased the dove to its ruin’ contain some especially gloomy lyrics to accompany the affecting? guitar. The instrumental on the album,  Ab Initio Ad Finem is a musical interpretation of an Old Testament style sermon, recounting the fall of man in the Garden of Eden, discovering new love  spoilt by waring global culture leading to nuclear holocaust written by Leary – part of the track was used by Stuart Henry DJ on Radio One, as an introduction to his show.

  Born to be Free is often cited as the best music produced by Marsupilami: with a strong melody, it features  many tempo and mood changes, and in the last vocal section a poem written by Fred when he was 16, invoking feelings provoked by the nuclear arms build up. Track 1, Dorian Deep with its slow build up and thumping rock ending, was always a good warm up at the beginning of a gig.

  ‘The eagle chased the dove to its ruin’ contain some especially gloomy lyrics to accompany the affecting guitar. The instrumental on the album,  Ab Initio Ad Finem is a musical interpretation of an Old Testament style sermon, recounting the fall of man in the Garden of Eden, discovering new love  spoilt by waring global culture leading to nuclear holocaust written by Leary – part of the track was used by Stuart Henry DJ on Radio One, as an introduction to his show.

  Born to be Free is often cited as the best music produced by Marsupilami: with a strong melody, it features  many tempo and mood changes, and in the last vocal section a poem written by Fred when he was 16, invoking feelings provoked by the nuclear arms build up. Track 1, Dorian Deep with its slow build up and thumping rock ending, was always a good warm up at the beginning of a gig.

  

                                               A Life We Once Lived - Brad Rose
   

  Credits:
  

  Music by Brad Rose
  Mastered by Alex at quiet details studios
  Artwork by quiet details in collaboration with Brad Rose
  Design by quiet details
  © quiet details 2025 all rights reserved
  
  Very happy to announce that next in the quiet details series is the wildly creative and prolific multi-disciplinary artist and music writer, Brad Rose.
  
  Responsible for a vast archive of wonderful music projects across numerous aliases, released on his own Jewel Garden and labels such as the outstanding Room40 - his work covers a huge amount of ground and is a world all to itself.
  
  Alongside this, he’s active in the world of visual arts, installation, design, writing - and of course one of his most well-known projects, the incredible long-running platform for experimental music and art, Foxy Digitalis, an essential resource for independent journalism.
  
  A Life We Once Lived is an album of deep meaning and atmospheric beauty - born out of the subconscious making sense of the maze of life, and in the process making something of incredible scope.
  
  This is an album full of emotion - starting out with reflective melodics that bloom into a vast world of competitive bliss, Brad’s highly nuanced musical sensibilities take us on a trip though feelings we can all somehow relate to - his sincerity coming to the fore throughout.
  
  Each track turns a new corner and leads you to a unique place - the highly-refined harmonic structures matched with exquisite textural expansions. This is an artist pouring their heart and soul into their art form with spellbinding effect.
  
  Masterful use of synthesisers and an array of acoustic sound sources serve to create a world of singular and stunning abstraction. 

   

  As Brad says:
  
  There are landscapes we never walk but still carry. Lives that linger just outside memory’s reach, shaping how we move through the world without ever fully revealing themselves.
  
  A Life We Once Lived is an album shaped by those fragments—traces of what was almost real, or perhaps only imagined. It emerged from stillness, from the quiet textures and small details that form when thought slows and sound begins to take its place. Each piece invites a kind of soft attention. There is no resolution here, no fixed meaning. Just motion, breath, and tone, held gently enough to shift and transform.
  
  This is a record of almosts. Almost-places. Almost-memories. Almost-love. A Life We Once Lived gathers what’s left in the gaps: the hush between pulses, the glow that never quite fades. It leads quietly toward something larger, a dream not yet spoken aloud. This is not a story, but a signal from the margins of memory—a drift through internal weather, a gesture toward something still forming.
  
  For now, it offers a space to pause. To listen more closely. To feel what remains when everything else grows quiet.
  
  Huge thanks to Brad - a beautiful addition to the series.
  
  The artwork was made as always influenced by the music and idea behind the album - originating from a photo from Brad 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 six-panel digipack with a separate fine art print too.
  
  The CD also has a special long-form continuous mix of the album, created by the artist and representing the music in its purest form.
  thejewelgarden.bandcamp.com
  bradrose.bandcamp.com  

  credits

  released July 23, 2025 

  Tags

  ambient chill-out downtempo drone electronic field recordings United Kingdom

   

  
  

  

  
  

  Composed and performed by Pete Swinton
  Recorded and mixed at Studio Kaktus, Jawa Barat, Indonesia 2025
  Produced by Pete Swinton 2025
  Photo by Leo Chane on Unsplash
  Copyright 2025 Pete Swinton
  All Rights Reserved Pete Swinton 2025
  
  4-4-2music.com

  credits

  released July 12, 2025

  license

  all rights reserved

  tags

  Tags

  experimental ambient deep listening electronic liminal soundscape Indonesia

20 May 2025: Ian Boddy & Erik Wallo "Transmissions" (DiN92); Pye Corner Audio "Lake Deep Memory" (Quiet Details 34)

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

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Ian Boddy & Erik Wøllo | Transmissions | DiN92
 

Release date 16th May 2025
Limited to 500 copies Digipak CD
Bar Code 5028423250920

FreeForm Radio thanks Ian Boddy for a promo copy of this release.

Norwegian ambient guitarist Erik Wøllo has become a familiar name to followers of the DiN label as he has previously collaborated with label boss Ian Boddy on three studio albums as well as a couple of releases with Bernhard Wöstheinrich. His other live release with Boddy was from their only concert together so far, “EC12” (DiNDDL16), from their performance at the Electronic Circus in Germany in 2012. That is, until April 2024, when the Capstone Theatre in Liverpool invited Wøllo to perform alongside Boddy at what would be his UK debut. 

During the evening at the Capstone each musician played solo sets and then combined on stage to play an electrifying hour long performance mining tracks from their previous two albums “Meridian” (DiN54) and “Revolve” (DiN73). It is this joint concert that forms their new release, “Transmissions” (DiN92). Taking the original pieces as their starting point the duo played reworked and extended versions of these tracks with Wøllo getting the chance to play some wonderful guitar solos that take the music to a whole new level. Meanwhile Boddy used his Eurorack modular system to sculpt and mould the rhythmic sequencers and drums around Erik’s playing, as well as adding his distinctive French Connection Ondes style voicings. The main set was a continuous sonic journey through mystical soundscapes and rhythmic slices of Berlin School sequencing. The final encore track was a rendition of the track “Apogee” from the duos 2022 album “Revolve” (DiN73) with Wøllo playing a blistering guitar solo over Boddy’s heavy, sequenced grooves.

This is a real treat for DiN aficionados and a perfect example of how two experienced musicians can take existing material and take it to new emotional heights in a live setting.

Track listing:

01 Uncharted   03:57
02 Abeona   10:54
03 Colony   08:11
04 Ice Station   05:24
05 Revolve   09:01
06 Salvage   08:52
07 Terra Sirenum   05:38
08 Apogee   07:54

Total Time :  59:53

Demo Mix for DiN92 https://tinyurl.com/3nkh9h3u

All music composed, arranged and produced by Ian Boddy & Erik Wøllo.
Recorded live at the Capstone Theatre in Liverpool on 20th April 2024.
Mixed & mastered by Ian Boddy December 2024.

Thanks to:
Neil Campbell at the Capstone Theatre
Mark Wagstaff for PA & lights

Cover image (linocut) by Elisabeth Østensvik
elisabethostensvik.com
ianboddy.com
wollo.com
© 2025 Ian Boddy & Erik Wøllo

Ian Boddy:
Eurorack modular synthesiser
Analogue Systems French Connection / Make Noise 0-Coast
Arturia Keystep
Ableton Live running Omnisphere & Kontakt

Erik Wøllo:
Fender Stratocaster
Roland VG99 Guitar Synthesiser
Akai MIDI keyboard & mixer/controller
Ableton Live running U-HE soft synths

license

all rights reserved

ambient analogue synthesizer em electronic electronic music electronica erik wollo downtempo guitar modular synth Sunderland

Lake Deep Memory(qd34)

by Pye Corner Audio

 

Credits:
Music by Pye Corner Audio
Mastered by Alex at quiet details studios
Artwork by quiet details in collaboration with Pye Corner Audio
Design by quiet details
© quiet details 2025 all rights reserved 

FreeForm Radio thanks Alex for a complimentary copy of this release.

Extremely happy to share the latest interpretation of quiet details idea from a leading protagonist of widescreen dystopian electronica, Martin Jenkins, here as Pye Corner Audio.

Bandcamp link/code and private streaming link below, and please find the press release with the full details attached. Full release 14th May 2025.

From his first release, the Pye Corner Audio project stamped itself as a firm favourite - with releases on Further Records, Ghost Box, Sonic Cathedral, Boomkat Editions, Lapsus and many others - the perfect meeting of cinematic synth melodics, dusky atmospherics and drum machine workouts, carved out a niche all of its own.

Lake Deep Memory is Pye Corner Audio at its most beguiling and polychromatic - inspired by a trip to Lake Atitlan in Guatemala where he played a festival in 2024, you can feel the awe of the volcanic landscape in the vastness and ethereal soundscapes across the album.

It’s a place that’s spiritually important to the local people, and you can feel how some of this influence made its way into the music - there’s an intangible, almost ritualistic, sensation created by the organic nature of the instrumentation - light shifts to dark, pressure gives way to weightlessness.

The Pye Corner Audio trademark synth-mastery is fully present, combined with field recordings he took while experiencing this most sacred of places.
Together, they truly create a universe of powerful and emotive vistas - a beautiful place that has the potential to elicit endless imagery in the listeners’ mind’s-eye.

As he says:

I’ve always been inspired by the noises and submerged sounds that a lot of artists try to eradicate, such as noise, hums and hiss.
Those are the quiet details that I bring to the foreground.

From soaring passages of wondrous harmonic density, to highly textural and psychedelic movements - this is a completely immersive and mesmerising journey through metaphysical dreams - a stunning journey from a brilliantly talented and expressive artist.

Huge thanks to Martin for being part of the series.

The artwork was made as always influenced by the music and idea behind the album - originating from a photo from Martin (taken at Lake Atitlan) 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 six-panel digipack with a separate fine art print too.

The CD also has a special long-form continuous mix of the album, created by the artist and representing the music in its purest form.

pyecorneraudio.bandcamp.com  

credits

released May 14, 2025

license

all rights reserved

tags

Tags

ambient chill-out downtempo drone electronic field recordings United Kingdom

 

19 November 2024: Ian Boddy & Mark Shreeve (ARC); r beny (qd 25); Paolo L. Bandera

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Show your support for public radio and FreeForm Radio by becoming a member, renewing your membership, or making a donation!

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

The music you hear is available on the artists' Bandcamp pages, websites, and Spotify. 

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

 

I am also hosting Rural Electric from 7-9 pm on November 19 

Ian Boddy & Mark Shreeve (ARC):  Chronicle (DiN89)

Live albums have always been a big feature of the DiN imprints output with many of its releases featuring performances by label boss Boddy either solo or in conjunction with other artists. Seven such albums have been as the duo ARC with Boddy alongside his friend and musical collaborator Mark Shreeve who sadly passed away in 2022. Their show at E-Live in The Netherlands from 2007 was the only concert of theirs so far unreleased and hence Chronicle (DiN89) is both here to fill that gap and to provide a reminder of the power this duo could create in a live setting.

This concert was unusual in that ARC used it as a chance to showcase their recently released album Fracture (DiN28) and indeed the duo constructed their set around the five tracks from that album, interlinked by short ambient passages. Underpinning the rhythmic elements of each piece is the huge Moog modular utilised by Mark over the years to such sensational effect, not only in the ARC project but his band Redshift. In creating that Berlin School sound this system is the real deal and under his skilled sequencing the pieces have an organic life that breathe and can grow from a tiny staccato rhythm to a huge growl in seconds. Over this structure Boddy and Shreeve layer atmospheric effects, warm chordal motifs and blistering solo lines. The concert culminates in the sensational 22 minute epic track Rapture which begins with spacey, drifting atmospheres before chordal Mellotrons add a sense of the grandiose. This just lulls the audience into a sense of calm before those sequencers thunder in to produce a truly hypnotic and incredible sonic climax.

Chronicle is a testament to the music of ARC but more particularly in remembering Mark Shreeve who left us all way too early. 

credits

released November 15, 2024
Our thanks to Ian Boddy for providing us with a copy of this release.
Performed by Ian Boddy & Mark Shreeve as ARC at E-Live, Auditorium of the T.U., Eindhoven, The Netherlands on 13/10/2007.

Mastered by Ian Boddy August 2024.

Thanks for making this album happen: Ron Boots and Sue Shreeve.

One-third of the proceeds of this album will be donated to cancerresearchuk.org

Dedicated to Mark Shreeve (June 2nd 1957 - August 31st 2022)


ARC played eight concerts between 1998 & 2017 and up till now seven of these have been released on the DiN label. Mark left us way too soon in 2022 and I have so many happy memories of the music we did together. I have two in particular from this trip. Firstly we had an incredible reaction from the audience after we played Mark’s track System Six as the encore (included on the 25 Years of DiN album) that the gig organiser Ron Boots said “you must play more” - Mark & I looked at each other behind stage and shrugged our shoulders, we had nothing else prepared - to which Ron replied “play that again”, which we did to even more applause. Then secondly as Mark drove the van around the M25 with our gear onboard we realised that the vehicle was speed limited and so we had to drive all the way to Eindhoven at a top rate of 55mph - rock n roll!

So here we have Chronicle (DiN89) the final ARC concert to be released. I hope you enjoy the music as much as we had fun playing it.

Tags

ambient berlin school em electronic electronic music electronica downtempo modular synth Sunderland

 

 Discerned in the Fugue of Streams (Quiet Details 25): r. beny

Music by r beny
Mastered by Alex at quiet details studios 

Our thanks to Alex for providing us with a copy of this release.
Artwork by quiet details in collaboration with r beny
Design by quiet details
© quiet details 2024 all rights reserved

Overjoyed to say that coming next, with a jaw-dropping interpretation of the quiet details idea, is the dearly-loved Californian artist, Austin Cairns, otherwise known as r beny.

Known for his incredible run of releases on Dauw and other labels such as Seil Records, Longform Editions, Past Inside the Present and numerous self-releases - he captured the hearts of listeners like few others with his innate melodic sensibility, unique talent for sonic world-building, and vast technical skill.

Austin’s huge and loyal fan-base have been looking forward to this moment and they’ve been rewarded with something truly special - ‘discerned in the fugue of streams’ is the product of all his emotion and introspection, an artist demonstrating complete affinity with his instruments and the ability to musically realise his innermost feelings with perfect clarity.

r beny’s music has always been typified by elegant and stirring melody, coupled with exceptionally sculpted textures - here we see him expanding on what has gone before, beautifully portraying the profound nature of his creativity.

Amaranthine clouds of pastoral bliss, inspired by the natural world and its nuances, completely immerse the listener. Each track emanating deep and soothing tranquility, expressed through expert manipulation of synthesisers, mandolin, samplers and field recordings.

Austin displays his finely honed ability to touch our spirits with his musical sincerity - his willingness to lay his soul bare comes through so powerfully on this album - that’s the very reason there’s something about his music that so many people can relate to: honest; full of integrity; and distilled to its purest essence.

As he says himself:

In times of distress and discomfort, I often find myself seeking out the white noise chorus of water in motion. With soft fascination, one can start to take notice of the individual resonances and frequencies that make up the whole. In a state of sense- making, solace can be found amongst the distinct tones of the water cascading over moss and stone - calm can be found amongst the roar of a busy mind.

This album is a contemplation on slowing down and paying mind to the quiet details within the threads of noise and patterns - finding meaning and hope in bodies of water in motion, the wind blowing through the forest, the white noise of a warming world, the endless barrage of algorithms and advertising, and the cacophony of internal voices and feedback memories of my anxious brain.

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

rbeny.bandcamp.com  

credits

released October 23, 2024

lambient chill-out downtempo drone electronic field recordings granular modular r beny United Kingdom

Riconnessione Iconoclastica Sacrale (USG100 / Dissipatio).  PAOLO L. BANDERA                                                         (a.k.a. NG5361)

“Does destruction of sacred images imply anything for the erosion of the role of the imperial icons?
Because divinity being destroyed is not a representation of a spiritual form disappearing, but a consequence of historian interpretation, scientists are doing exactly what everyone would do when tripping in ego-fixation, creating a transformation which is itself subversive and self-deconditioning.
The church of the Virgin has been rebuilt and lavishly refurbished, due to major insights regarding the biblical-theological backdrop: ecstasy combined with erotic and sexually-charge images drives the entire practice, which could be described as a meticulous process of reconnection.
Discussion about religious changes within the framework of monotheism opens an enclosure where it is fundamental to craft a discourse inside a radical environmental movement, aspiring to what can only be characterized as a move from nostalgia to wish-fulfillment.
The flux of the universe pertains to a higher epistemic realm, where a dark figure of iconoclastic power has acted against religious material cultures, that have subsequently left no trace.
The return and interpretation of a spiritual and academic heritage is visualized as a series of animal figures, set up by the gods of fashion, modernism, renaissance and renewal… urban topography becomes conscious and imprisons mental coordinates behind a desk.
Gestures direct viewers to names and key sentiments of the inscribed prayers, where they find a
rich ethnographic dataset of embodied and multi-sensuous performances: they breathe to reshape light inside and outside, in a gravitational bending of electromagnetic waves by massive bodies, subject of contemporary and future disasters becoming super dense and acting as a lens.” Paolo L. Bandera


Paolo L. Bandera (a.k.a. NG5361) has been propagating unconventional sounds and deviated cultural streams for decades with SIGILLUM S, together with Eraldo Bernocchi and other various acolytes.
On top of this, he has been generating noise textures in solo configuration as SSHE RETINA STIMULANTS, besides supporting and participating in many mutant projects by friends (THE SODALITY, IUGULA-THOR, ENSEMBLE SACRE GARCONS, SIDRA and more).
SSHE RETINA STIMULANTS devastates post-industrial sounds with a hyper - intellectual twist, in an apocalyptic context with morbidly visionary features: it’s a space where the most antagonist and abrasive currents get crazy, while pursuing a limitless synergy between underground acoustics and nightmarish visuals…under this moniker tens of works have been released through the years, in parallel with live performances in a lot of geographies.
Most recently, Paolo has started releasing some works under his own name, in order to differentiate more conceptually severe and abstract electronic productions from the SRS harsh volume.
Collaborations with other similarly alien projects are an important driver, including those with Aube, Mark Solotroff, Bad Sector, I Burn, The Fortieth Day, Gerstein, MSBR, Terence Hannum, Neil Jendon, The Land Of The Snow, Uncodified, Macelleria Mobile di Mezzanotte, LCB, Satanismo Calibro 9, Lorenzo Abbatoir, Avamposto Malato e many others.
Paolo has also written for various magazines (on music and other topics ), as well as having curated the two Italian editions of the Industrial Culture Handbook and having collaborated to RUMORI SACRI, a reference book on the Italian post-industrial music underground. 

credits

released October 24, 2024

Bad Alchemy
Having become intrigued and invited by Pezzella, I gladly turn my ears to Riconnessione Iconoclastica Sacrale (USG100 / Dissipatio). This is another work by PAOLO L. BANDERA (a.k.a. NG5361), former Sigillum S member, and known as Sshe Retina Stimulants with "Ecclesiastic Audition Stories" featured in BA 116. He provides an equally cryptic explanation for the cryptic titles "Flessione Titanica Gravitazionale (expanded version)," "Moltiplicazione Infinitesimale Reattiva (evaporated version)," "Accolita Prostetico Oceanico (fermented version)," and "Territori Interiori Antecedenti (maximal version)."

It discusses the reconnection (Riconnessione) with divine urges obscured by iconoclastic power, in erotic-mystical ecstasy, and a longing that screams from nostalgia to wish fulfillment, feminine in the 'Church of the Virgin' and radically environmentally conscious. Accompanied by archetypal animal symbols, mental coordinates, key emotions, and multisensory performances—like his own.

It seeks to reform the light inside and outside, through a gravitational bending of electromagnetic waves by massive bodies, a subject of present and future catastrophes that become super dense and act as lenses. With droning glissando curves, dystopian impressions, through iron-like percussive sounds, a roaring, "breathing," abyssal groaning or singing wave. From resignation to sacred Risorgimento. With whistling and roaring wooshes, a slow, donging heartbeat, an organ-like sustained tone. Nietzsche’s The world is deep comes to mind... But from this deep dream, it has not yet awakened, trapped in nightmarish loops, disturbed by alarms. [BA 126 rbd]

Ver Sacrum
www.versacrum.com/vs/2024/10/paolo-l-bandera-riconnessione-iconoclastica-sacrale.html

Luminous Dash
luminousdash.be/reviews/paolo-l-bandera-riconnessione-iconoclastica-sacrale-unexplained-sounds-group/

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

Co-released by Unexplained Sounds Group and Dissipatio.
Mastered by Paolo L. Bandera
Cd artwork by Nicola Quiriconi.
Cat. Num. USG100.
2024. All rights reserved.

Tags

experimental avant-garde drone improvisation musique concrete sound art Italy