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

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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

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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

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ambient chill-out downtempo drone electronic field recordings United Kingdom

 

15 April 2025: Yezda Urfa “Sacred Baboon”; Parallel Worlds “Modular”; "Ubikuitous" Music Inspired by Philip K. Dick's Dystopias

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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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Sacred Baboon by Yezda Urfa

Sacred Baboon is the second, and only officially released, album by the American progressive rock group Yezda Urfa. The album was recorded in 1976, but not released until 1989.

In 1975 Yezda Urfa made a demo EP, Boris, but since no interest was generated by it, they decided to go for a second album that would be released on their own label with the hope that after it generated enough interest, it would attract the attention of a record company.

Yezda Urfa funded the project themselves, and just before finishing, they almost had a deal with a small label in Chicago, but the deal fell through. After completing the recording, but short of cash, they abandoned the idea of releasing the album and shelved the master tape.

Some time later, the band was discovered by Syn-Phonic and the album was released in 1989.

This album was recorded in about two weeks, in two different studios. They had started using the same studio as for the Boris album, but switched to another, more modern studio shortly after they started recording. In the time that had elapsed since recording Boris, their music had evolved. Some of the material that appeared on Boris was reworked for this album.

Track listing

Side 1

1. "Give 'em Some Rawhide Chewies" – 3:50
2. "Cancer of the Band" – 6:48
3. "Tota in the Moya" – 10:14

Side 2

1. "Boris and his Three Verses" – 2:50
2. "Flow Guides Aren't My Bag" – 4:45
3. "(My Doc Told Me I Had) Doggie Head" – 5:02
4. "3, Almost 4, 6 Yea" – 8:39

Produced & recorded at Universal Studios, Chicago and Hedden West Recorders, Schaumburg, Illinois.

Personnel

• Rick Rodenbaugh – vocals
• Phil Kimbrough – keyboards, Hammond B-3 organ, synthesizers (Moog Model 15, Memorymoog, Minimoog, Elka string machine), Wurlitzer & Fender Rhodeselectric pianos, Yamaha grand piano, celesta, harpsichord, accordion, Gibson H-1 mandolin, flute, soprano & tenor recorders, backing vocals
• Mark Tippins – acoustic & electric guitars, backing vocals
• Marc Miller – Rickenbacker & Gibson Ripper basses, cello, marimba, vibraphone, backing vocals
• Brad Christoff – Ludwig drums, timpani, tubular bells, metallophone, glockenspiel, gong, agogô, percussion

 

Modular Stories by Parallel Worlds

Machines used:
Eurorack modular (including modules by Qu-Bit, Synthesis Technology, Make Noise, Verbos, Instruo, Xaoc Devices, Intellijel, Frap Tools, Doepfer, 4ms company, Noise Engineering and others)
Analogue Systems RS-Integrator modular
Korg SQ-64
Korg Volca Modular
Korg Wavestate
link: facebook.com/parallelworldsmusic

 

mamonulabs "Modular Stories" explores two distinct sonic moods, at times merging effortlessly, while at others drifting apart into their own expansive spaces. It elegantly combines melancholic IDM with sprawling ambient drone textures, Listen to "Slow Motion" for golden era Fax drones for example or the first track for idm electronica bliss Favorite track: Transcedent.

 

credits

released April 8, 2025
FreeForm Radio thanks Bakis Sirros for a complimentry copy of this release.
Thanks to: friends and family, John Sirros, Alessandro Vaccaro, Mamonu, Ingo Zobel & Dimitris Pavlidis.
Mastered by Lorenzo Montana'
Designed by LoMo

 

analogue electronic idm modular ambient electro electronic idm techno Italy

 

 

Ubikuitous - Music inspired by Philip K. Dick's dystopias

by Various Artists

 

Philip K. Dick's narratives are a cornerstone of dystopian literature, delving into complex and unsettling visions of the future where the boundaries of reality blur, personal autonomy is undermined, and humanity is redefined. His worlds are characterized by an intricate exploration of societal control, the fragility of identity, the consequences of drug use, and the implications of virtual reality. These themes, often presented with a prophetic tone, resonate with contemporary anxieties and challenge the reader to confront unsettling questions about existence and power. In Dick’s dystopias, control manifests in both overt and covert forms, often executed by shadowy corporations or authoritarian governments. The oppressive mechanisms in his stories are not limited to physical coercion but extend deeply into psychological and technological domains. In A Scanner Darkly (1977), for instance, surveillance is depicted as a pervasive force that erodes privacy and individuality. Similarly, Minority Report (1956) examines pre-crime policing, where individuals are apprehended for crimes they have not yet committed based on predictive technologies. Dick’s prescient depiction of predictive surveillance technologies foreshadows modern debates over data privacy, algorithmic governance, and the balance between safety and liberty. A recurring theme in Dick’s works is the elusiveness of reality. His characters frequently grapple with the question: What is real? This ontological crisis is central to Do Androids Dream of Electric Sheep? (1968), where the distinction between humans and androids becomes increasingly ambiguous. In Ubik (1969), reality itself becomes a mutable construct, shifting and deteriorating in ways that disorient both characters and readers. The titular substance, Ubik, represents a stabilizing force amidst this chaos, yet its true nature remains enigmatic. Dick’s exploration of reality extends beyond philosophical musings; it serves as a critique of consumer culture, media manipulation, and the fragility of consensus reality in an age of rapid technological change. Dick’s personal experiences with drug use inform much of his work and play an important role in examining the previous themes, lending authenticity to his depictions of altered states of consciousness and their societal implications. Drugs in Dick’s narratives often serve as a means of exploring alternative realities or as tools of control. In The Three Stigmata of Palmer Eldritch (1965), the hallucinogen Can-D allows users to escape their grim existence in a dystopian off-world colony, yet its promise of transcendence is complicated by the emergence of a rival drug, Chew-Z, which binds users to the will of the enigmatic Palmer Eldritch. In this regard the concept of virtual reality is central to Dick’s exploration of identity and control. In The Penultimate Truth (1964), humanity is deceived into living underground, believing the surface world is uninhabitable, while a privileged elite manipulates them through fabricated media. This narrative anticipates concerns about the power of virtual environments to shape perceptions and obscure truths. We Can Remember It For You Wholesale (1966), adapted into the film Total Recall, investigates memory manipulation, where implanted memories blur the line between genuine experience and artificial construction. The protagonist’s struggle to discern his authentic identity highlights the vulnerability of the human psyche in the face of advanced technologies. Dick’s dystopias resonate because they reflect not only a fear of technological overreach but also a deep understanding of human frailty. His exploration of control, reality, drug use, and virtual environments serves as a mirror to contemporary anxieties, urging readers to question the systems that shape their lives and the definitions of humanity they take for granted. In the end, Philip K. Dick’s work remains a cautionary beacon, warning of the perils of unchecked technological and societal evolution while affirming the enduring complexity and resilience of the human spirit.

In this compilation of disorienting aural landscapes, Unexplained Sounds Group and the contributing musicians pay a heartfelt tribute to the dystopian visions of the great American writer. A guiding light for current and future generations of artists, his work challenges all who seek to uncover the hidden layers beneath the surface of apparent reality. 

credits

released April 10, 2025

Non Psychogenic Ambivalence courtesy track by Adi Newton (2024, Anterior Research London, Publishing Mute Song, London).
FreeForm Radio thanks Raffaele Pezzella for a copy of this release.
Curated and mastered by Raffaele Pezzella (a.k.a. Sonologyst).
Layout by Matteo Mariano.
Published by Unexplained Sounds Group
Cat. Num. USG106.
© 2025 All rights reserved.

 

 

experimental avant-garde drone improvisation musique concrete sound art Italy

08 April 2025: Steven Wilson "Alterview"; Polypores "I Wish There Was a Place Like That" Quiet Details 31

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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.

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

This week's Rural Electric theme is "being poor."    

 A bonus CD from a Special Edition of The Overview featuring 60 minutes of music (called The Alterview) not included on the final album and an specially commissioned orchestral version of the 23 minute long ‘Objects Outlive Us’ (called ‘Orchestral Objects’)

Polypores - I Wish There Was a Place Like That                                                                

Credits:
Music by Stephen James Buckley
Mastered by Alex at quiet details studios
Artwork by quiet details in collaboration with Stephen James Buckley
Design by quiet details
© quiet details 2025 all rights reserved

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

For the next edition in the quiet details series we have a wonderful interpretation from the UK-based synth master craftsman, Stephen James Buckley, here as Polypores.

An essential element of the British electronic music scene, Polypores’ expansive albums and electric live shows have cemented him as one of the most loved and admired exponents of esoteric and endlessly original modular synthesiser sound-worlds at work today.

With releases on a slew of labels, including Castles in Space, Frequency Domain, Miracle Pond, Woodford Halse, Waxing Crescent Records, DIN, Aural Canyon and more - plus loads of self-releases - his unstoppable creativity knows no bounds.

I Wish There was a Place Like That sees the signature Polypores freewheeling and completely unique approach take a deep and psychotropic leap - dense and highly detailed textures swirl and emerge from the ether, melodies grow and branch across the spectrum like fractals, always shifting and becoming something new.

Layer upon layer of glistening harmonics mesh and unravel themselves as time edges forward, time slows and quickens, headspace shifts.

Each track started as an extended improvisation, edited down to its essence then carefully shaped into the finished pieces. As Stephen says:

I took the best sections of these and used them as the basis for the tracks, adding a few extra parts to develop them and add to the texture. There's a lot of repetition here - I experienced audio hallucinations during a lot of these recordings.
Voices emerging from the music. Hopefully the listener will experience some of this too.
Using the trio of semi-modular synths from the visionary Make Noise, perfectly designed to live together as a self-contained system - augmented with a few choice additions - this focused setup allowed Stephen to explore their symbiosis to its fullest, an incredible example of how these tools can be used to create pieces that are both wildly experimental and deeply musical.

This is some of the finest synthesiser music we can have the pleasure of experiencing - kaleidoscopic, consciousness-expanding and life-affirming - huge thanks to Stephen, 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 Stephen 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, representing the music in its purest form.

polypores.bandcamp.com  

credits

released March 12, 2025

license

all rights reserved

Tags

ambient polypores chill-out downtempo drone electronic field recordings modular synth synth United Kingdom

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ambient polypores chill-out downtempo drone electronic field recordings modular synth synth United Kingdom

04 March 2025: Emerson, Lake, & Palmer "s/t"; Ian Boddy & Harald Grosskopf "Doppelganger". (DiN91)

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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.

 

Emerson, Lake & Palmer is the debut studio album by English progressive rock band Emerson, Lake & Palmer. It was released in the United Kingdom by Island Records in November 1970, and in the United States by Cotillion Records in January 1971. After the group formed in the spring of 1970, they entered rehearsals and prepared material for an album which became a mix of original songs and rock arrangements of classical music. The album was recorded at Advision Studios in July 1970, when the band had yet to perform live. Lead vocalist and bassist/guitarist Greg Lake produced it.

Upon release, the album went to No. 4 in the UK and No. 18 in the US.^[2][3] Lake's song "Lucky Man" was released as a single in 1970 and helped the group achieve radio airplay; it peaked at No. 48 in the US. After a warm-up gig in Plymouth, the band performed songs from the album at their next, a spot at the 1970 Isle of Wight Festival which propelled them to widespread fame. In 2012, Steven Wilson prepared a special edition that features a new stereo and 5.1 surround sound mixes, plus bonus material.

Songs

Side one

"The Barbarian" is an arrangement of Béla Bartók's 1911 piano piece Allegro Barbaro, but original early pressings of the album credit the track to the group.^[4][5] Bartók's widow contacted the band shortly after the album's release to request that the credit be corrected.^[6]

"Take a Pebble" was penned by Lake, with the primary sections being a jazz keyboard arrangement by Emerson, and the middle section being a folk guitar work by Lake with water-like percussion effects from Palmer, plus bits of clapping and whistling.

"Knife-Edge" is based on the first movement of Leoš Janáček's orchestral piece Sinfonietta (1926),^[5] with an instrumental middle section that includes an extended quotation from the Allemande of Johann Sebastian Bach's first French Suite No. 1 in D minor, BWV 812, but played on an organ rather than a clavichord or piano. Lake provided the lyrics, with assistance from Richard Fraser, a member of the group's road crew.

Side two

"The Three Fates" is a three-part "pseudo suite",^[4] written and predominantly performed by Emerson. Each section is named after the three sisters of Greek mythology known as the Three Fates, or Moirai: Clotho, Lachesis, and Atropos. The "Clotho" movement was recorded at the Royal Festival Hall in London, with Emerson playing the venue's pipe organ. "Lachesis" is a short piano piece that features baroque and jazz influences, ending in grand, sweeping arpeggios. "Atropos" sees Emerson play a piano vamp in 7/8 with percussion accompaniment from Palmer.^[7] An improvisational section is played on top, which transforms into a polymetrically played repeated sequence in 4/4 time. The resonance of the final chords is curtailed by the sound of explosions.

Palmer's solo spot "Tank" was composed with Emerson. The first section features Emerson on clavinet and piano, Lake on bass and Palmer on drums. The middle section is a drum solo. The final section features Emerson on clavinet and Moog synthesizer.

"Lucky Man" is a song written by Lake on the acoustic guitar when he was 12. It features an improvised Moog synthesizer solo by Emerson at the end, liberally using portamento.^[8][9][10] A 5.1 surround sound mix of the song was released on a 2000 reissue of Brain Salad Surgery. 

Artwork

The album's cover is a painting by British artist Nic Dartnell. Although it has been said to be originally intended for the American group Spirit, and that the bald-headed man on the left of the cover is Spirit's drummer, Ed Cassidy, the artist denied this in an interview with Mike Goldstein of RockPoP:

"I'd like to take a moment and dispel a rumor that, according to Wikipedia, the image is somehow linked to the LA band Spirit. The fact is that, at the time I painted the ELP 'Bird', I also painted a portrait of Spirit which I sent to them in LA. A very similar bird was featured in the corner of that painting. I got a message from Spirit to say that if they had received their painting in time they would have put it on the back of Twelve Dreams of Dr. Sardonicus. I became friendly with Randy California over the years and I took the photograph that is on his 1982 12" EP All Along the Watchtower. The bald image in "Bird" has no connection to Ed Cassidy of Spirit and doesn't look anything like him. Ed still has the Spirit portrait – so I'm told."

— Nic Dartnell, ^[11]

Critical reception

Professional ratings

Review scores
Source	Rating
AllMusic	[12]
Christgau's Record Guide	C[13]
Rolling Stone	(favorable)[14]
Classic Rock Revisited	A[15]
The Daily Vault	A−[16]
MusicHound Rock	[17]
Sound & Vision	[18]

Upon release, Loyd Grossmas at Rolling Stone enthused "this is such a good album it is best heard as a whole".^[14] Reviewing in Christgau's Record Guide: Rock Albums of the Seventies (1981), Robert Christgau said: "This opens with 'The Barbarian,' a keyboard showpiece (not to slight all the flailing and booming underneath) replete with the shifts of tempo, time, key, and dynamics beloved of these bozos. Does the title mean they see themselves as rock and roll Huns sacking nineteenth-century 'classical' tradition? Or do they think they're like Verdi portraying Ethiopians in Aida? From such confusions flow music as clunky as these heavy-handed semi-improvisations and would-be tone poems."^[13]

In a retrospective review, Bruce Eder at AllMusic claimed it "showcased the group at its least pretentious and most musicianly"^[12] while The Daily Vault hailed it as a "dizzying mix of keyboard solos, incredible bass work, excellent vocals and powerful drums".^[16] Paul Stump's 1997 History of Progressive Rock commented of the album, "Still hailed by many as the band's best effort, it established the blueprint for a musical style which, for all the bullish puffing of the band's 'progressive' credentials, they would develop hardly at all." However, he found significant shortcomings with all of the individual songs, excepting only "Atropos", which he called the album's best track.[1

^9]

 

 

Ian Boddy & Harald Grosskopf | Doppelgänger | DiN91
 

Release date 21st March 2025
Limited to 500 copies Digipak CD
Bar Code 5028423250913

Available this Friday, March 7 on BANDCAMP FRIDAY, when Bandcamp waives all seller fees.

Fostering musical collaborations has been a key motivational force for DiN label boss Ian Boddy since the inception of the imprint in 1999. He has also made no secret of his musical heritage and influences, especially the 1970’s German electronic music masters such as Tangerine Dream and particularly the late, great Klaus Schulze. So when, through a chance conversation with Harald Grosskopf at a music festival in the Netherlands, the opportunity arose for them to collaborate together Boddy jumped at the chance.  Grosskopf has had an amazing career as a drummer working with many German music luminaries. Of special interest to Boddy is his work with Schulze on some of his finest mid-70’s albums and this connection forms an emotional bridge to that fervent, shared musical heritage. However Grosskopf is way more than just a percussionist and his classic Synthesist album showcases the other side to his music with his very personal use of melody and harmony.

Thus Boddy and Grosskopf combine forces in a stunning display of sequenced and groove based tracks that constitute the album Doppelgänger. The album flirts with the so called Berlin School of music but goes way beyond it’s metronomic straitjacket with Boddy serving up multi-patterns of shifting sequencer lines underpinned by Grosskopf’s mesmerising percussion grooves. There are ample examples of Boddy’s modular synth sound design on show, especially on tracks such as Boulevard Horizon and Dubnium. Elsewhere Grosskopf has a playful input on the track Livewire and indeed his keyboard playing are as much a part of this album as Boddy’s own. The album ends with the stunning title track with its grandiose chords and processional percussion.

Once again the DiN label forges into unknown sonic territory by serving up two unique musicians in collaboration creating a musical dialogue that is as inspiring as it is unexpected.

09 May 2023: Ian Boddy - Modulations III (DiNDDL31)

 KMXT is live broadcasting the Kodiak City Council work session which may run past 9 pm.  

The show will begin as soon as the work session ends or 9 pm if the meeting ends early.

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.

 Modulations III  (DiNDDL31)

 

The Modulations series is a way for DiN label boss Ian Boddy to showcase his many, varied modular synth concerts and events. The first two released in 2020 & 2021 were released in digital format on the DiNDDL series as well as limited vinyl pressings in conjunction with Greek label Kinetik Records. However all live events came to a sudden end with the Covid pandemic and Boddy like the majority of musicians had to postpone any further Iive shows until this health crisis dissipated.

Resuming toward the end of 2021 Modulations III spans just over three hours of Boddy’s recent modular synth events with concerts in Birmingham, Manchester and Liverpool. There are also tracks from an art exhibition opening, an outdoor performance and an exclusive track for the Werra Foxma label magazine.

The core of the instrumentation in these tracks are Boddy’s mobile Eurorack cases but this was bolstered by gear from Buchla, Serge and Moog as well as an array of pedals and effects and with the Liverpool concert his beautiful French Connection Ondes Martenot style keyboard.

As ever Boddy builds audio landscapes that organically build, drift and vanish into the ether. Analogue bass lines grow and act as a bedrock for a myriad of scintillating higher register sequencer parts. Mysterious atmospheres evolve and mutate with graceful beauty. Soft focus orchestral string sections emerge from dark spaces and bring light and calm to the music. The audience is taken on a journey which follows a different path on every performance.

A listening guide detailing each track and its associated release alongside exclusive photos accompanies the Bandcamp download. 

credits

released May 5, 2023

Barry West for curating the Earth Requiem show at the Washington Arts Centre.
Tony Adamo and Chris Wave for organising the Seventh Wave Festival in Birmingham.
Alan Hempsall for organising the Subliminal Impulse Festival in Manchester.
Frazer Brown from Werra Foxma.
Neil Campbell for organising the concert at the Capstone Theatre in Liverpool.
Phil Booth for the Seventh Wave concert photo.
Wendy Carroll for cover artwork, all the other concert photos and running the DiN Merch stand.
All of you who attended the shows and concerts.

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all rights reserved

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