07 June 2022: Scanner; Richard Bégin

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.

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 DiN72 | Scanner | The Homeland Of Electricity 

Our thanks to Ian Boddy for a promo copy of this release.  We will be featuring a few tracks in anticipation of its release.

Release date 17th June 2022

Limited to 500 copies Digipak CD

The second album for the DiN imprint by British Electronic Musician Scanner sees Rimbaud utilising a different toolset from his first album, An Ascent (DiN63), released in July 2020. Here he focuses in on several Elektron instruments such as the Analog Four, Analog Rhythm and Digitakt. Whilst his debut album was forged live in his studio during the start of the global pandemic here Rimbaud was after a lighter, more optimistic tone.

Rather prophetically Rimbaud states that this album was indebted to the work of the Ukranian film maker Laris Shepitko. Indeed the title of the sixth track “Artemovsk” references the birth place of Shepitko. Furthermore the title of the album, “The Homeland of Electricity”, is taken from her 1968 film which was commissioned by the government to celebrate the October Revolution’s 50th anniversary, but was rejected by the authorities for not being patriotic enough.

At times the music has a sense of blissful calm such as the opener “You and Me” with layers of texture slowly rising & falling to unveil hidden depths to the soundscape. Rimbaud’s love of the human voice as a musical element can be heard in the tracks “Another Aircraft”, “Artemovsk” and “At last it moves into silence” albeit with very different sonic outcomes. Fluctuating between darker elements displayed in such tracks as “Air in the Air” and “Beginning of an Unknown Century” in the end the album reveals a sense of hope which is no more apparent in the joyous simplicity of “Acentria”.

As Rimbaud puts it “this album feels like a sound polaroid of this exact moment in time, capturing our times in atmospheric sound works, where light will be found again, even in the midst of struggle”.

Track Listing:

01 You and Me   05:58
02 Air in the Air   05:10
03 Another Aircraft   05:29
04 Grain, Letting Go   05:02
05 Beginning of an Unknown Century   05:33
06 Artemovsk   05:32
07 At last it moves into silence   03:47
08 Heaven Research Unlimited   04:08
09 Acentria   04:55
10 Traces upon Traces   04:19

Total Time :  50:11

Demo Mix @ Soundcloud

 

Recorded in Canada by Richard Bégin (2021 - 2022), "Fragile Section" is on the thin line of balance between ambient music, hauntology and musique concrète, a land where everything virtually can happen. The sound constantly sways between ambient drones, noises of springs, subtle metallic rustles, guitars now distorted, now lopsided, broken turntable needles spinning endlessly, electronic mists of distant memories, samples of music lost in time. Sometimes dreamy, sometimes almost post-industrial, mostly hard to decipher, "Fragile Section" will take you to the dimension where sound crumbles to become something indefinite, yet full of meaning.

released May 27, 2022

Sound artist and university professor, Richard Bégin explores with the relationships between the machine, the body, the sound, the disaster and the environment.

Richard Bégin uses Eurorack system, analog synths, reel to real and tape recorders, dictaphone, granular synthesis. 

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

richardbegin.bandcamp.com


Music by Richard Bégin
Mastering by Raffaele Pezzella (Sonologyst)
Artwork by Richard Bégin
© 2022. All rights reserved

ambient dark dark ambient drone ambient industrial musique concrete post-industrial Gothenburg

04 January 2022: Mythos; Ian Boddy & Nigel Mullaney

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The music you hear on tonight's show is available on the artists' Bandcamp pages and websites (links below) and makes a great gift for the holidays as well as brightening the musicians' holidays.

For 25 years, Mythos has been creating timeless, ethereal music fusing electronic beats with vocals, piano, acoustic guitar, synths and sounds from around the world. 2021 marks the 25th Anniversary for the duo of Bob D’Eith (producer and piano) and Paul Schmidt (acoustic guitar) with special guest performances from Jennifer Scott (vocals), Jasmin Parkin (vocals), Rene Worst (bass), Pepe Danza, (percussion), Niko Quintal (percussion) and many others.   

 Bob’s father spent many years trying to convince him to work with his brother’s talented friend Paul. When Bob was trying to create music for film and television, he teamed up with Paul to co-write together. As Bob and Paul started producing music and working with Vancouver session players Jennifer Scott and Rene Worst, it became apparent that they had created something special. Mythos was born. In 1996, Mythos released the “Introspection” EP independently. The first single “November Dance” (in instrumental dance track with no lyrics) was released and much to the surprise of the artists became a commercial radio hit and retail success. “Introspection” went on to win a WCMA Award and was nominated for a JUNO Award. “Introspection” was picked up by a Bay area label entitled XDOT25 and released internationally. 

The second release “Iridescence” was released briefly in Canada, however Max Amadi from XDOT25 pitched Mythos to the Malibu based label Higher Octave (Virgin/EMI0). Max’s suggestion of the pairing of Mythos with the brilliant fine artist Gil Bruvel led Higher Octave to release the 16 track self-titled “Mythos” (1998) that went on to be released in 33 countries and sell in the high five figures. Hot on the heels of the success of “Mythos”, Higher Octave released “Reality of a Dreamer” (2000) and “Eternity” (2002). Mythos spent years in the Billboard charts and was added to many essential compilations in the time. Mythos was also used for “Victoria’s Secret” Cannes runway production during this time. Mythos won a second WCMA award during this period. 

Once Higher Octave merged with their parent label, Mythos moved over to Alula Records/Allegro (Oregon) releasing “Purity” (2006) for the world less Canada that was retained by Adagio Music/Pacific Music/Warner.  For a few years, Paul went to Korea to teach English and Bob developed his career building Music BC (a non-profit music industry association) and his entertainment law practice. In 2012, Bob and Paul re-united for the album “Journey” released through Adagio Music/IODA (2013). In 2014, Adagio Music released a “best of” series of Mythos tracks including a special Vinyl release. A new Album “Journey” (2018) was released on Adagio/The Orchard. 

2021 is Mythos’ 25th Anniversary and this year we are pleased to release “XXV” a 14-track album including 5 new tracks and 9 fully remastered classics. The lead-off single “Legacy” featuring Cam Blake (Bob’s son and Indie Rock artist in his own right), uses progressive rock and electronic elements and was produced with returning performances by Jennifer Scott and Rene Worst. “Fly Away” is going to please many Mythos fans, getting back to Mythos’ musical roots. “Bonum et Malum” explores the dichotomy between good and evil, sadness and joy. “Progression” is a piece that evolves through the addition of ever complex melodies, all woven together into a tapestry of sound.  “Recuerdos de la Alahambra” originally composed by Francisco Tárrega and arranged for guitar and strings by Mythos, features a beautiful classical guitar performance by Paul Schmidt. The balance of the tracks (November Dance, Brazil, Planinata, Alchemy, Ascent, Icarus, Surrender, Eros and Spiritus) are a selection of Mythos’ most enduring tracks from previous albums fully remastered for the digital environment.

 

Mythos continues to have a great following around the world with over 10 Million streams  from over 90 countries.  

 

 Ian Boddy & Nigel Mullaney:  Smoke & Mirrors

Playing live can often be a challenge when using modular synthesisers and one approach that can be taken is to use a lot of equipment on stage. This was certainly the case with this concert recorded at the Capstone Theatre, Liverpool on 18th November 2017. DiN label boss and long time musical collaborator Nigel Mullaney really went for it using several Eurorack modular cases as well as Ian Boddy’s Serge modular system & VCS3 and Mullaney’s Elektron devices & Korg Wavedrum. The duo further complemented this set up with Boddy's French Connection Ondes Martenot style keyboard controller and a Moog keyboard each. Cameras captured their performance live and projected it behind the duo onto a massive screen for a totally immersive live experience.

This concert is now being released on the DDL digital only sub-label of DiN and showcases these two musicians in their natural element improvising a series of musical sections that segue seamlessly together to create a constantly unfolding tapestry of sound. From the haunting, spacey legato atmospheres of the opening track Forever through to Berlin School inspired sequenced sections such as Orthogenesis and Paradigm Shift the music never stays still. More abstract, experimental pieces such as the pair of Noise Lab tracks give way to heavier, rhythmic sections such as Vanguard and the full on encore track Run The Clock Down.

This cross pollination of genres and styles is something central to the core of the DiN ethos. At the end of the day it’s all just music and as such this approach can take the listener on a unique sonic journey. 

credits

released December 3, 2021

All tracks composed, played and produced by Ian Boddy & Nigel Mullaney.

Recorded live at the Capstone Theatre, Liverpool on 18th November 2017.

Mastered by Ian Boddy November 2021.

Concert promotion Neil Campbell.

Ian Boddy:
Eurorack & Serge modular, VCS3, Analogue Systems French Connection, Moog Voyager, Elektron Analog 4, iPAD running Borderlands, Make Noise 0-Coast

Nigel Mullaney:
Eurorack modular, Elektron Machinedrum, Octatrack, Analog 4, Digitakt & Rytm, Korg Wavedrum, Moog Sub37,
Teenage Engineering OP-1

www.ianboddy.com
www.nigelmullaney.com

 

all rights reserved 

 

ambient em electronic electronic music electronica vcs3 downtempo elektron eurorack modular synth moog serge Sunderland

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17 August 2021: Nigel Mullaney "The Turning" (DiN67); The Beyond - Music Inspired By The Lucio Fulci Death Trilogy

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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.

 

Our thanks to Raffaele Pezzella and Eighth Tower Records for providing us with a copy of this release.

 

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

releases August 27, 2021

Curated and mastered by Raffaele Pezzella (Sonologyst)
Edited by Eighth Tower Records
Illustrations: ©John Chadwick 2016 - 2021
www.behance.net/jdchadwick
jdchadwickdesign@gmail.com
© 2021. All rights reserved

all rights reserved

ambient dark ambient dark chamber drone industrial noise Italy

14 January 2020: Nigel Mullaney / Cool Spring / Bernhard Wostheinrich

Nigel Mullaney is a familiar name for followers of the DiN label with his early releases with label boss Ian Boddy under the name of Dub Atomica as well as his album with Ray Sherwin, “Music By Mirrors” (DiN38) under the moniker of Mazmoneth. More recently he has been working with Boddy utilising modular synth systems at several venues including the recently released download album “Schemes & Ruses” (DiNDDL23) recorded at the Capstone Theatre in Liverpool.

It thus comes as somewhat of a surprise that “31 Days” is his first solo album on DiN. It’s genesis came about through a musical challenge he set himself to compose a track a day for the entire month of January 2018. In the studio and on the road he explored sonic improvisations using a range of portable modular synthesisers as well as a selection of analogue keyboards and vintage outboard gear. Essentially each of the tracks is a live recording with no overdubs or additional stem mixing.

This resulted in over 4 hours of material that Ian Boddy carefully listened through and curated into a track list which represents a 70 minute cross section of Mullaney’s 31 day musical odyssey. As with Boddy’s DiN iNDEX sampler albums the music ebbs and flows from gloriously cinematic orchestral textures through to wonderfully rhythmic drum and sequencer tracks laced with cutting edge sound design and first class production values.

To quote Mullaney, “as the days and weeks progressed I found myself connected with my music and art like never before. It simply flowed through me”. The music certainly reflects this with a fresh and vibrant feel that showcases a talented musician at the top of their game. 

credits

releases January 17, 2020

“Don’t think. Thinking is the enemy of creativity. It’s self-conscious, and anything self-conscious is lousy. You can’t try to do things. You simply must do things.”

Ray Bradbury


I’ve been told on many occasions that I think way too much…. After years of working on commissions and interpreting clients concepts of what music has to sound like I had found myself in a creative blackhole. Over thinking and over analysing music had separated me from the art of creative expression, improvisation and musical freedom.

I had a plan to fix this, a challenge I had contemplated undertaking for a number of years - to compose, programme, perform and record one track a day for 31 consecutive days. In the studio and on the road I began to explore sonic improvisations and soundscapes without any self conscious preconceptions, and as the days and weeks progressed I found myself connected with my music and art like never before. It simply flowed through me.

Essentially what you have here is a live album, using modular synthesisers, a selection of analog keyboards and vintage outboard gear. The music was performed and recorded directly into a Tascam Stereo DSD recorder with no overdubs and no additional stem mixing. After presenting Ian Boddy with over 4 hours of music he applied his expert critical listening and curated a track list which represents a 70 minute cross section from my 31 Day musical journey.

Nigel Christopher Mullaney 01.10.19


Special thanks to :

Jonathan Paul Jowett - Phoenix Creative Media Ltd
Ian Boddy - DiN Records
Jennifer Leggett
Wendy Carroll
Ben Wilson - DivKid Ben
Robin Rimbaud - Scanner
Dan Wahlbeck - DPW Design
Ickle Boo & The Boys


This one's for you Dad x 

 

Materiaal Series, Part XXIII

Performed and recorded live on October 6, 2018 at Orion Studios, Baltimore, MD, USA, as an opener for the legendary Soft Machine.

ECM recording artist David Rothenberg wrote Why Birds Sing, published in six languages and turned into a BBC TV show. He has written other books about making music with whales and bugs, has sixteen CDs out and his latest book, CD, and film is called Nightingales in Berlin.

www.nightingalesinberlin.com

Jay Nicholas, bass player extraordinaire and legendary studio engineer, has worked at Chung King Studios with the likes of David Bowie, Wyclef Jean, the Neville Brothers and the Wu-Tang Clan.

www.allmusic.com/artist/jay-nicholas-mn0001839831

------------------
watch the drop!
youtu.be/Z51wmigO9Qo?t=233
------------------

credits

released December 13, 2019

Bernhard Wöstheinrich: keyboards and virtual synthesizers, live-sequencing
David Rothenberg: clarinet, bass clarinet, soprano saxophone and iPad
Jay Nicholas: bass & wavedrum

Performed and recorded live at Orion Studios, Baltimore, MD, USA, October 6, 2018

Mixed and mastered by Markus Reuter

Artwork by Christine Kriegerowski
Video by Jefferson Ogata

Special thanks to Leonardo Pavkovic, Mike Potter, Joe Tracey and Chris Baker

www.orionsound.com

1.	Live at the Orion Studios 2018 - before the drop 22:03 video
				Live at the Orion Studios 2018 - after the drop 08:02

Cool Spring

by David Rothenberg, Bernhard Wöstheinrich, Jay Nicholas

•  

	1.	Cool Spring 16:14
	2.	Stick Insect Undisguised 04:40
	3.	It’s All in the Cloud 10:49
	4.	One Leap Takes You There 09:29
	5.	Dystopia is Cheap 09:55

about

David and Bernhard have been playing together for three years, and it happens whenever the two are in the same country.
Last October we found them both in the Hudson Valley of New York, where they were joined in the studio by bass player and producer Jay Nicholas in the village where David and Jay live, definitely a Cool Spring.


ECM recording artist David Rothenberg wrote Why Birds Sing, published in six languages and turned into a BBC TV show. He has written other books about making music with whales and bugs, has sixteen CDs out and is working on a book about the nightingales of Berlin and the musicians who play with them.

www.davidrothenberg.net

Bernhard leads his own solo project "The Redundant Rocker" and among others he has collaborated with Markus Reuter (in centrozoon) Tim Motzer, Ian Boddy, No-Man singer Tim Bowness, Conrad Schnitzler†, and Erik Wøllo. Bernhard elicits meaning from abstraction in electronic music and painting. He has studied graphic design and has created an eclectic body of work in both graphics and music. Using a compositional approach akin to his work as a visual artist, Bernhard usually begins by improvising abstract sonic structures which are subsequently developed into an increasingly detailed aural picture.

www.redundantrocker.com


Jay Nicholas, bass player extraordinaire and legendary studio engineer, has worked at Chung King Studios with the likes of David Bowie, Wyclef Jean, the Neville Brothers and the Wu-Tang Clan.

www.allmusic.com/artist/jay-nicholas-mn0001839831  

credits

released March 18, 2016

David Rothenberg: clarinet, bass clarinet, contralto clarinet
Bernhard Wöstheinrich: keyboards and electronics
Jay Nicholas: bass

Performed and recorded on B Street, October 2015

Mixed and mastered by Markus Reuter

Artwork by Christine Kriegerowski
Special thanks to George "G$" Bley