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FreeForm Radio thanks Raffaele Pezzella, The Tapes, Puppy Bordigo, and Low Communication for providing us with copies of their releases for tonight's program.
Alrune Rod is probably one of the most important
Danish rock bands from the psychedelic era, and along with STEPPEULVENE,
generally considered the epitome of Danish psychedelic rock and the
Danish counterculture movement of the1960s and 1970s in general.
Alrune Rod, colloquially referred to as 'Alrunen', were formed in 1968 by Leif Roden and are considered to be the pioneers in Danish psychedelic and artistically oriented rock music, along with acts like BURNIN' RED IVANHOE , STEPPEULVENE, CULPEPPER'S ORCHARD, BLUE SUN and ACHE. Alrune Rod debuted with the single 'Tæl Aldrig I Morgen Med' in 1968 and the full length studio album 'Alrunes Rod' in 1969, followed by the highly acclaimed 'Hej Du' in 1970 and 'Alrune Rock' in 1971, which was released in a Danish language version and an English language version. The remaining three albums 'Spredt For Vinden' from 1972, '4-vejs' from 1974, and 'Tatuba Tapes' from 1975 are generally considered sub par compared to their earlier releases. Nonetheless, 'Tatuba Tapes' is notable for being recorded live in the studio.
Their musical style is often described as a hybrid between THE GRATEFUL DEAD and early PINK FLOYD. They initially composed fairly long songs, typically of 10 to 13 minutes of length which blended the heaviness of the blues rock with the complexity of art rock, some of their compositions bordering on bein symphonic. 'Hej Du' is considered their masterpiece with compositions like hard rocking 'Du Taler Og Siger' and the almost twenty-two minutes long 'Perlesøen'. While their early efforts are characterized by a relatively dark atmosphere, their post-'Hej Du' albums contain shorter, livelier and more accessible tunes, which nonetheless retain several progressive elements. Lyrically, Alrune Rod dealt with complex topics like the human psyche as well as society and politics but were not above addressing more trivial topics like love and rock 'n' roll rebellion.
While not having released any studio album since the mid 1970s, Alrune Rod still occasionally perform live shows at typically packed and sold out venues.
Alrune Rod, colloquially referred to as 'Alrunen', were formed in 1968 by Leif Roden and are considered to be the pioneers in Danish psychedelic and artistically oriented rock music, along with acts like BURNIN' RED IVANHOE , STEPPEULVENE, CULPEPPER'S ORCHARD, BLUE SUN and ACHE. Alrune Rod debuted with the single 'Tæl Aldrig I Morgen Med' in 1968 and the full length studio album 'Alrunes Rod' in 1969, followed by the highly acclaimed 'Hej Du' in 1970 and 'Alrune Rock' in 1971, which was released in a Danish language version and an English language version. The remaining three albums 'Spredt For Vinden' from 1972, '4-vejs' from 1974, and 'Tatuba Tapes' from 1975 are generally considered sub par compared to their earlier releases. Nonetheless, 'Tatuba Tapes' is notable for being recorded live in the studio.
Their musical style is often described as a hybrid between THE GRATEFUL DEAD and early PINK FLOYD. They initially composed fairly long songs, typically of 10 to 13 minutes of length which blended the heaviness of the blues rock with the complexity of art rock, some of their compositions bordering on bein symphonic. 'Hej Du' is considered their masterpiece with compositions like hard rocking 'Du Taler Og Siger' and the almost twenty-two minutes long 'Perlesøen'. While their early efforts are characterized by a relatively dark atmosphere, their post-'Hej Du' albums contain shorter, livelier and more accessible tunes, which nonetheless retain several progressive elements. Lyrically, Alrune Rod dealt with complex topics like the human psyche as well as society and politics but were not above addressing more trivial topics like love and rock 'n' roll rebellion.
While not having released any studio album since the mid 1970s, Alrune Rod still occasionally perform live shows at typically packed and sold out venues.
Hear Ragnarok here.
Bio written by Time Signature, Denmark.
Bio written by Time Signature, Denmark.
From the artist:
"I draw inspiration for my music mainly from my life. These are the moments that I have experienced, felt and which allowed me not to lose heart, but to live on. Each track is a presentation of a diverse stream of my thoughts. Some of them are metaphorical and some are real. For example, I don't like "Ignorance", so I made this track as gloomy as possible, but the track "Just Another Day" is already a more major version, it gives hope for what will happen tomorrow. Also everyone can interpret the composition "Rainbow Swing" as they want, although it has a syncopation that is inherent in jazz music, but it can also be a swing on which children have fun."
"To write music, I use only Ableton for arrangement, vst plugins, midi keyboard and Studio One for mixing. Very rarely, when I have a clear vision of my future work, I usually sit down, open a certain digital synthesizer and start turning the knobs until an interesting sound appears, then I start from there and try to create a full-fledged composition. Most of all, I like strings, for them I use vst's k1 and halion. Also, most of the tracks are recorded using FM8 and Novation V-Station, Jup-8, Mini, CS-80 (the last three are from Arturia)."
"I draw inspiration for my music mainly from my life. These are the moments that I have experienced, felt and which allowed me not to lose heart, but to live on. Each track is a presentation of a diverse stream of my thoughts. Some of them are metaphorical and some are real. For example, I don't like "Ignorance", so I made this track as gloomy as possible, but the track "Just Another Day" is already a more major version, it gives hope for what will happen tomorrow. Also everyone can interpret the composition "Rainbow Swing" as they want, although it has a syncopation that is inherent in jazz music, but it can also be a swing on which children have fun."
"To write music, I use only Ableton for arrangement, vst plugins, midi keyboard and Studio One for mixing. Very rarely, when I have a clear vision of my future work, I usually sit down, open a certain digital synthesizer and start turning the knobs until an interesting sound appears, then I start from there and try to create a full-fledged composition. Most of all, I like strings, for them I use vst's k1 and halion. Also, most of the tracks are recorded using FM8 and Novation V-Station, Jup-8, Mini, CS-80 (the last three are from Arturia)."
credits
released March 18, 2024
All music written and composed by Bohdan Linchevskiy, aka Low Communication.
Cover with original painting by Marina Harkavenko.
All music written and composed by Bohdan Linchevskiy, aka Low Communication.
Cover with original painting by Marina Harkavenko.
license
all rights reserved
tags
Midnight Fire by Puppy Bordiga et al
Something new with my friends Marco, Daniel and Wilfired. A kind of continuity of the previous album.
After almost ten months, we finally found our way to be again active in the music world. This new album as the previous one, is a sort of reflection about life out of the grid, and some other ideas.
Thanks Marco, Wlifried, Daniel and Scarlett for joining this adventure. Also thanks to our friends and family, and everyone involved.
After almost ten months, we finally found our way to be again active in the music world. This new album as the previous one, is a sort of reflection about life out of the grid, and some other ideas.
Thanks Marco, Wlifried, Daniel and Scarlett for joining this adventure. Also thanks to our friends and family, and everyone involved.
credits
released November 3, 2023
All music by Puppy Bordiga, except tracks 3, 6 and 7 as indicated on the tracks.
Puppy Bordiga: Guitars, Keyboards, Samples.
Marco Lucchi: Keyboards
Daniel Fumega: Guitar, Samples
Wilfried Hanrath & I, Eternal: Band
Scarlett Chapman: Muted Voice on tracks 1 and 6
Mixed and Mastered at Enterprise Sounds Lab, B.A., Argentina
Image by Tiny Catskill Cabin on FB.
Marco Lucchi
marcolucchi.bandcamp.com
Daniel Fumega
danielfumega.bandcamp.com
Wilfried Hanrath
wilfriedhanrath.bandcamp.com
Scarlett Chapman
bandcamp.com/scarlett_chapman
All music by Puppy Bordiga, except tracks 3, 6 and 7 as indicated on the tracks.
Puppy Bordiga: Guitars, Keyboards, Samples.
Marco Lucchi: Keyboards
Daniel Fumega: Guitar, Samples
Wilfried Hanrath & I, Eternal: Band
Scarlett Chapman: Muted Voice on tracks 1 and 6
Mixed and Mastered at Enterprise Sounds Lab, B.A., Argentina
Image by Tiny Catskill Cabin on FB.
Marco Lucchi
marcolucchi.bandcamp.com
Daniel Fumega
danielfumega.bandcamp.com
Wilfried Hanrath
wilfriedhanrath.bandcamp.com
Scarlett Chapman
bandcamp.com/scarlett_chapman
license
tags
The
project "The Tapes" by Giancarlo Drago developed over a span of 10
years, between 1982 and 1992, before being revived in 2016 in Genoa,
Italy. In 1982, Drago was 16 years old and recorded his first tape using
toy instruments and creating loops with cassettes, influenced by
industrial and new wave music. During that time, a friend gave him a
self-built analogue echo unit that produced an incredible background
noise, which would become a hallmark of many compositions, along with
the radio that Drago constantly used as a sound source in the years to
come. Later, Drago incorporated analogue instruments such as the Korg
MS-20, the Roland SH-101, a Roland TR-707 drum machine, and the Casio
SK-1, which introduced him to sampling (which he would extensively use
in his future productions), along with a Tascam 4-track for recording.
Chance and error as a form of art are recurring themes in The Tapes' work. "The screeching of a car outside, my mother passing by, while I'm recording, and talking to me. I manipulate the sounds and keep everything." (author's quote)
The production of The Tapes during the 1980s was extensive, even though only a few things were actually published. One tape for Technological Feeling of F:A.R. in Savona, a tape for Minus Habens by Ivan Iusco, a track on the vinyl "Amen 8" by the Amen collective in Milan, and other tracks on compilations associated with fanzines of the time.
In the final years of the decade, Giancarlo's brother, Roberto, joined The Tapes project, merging his artistic identity with Giancarlo's. Compositions from 1989 onwards were recorded on an 8-track reel-to-reel recorder and using a "real" sampler. The best production from that period came together on the tape "Il tempio," revised and corrected over time, and reissued by Luce Sia in 2017 with the title "Time Out of Joint."
"A Touch of Despair" dates back to 1986. It was recorded live on a standard 2-track cassette recorder, using a 4-channel Fostex mixer, the infamous echo unit, a Korg MS-20, and toy instruments like a plastic trumpet. It is undoubtedly the darkest and most industrial work in The Tapes' production. The cover features a photo of what the musician saw from his bedroom window (where he recorded): the rooftops of industrial factories, with a distant steel mill emitting smoke. Immersed in the music and industrial culture of the time (Throbbing Gristle, Cabaret Voltaire, W.S. Burroughs, J.G. Ballard, W. Gibson, B. Sterling, P.K. Dick), "A Touch of Despair" represents one of the brightest examples of the Italian "tape culture" of the 1980s, as well as a significant testament to creating music that defies the passage of time by experimenting with extremely limited technical means and relying on passion, motivation, and creativity. Reissued on CD in collaboration between the Unexplained Sounds Group and Luce Sia, with mastering by Raffaele Pezzella, the cd features three additional unreleased tracks from the same period when the tracks of "A Touch of Despair" were composed, providing valuable material for enthusiasts of the genre.
The two lengthy tracks of "A Touch of Despair" were recorded nearly forty years ago, yet they have a contemporary feeling as if they were produced yesterday. The music of The Tapes serves as an ideal soundtrack for my darkest and most solitary nocturnal reflections.
Raffaele Pezzella
Chance and error as a form of art are recurring themes in The Tapes' work. "The screeching of a car outside, my mother passing by, while I'm recording, and talking to me. I manipulate the sounds and keep everything." (author's quote)
The production of The Tapes during the 1980s was extensive, even though only a few things were actually published. One tape for Technological Feeling of F:A.R. in Savona, a tape for Minus Habens by Ivan Iusco, a track on the vinyl "Amen 8" by the Amen collective in Milan, and other tracks on compilations associated with fanzines of the time.
In the final years of the decade, Giancarlo's brother, Roberto, joined The Tapes project, merging his artistic identity with Giancarlo's. Compositions from 1989 onwards were recorded on an 8-track reel-to-reel recorder and using a "real" sampler. The best production from that period came together on the tape "Il tempio," revised and corrected over time, and reissued by Luce Sia in 2017 with the title "Time Out of Joint."
"A Touch of Despair" dates back to 1986. It was recorded live on a standard 2-track cassette recorder, using a 4-channel Fostex mixer, the infamous echo unit, a Korg MS-20, and toy instruments like a plastic trumpet. It is undoubtedly the darkest and most industrial work in The Tapes' production. The cover features a photo of what the musician saw from his bedroom window (where he recorded): the rooftops of industrial factories, with a distant steel mill emitting smoke. Immersed in the music and industrial culture of the time (Throbbing Gristle, Cabaret Voltaire, W.S. Burroughs, J.G. Ballard, W. Gibson, B. Sterling, P.K. Dick), "A Touch of Despair" represents one of the brightest examples of the Italian "tape culture" of the 1980s, as well as a significant testament to creating music that defies the passage of time by experimenting with extremely limited technical means and relying on passion, motivation, and creativity. Reissued on CD in collaboration between the Unexplained Sounds Group and Luce Sia, with mastering by Raffaele Pezzella, the cd features three additional unreleased tracks from the same period when the tracks of "A Touch of Despair" were composed, providing valuable material for enthusiasts of the genre.
The two lengthy tracks of "A Touch of Despair" were recorded nearly forty years ago, yet they have a contemporary feeling as if they were produced yesterday. The music of The Tapes serves as an ideal soundtrack for my darkest and most solitary nocturnal reflections.
Raffaele Pezzella
credits
released February 1, 2024
REVIEWS
Avant Music News
avantmusicnews.com/2024/02/25/amn-reviews-the-tapes-a-touch-of-despair-1986-2024-unexplained-sounds-group/
Vitaly Weekly
The music uses a primitive setup of a four-channel mixer, a self-built analogue echo unit, a Korg MS20 and toy instruments, all going into a two-track tape. Perhaps a limited setup but with some excellent results, efficiently meeting with the best of that time. This could be an early example of what we later would call ambient industrial.
www.vitalweekly.net/number-1425
Luminous Dash
luminousdash.be/reviews/the-tapes-a-touch-of-despair-unexplained-sounds/
This is Darkness
A Touch of Despair was recorded in 1986, on a standard 2-track cassette recorder, using a 4-channel Fostex mixer (the infamous “echo unit”), a Korg MS-20, and toy instruments. The album has now been remastered and re-released, and is well worth checking out – the music may be almost 40 years old, but it sounds as fresh and exciting as anything being released today, with it’s analogue tones and strange other-worldliness creating a haunting listening experience that is deep and multi-layered and dream-like in nature. Absolutely stunning!
Ver Sacrum
www.versacrum.com/vs/2024/03/the-tapes-a-touch-of-despair.html
Published by ©Unexplained Sounds Group and Luce Sia
Curated by Raffaele Pezzella in collaboration with Sacha Rovelli e Giancarlo Drago
Cat. Num. USG093
Artwork by Maura Santini
Layout by Matteo Mariano
© 2024. All rights reserved
REVIEWS
Avant Music News
avantmusicnews.com/2024/02/25/amn-reviews-the-tapes-a-touch-of-despair-1986-2024-unexplained-sounds-group/
Vitaly Weekly
The music uses a primitive setup of a four-channel mixer, a self-built analogue echo unit, a Korg MS20 and toy instruments, all going into a two-track tape. Perhaps a limited setup but with some excellent results, efficiently meeting with the best of that time. This could be an early example of what we later would call ambient industrial.
www.vitalweekly.net/number-1425
Luminous Dash
luminousdash.be/reviews/the-tapes-a-touch-of-despair-unexplained-sounds/
This is Darkness
A Touch of Despair was recorded in 1986, on a standard 2-track cassette recorder, using a 4-channel Fostex mixer (the infamous “echo unit”), a Korg MS-20, and toy instruments. The album has now been remastered and re-released, and is well worth checking out – the music may be almost 40 years old, but it sounds as fresh and exciting as anything being released today, with it’s analogue tones and strange other-worldliness creating a haunting listening experience that is deep and multi-layered and dream-like in nature. Absolutely stunning!
Ver Sacrum
www.versacrum.com/vs/2024/03/the-tapes-a-touch-of-despair.html
Published by ©Unexplained Sounds Group and Luce Sia
Curated by Raffaele Pezzella in collaboration with Sacha Rovelli e Giancarlo Drago
Cat. Num. USG093
Artwork by Maura Santini
Layout by Matteo Mariano
© 2024. All rights reserved
license
all rights reserved
experimental
avant-garde
drone
improvisation
musique concrete
sound art
Italy
The 2004 re-issue of this 2002 album "A Gaze Between The Past And The Future"
contains the bonus track "Hold Me Now".
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