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Sacred Baboon by Yezda UrfaSacred 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
- "Give 'em Some Rawhide Chewies" – 3:50
- "Cancer of the Band" – 6:48
- "Tota in the Moya" – 10:14
Side 2
- "Boris and his Three Verses" – 2:50
- "Flow Guides Aren't My Bag" – 4:45
- "(My Doc Told Me I Had) Doggie Head" – 5:02
- "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
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
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.
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