06 January 2026: Pink Floyd "Wish You Were Here 50"; The Third Mind: A Tribute to the Dreammachine

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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 

I am also hosting Rural Electric, this week spotlighting Ringo Starr's new country album, Look Up

Wish You Were Here has been a mainstay on all-time greatest albums lists for decades. The multi-Platinum-selling #1 hit record was Pink Floyd’s first to reach the top of the charts on both sides of the Atlantic, becoming the band’s fastest selling album. In 1973, The Dark Side of the Moon had taken Pink Floyd from a hugely successful breakout British band to one of the biggest rock groups on the planet. Wish You Were Here was the band’s powerful response to their newfound global fame.

Featuring the multi-part eulogy to Syd Barrett ‘Shine On You Crazy Diamond’, the hypnotic ‘Welcome To The Machine’, the scathing ‘Have a Cigar’ with its immortal line “Oh by the way, which one’s Pink?” famously sung not by Waters or Gilmour, but by non band-member Roy Harper, and the essential title track, Wish You Were Here is undoubtedly one of the most important album releases in the history of popular music.

The record’s themes of absence, isolation, transience, and comment on the insincerity of the music business are embodied in the iconic album artwork. The visual puns developed by Storm Thorgerson and Aubrey ‘Po’ Powell at Hipgnosis remain instantly recognisable visual statements today.

Remembering that time, Aubrey ‘Po’ Powell said:

“In the 1970s, album covers were equally as important as the music, because the cover helped to sell the record. Record stores would carry 10,000 different images in album sleeves, so what we were doing had to look different and stand out amongst the crowd.

I remember turning around to Storm and saying, how are we going to set a man on fire? Because there was no digital way of doing it in those days. He said, Po, you’re just going to have to do it for real. That was it.

One has to remember that Pink Floyd were the only band on EMI and Capitol Records who had the rights to the creative – in terms of album cover – besides the Beatles. That’s why we were allowed to do what we wanted. It was brilliant. Just the same way that Pink Floyd were a very inventive band at the time, so were Hipgnosis. We were determined to keep that abstract, enigmatic image alive and hence, we were able to do that for Pink Floyd.”

In 2025 the ardent support and fascination surrounding Pink Floyd’s music remains. The newly restored version of their groundbreaking 1972 film Pink Floyd at Pompeii – MCMLXXII stormed box offices around the world, with the live album debuting at #1 on the UK Albums Chart, marking the band’s first UK chart-topper in eleven years and the seventh in their career. The film was praised by critics and audiences the world over, with The Guardian describing it as a “mesmerically peculiar portrait of a band on cusp of greatness.” 50 years since its release, Wish You Were Here sounds as resonant and vital as ever, and in reaching this milestone deserves to be celebrated anew. This special anniversary edition allows fans, for the first time, to delve deeper into a pivotal moment in Pink Floyd’s history.

The Dreamachine, conceived in 1959 by Brion Gysin in collaboration with the mathematician Ian Sommerville, was an experiment in expanded consciousness. A flickering cylinder of light designed to be viewed with closed eyes, it sought to induce visionary states, to dissolve the boundaries of perception, and to reveal the inner landscapes of the mind. Gysin regarded it as the first work of art meant to be seen with the eyes shut, an inversion of traditional aesthetics, turning vision inward rather than outward. It was around the aura of the Dreamachine that Gysin’s creative alliance with William S. Burroughs deepened. Both artists shared an obsession with breaking down systems of control, linguistic, social, and perceptual. Gysin’s discovery of the cut-up technique became one of Burroughs’ most radical tools, just as Burroughs’ prose amplified Gysin’s explorations into altered states and the mechanics of thought. Together, they envisioned what they called The Third Mind: a new consciousness that could emerge from the fusion of two creative intelligences, transcending individuality and generating something other, stranger, and more powerful than either artist alone. This compilation invites contemporary musicians to pay tribute to that visionary partnership. Each track seeks to channel the spirit of experimentation, psychedelia, and radical perception that defined their work, whether through hypnotic repetition, immersive soundscapes, or altered states of sonic awareness. What emerges is a collective attempt to listen through the ears of The Third Mind itself, and to continue the experiment Gysin and Burroughs began more than half a century ago.

This release is an independent tribute inspired by the work of Brion Gysin, William S. Burroughs and Ian Sommerville. It is not affiliated with, sponsored or endorsed by their estates.  

credits

releases January 15, 2026

REVIEWS

Ver Sacrum 
www.versacrum.com/vs/2026/01/the-third-mind-a-sonic-tribute-to-the-dreamachine-various-artists.html

BizarreChats 
bizarrechats.blogspot.com/2026/01/unexplained-sounds-third-mind-sonic.html


Related release: a previous Unexplained Sounds Group compilation dedicated to William S. Burroughs’ cut-up technique: 
unexplainedsoundsgroup.bandcamp.com/album/cut-up-deconstructing-w-s-burroughs

FreeForm thanks  Raffaele Pezzella for a complimentary copy of this release.

Curated and mastered by Raffaele Pezzella.
Layout by Matteo Mariano. 
Published by Unexplained Sounds Group.
Cat. Num. USG114.
© 2026 All rights reserved.

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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) 

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

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

27 August 2024: Silver Apples; Experimental Music from Canada; One Universal Breath - Veryan (Quiet Details 22)

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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 (Mostly) Country Music from 7-9 pm right after the Island Messenger

 

From Wikipedia:

Silver Apples is the debut studio album by the American band Silver Apples. It was released in June 1968 by record label Kapp.^[4] It was the band's most successful original album, reaching 193 on the Billboard 200.

The album was re-released in 1997 by MCA Records and was compiled with the band's second album, Contact. It has been critically acknowledged as a pioneering fusion of rock and electronic music.

Professional ratings

Review scores
Source	Rating
AllMusic	[5]
Sputnikmusic	4/5[6]

Legacy

Adam Bunch of Crawdaddy! wrote in 2007: "Silver Apples is a record that reached far ahead of its time. It's not surprising then, in a year when the airwaves were still dominated by Motown and the Beatles (whose experimentation was tame by comparison), that it failed to garner much of an audience. Even now, nearly forty years later, the record sounds fresh and unconventional – in 1968 there simply wasn't anything else like it."^[1] The Vinyl Factory included the record as one of the best electronic albums of the 1950s and 1960s, calling the album "a stunning collection of rickety electronic grooves and hydraulic wheezes," noting that "the compositions are often harmonically static, giving the record a driving, hypnotic quality. There’s not a bum track on it."^[2]

The track "Oscillations" placed at number 119 on Pitchfork's list of "The 200 Greatest Songs of the 1960s",^[7] while it placed 48th on a similar list by NME.^[8] The album itself would later be ranked by Pitchfork as the 77th best of the decade,^[9] while Spin ranked it 25th on their list of "The Top 100 Alternative Albums of the 1960s".^[10]

John Lennon was a fan of the album.[11

Silver Apples were an American electronic rock group^[2] from New York, active between 1967 and 1970, before reforming in the mid-1990s. It was composed of Simeon (born Simeon Oliver Coxe III,^[4] June 4, 1938 – September 8, 2020),^[5] who performed on a primitive synthesizer of his own devising; and, until his death in 2005, drummer Danny Taylor. The duo were among the first to employ electronic music techniques outside of academia, applying them to 1960s rock and pop styles.^[6]

 

'Anthology Of Experimental Music From Canada is part of the 'Sound Mapping project' published by ©Unexplained Sounds Group, and featuring anthologies of music from the African continent, the Middle East region, Latina America continent, Persia, Lebanon, Indonesia, China, India, Japan, Mexico, Peru, Scandinavia, Italy, Greece, South Africa, Finland, the Balkan region.

credits

released August 6, 2024 

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

REVIEWS

Luminous Dash
luminousdash.be/reviews/anthology-of-experimental-music-from-canada-unexplaind-sounds

Bepi Crespan
The Anthology of Experimental Music From Canada is the latest in a series of regional or country-specific collections from Unexplained Sounds Group. Each ‘Anthology’ is an audio adventure in its own right. As with other USG anthologies and local experimental music collections from the past, the styles represented here are numerous: from the drones of Clinker and Mark Hjorthoy, to cinematic pieces by Richard Begin and Kuma; from cinematic pieces with interspersed field recordings from Michael Trommer and Au Vol, to outright noisy romps delivered by Sound Is Energy, John Oliver, Brandon Auger, Dan Potter, and Jacob Audrey Taves. Whether you’re a community radio programmer or not, the Anthology of Experimental Music From Canada is a great introduction to some of the most challenging and left-field music being made in Canada today.


Published by ©Unexplained Sounds Group.
Curated and mastered by Raffaele Pezzella (Sonologyst).
Layout by Matteo Mariano.
Cat. Num. USG099.
© 2024. All rights reserved.

license

all rights reserved

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   One Universal Breath - Veryan

Music by Veryan
Mastered by Alex at quiet details studios
Artwork by quiet details in collaboration with Veryan
Design by quiet details 

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

Very happy to say that for the next edition in the quiet details series we have a wonderful interpretation from the Scotland-based artist Veryan.

A musician of huge natural talent, her break-out album was in 2021 on the fantastic Cue Dot Records, followed by a slew of incredible releases on labels such as Werra Foxma, Mortality Tables, Dustopian Frequencies, Shady Ridge Records and more - her unique and bewitching take on electronica finding legions of fans all over the UK and beyond.

One Universal Breath takes the quiet details idea and creates something completely immersive, hypnotic and melodically enchanting.
Her masterful grasp of synthesis is on full show from the first second - sparkling leads flutter over ever-undulating pads and heavy sub...  more

credits

released August 21, 2024

copyright © quiet details 2024 all rights reserved

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ambient chill-out downtempo drone electronic field recordings United Kingdom

 

07 May 2024: Dragon (NZ); Anthology of Contemporary Music from the Far East

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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 and Spotify

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

 

 

Universal Radio is the debut album by New Zealand group Dragon released in June 1974 on Vertigo Records and produced by Rick Shadwell.^[1][2][3][4] Universal Radio, along with their second album Scented Gardens for the Blind are in the progressive rock genre—all subsequent albums are hard rock/pop rock.^[1][2][3]

 Dragon are a New Zealand rock band which was formed in Auckland in January 1972,^[1][2] and, from 1975, based in Sydney, New South Wales, Australia. The band was originally fronted by singer Graeme Collins, but rose to fame with singer Marc Hunter^[3][4] and is currently led by his brother, bass player and co-founder Todd Hunter.^[5] The group performed, and released material, under the name Hunter in Europe and the United States during 1987.

 Dragon formed in Auckland in January 1972 with a line-up that featured Todd Hunter on bass guitar, guitarist Ray Goodwin, drummer Neil Reynolds and singer/pianist Graeme Collins.^[19][5] All had been in various short-lived bands in Auckland, and Collins is credited with using I Ching to provide the name Dragon. Their first major gig was an appearance at the Great Ngaruawahia Music Festival in early January 1973.^[8] By 1974 several personnel changes had occurred, with Todd Hunter's younger brother, Marc Hunter, joining on vocals and Neil Storey on drums.^[19][5] The band recorded two progressive rock albums in Auckland, Universal Radio in June 1974 and Scented Gardens for the Blind in February 1975 both on Vertigo Records.^[19][5][20] Despite being one of Auckland's top live attractions by late 1974,^[19] neither albums nor related singles had any local chart success,^[19] and they recruited Robert Taylor (ex-Mammal) on guitar as they searched for a raunchier pop sound.

1974 Vertigo

Side 1

1. "Universal Radio" (Goodwin, M. Hunter, Thompson, Storey, T. Hunter) - 8:33
2. "Going Slow" (T Hunter) - 6:16
3. "Patina" (Goodwin, (Break Dragon)) - 11:47

Side 2

4. "Weetbix" (Goodwin, T Hunter, Bedgegood, Abbot) - 2:55
5. "Graves" (Goodwin, T Hunter, Reynolds, Thompson) - 6:56
6. "Avalanche" (Goodwin, T Hunter, Reynolds, Thompson) - 11:08

 

'Anthology Of Contemporary Music From Far East' is part of the 'Sound Mapping project' published by ©Unexplained Sounds Group, and featuring anthologies of music from the African continent, the Middle East region, Latina America continent, Persia, Lebanon, Indonesia, China, India, Japan, Mexico, Peru, Scandinavia, Italy, Greece, South Africa, Finland, the Balkan region.

credits

released April 4, 2024 

FreeForm Radio thanks Raffaele Pezzella for a copy of this release.

REVIEWS

Ver Sacrum
www.versacrum.com/vs/2024/04/anthology-of-contemporary-music-from-far-east-by-various-artists.html


Curated and mastered by Raffaele Pezzella.
Cd layout by Matteo Mariano.
Cat. Num. USG095.
2024. All rights reserved.

experimental avant-garde drone improvisation musique concrete sound art Italy

05 March 2024: Parallel Worlds; Ian Boddy; Unexplained Sounds IDIL Music Award 2024

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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. 

Parallel Worlds Fragmented (DiN83)

Greek synthesist Bakis Sirros who records under the name of Parallel Worlds has become a familiar name to followers of the DiN label. His debut release was “Obsessive Surrealism” (DiN26) back in 2007 and since then he has released two further solo albums, “Shade” (DiN32) and “Plector” (DiN76), as well as several collaborative albums with different artists including DiN label boss Ian Boddy & Node guru Dave Bessell.

This fourth sonic journey from Sirros on the DiN imprint sees him focusing in on his modular synthesiser systems, especially the Eurorack format with some able support from Buchla. These massive constructed patches live and breath like a crepuscular organism waking from its slumber. Indeed “Fragmented” is bookended by two wonderfully deep, textural tracks appropriately titled “Dawning” and “Sunset”. With the exception of the organ-like drone soundscape of “Time Flow” the remaining seven tracks encapsulate everything we have come to expect from this unique artist, namely dark, menacing bass lines overlaid with glitchy percussive patterns and beguiling, floating melody lines. It has certainly be noted before, but is worth reiterating, that there is a certain John Carpenter like soundtrack quality to the music of Sirros. Seemingly simplistic they shroud a wealth of detail and beauty that is revealed over repeated listening.

Lovers of Electronica, Dark Techno, Downtempo & IDM will find much to admire in “Fragmented” and this new album once again showcases the unique talent of this highly individual musician. 

credits

released February 16, 2024

All tracks composed, arranged and produced by Bakis Sirros during 2023.

Mastered by Ian Boddy October 2023.

Thanks to: friends and family, John Sirros, Ian Boddy, Mamonu, Ingo Zobel & Dimitris Pavlidis.

Machines used:
Eurorack modular (including modules by Make Noise, Instruo, Noise Engineering, Qu-Bit, Endorphin, Doepfer, Verbos, 4ms, Intellijel, Xaoc devices, Malekko, Mutable Instruments, Synthesis Technology, Rossum, Erica synths and others)

Analogue Systems RS-Integrator modular

Buchla modular (including 200e modules, 200 and 100 series clone modules, Verbos, Kilpatrick, Eardrill and Northern Light Modular modules)

Korg Opsix and Wavestate

license

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ambient buchla em electronic electronic music electronica dark ambient downtempo eurorack modular synth Sunderland

 

                                                Ian Boddy Modal Operandi

Music by Ian Boddy
Mastered by Alex at quiet details studios
Artwork by quiet details in collaboration with Wendy Carroll
Design by quiet details

For the next interpretation of quiet details, we have a true innovator active in the music world since the late 70s - the pioneering composer and sound artist, Ian Boddy.

Since the early days experimenting with synths and tape machines inspired by the likes of Tangerine Dream, Ian has forged a career at the leading edge of analogue synthesis, digital sound design and beyond - recording many solo albums and running the iconic DiN label, bridging the gap between the early synth records and modern explorations.
He’s also a highly-accomplished live performer - playing all over the world to much acclaim.

With Modal Operandi, he has made a truly wonderful and deeply thoughtful interpretation - entirely in the analogue domain, with each track based on a highly- processed field recording.

The album is constructed in the key of C Major, with each successive track moving through the musical modes of that scale - as is apparent in track names - Ionian, Dorian and so on.

Ian is a master synthesist - each track uses a stunning array of classic and modern synth and effects - from classic Roland and EMS, to Serge and Eurorack modular, to modern Moog and Buchla to name a few. Vast and strange worlds are conjured with rich and highly textured synthesis and by using multiple reverbs and delay, again all analogue to create organic and beautifully vibrant soundscapes.

Ian is one of few technical geniuses that has the capacity to use these skills in a uniquely musical way - melodies and harmonies blend perfectly with each other as each track develops - this is an album of beauty in every respect.

As Ian says: “a sonic journey in seven musical modes”

Full kit list:
Roland system 100-M, Serge & Eurorack modulars Moog Matriarch & Voyager
Buchla Easel Command, VCS3 & Resonant Garden French Connection & 0-coast
Treated field recordings
Analogue phaser & flanger
BBD & tape echo
Spring reverb

Huge thanks to Ian for this wonderful album and being a part of the series.

The artwork was made as always influenced by the music and idea behind the album - we started with an original piece of art by Ian’s partner, Wendy Carroll, a hugely talented artist, 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. 

credits

released February 28, 2024

Music by Ian Boddy
Mastered by Alex at quiet details studios
Artwork by quiet details in collaboration with Wendy Carroll
Design by quiet details
copyright © quiet details 2024

license

all rights reserved

ambient chillout downtempo drone electronic field recordings United Kingdom

 

Unexplained Sounds is proud to announce the results of the IDIL Music Award 2024, award for electronic and electroacoustic music sponsored by Eighth Tower Magazine and Avant Music News, in collaboration with Raffaele Pezzella, Mike Borella, Bepi Crespan, DJ Space Terrapin, Brambo Cell, Ambientblog, The Institute of Spectrasonic-Sonic Sound, The Dungeon In Deep Space, This Is Darkness, Paul Casey, Dominic Castelli, Ivan Tibos, Katja Babicz, Maja Maiore.

Winners:

First Place - Richard Bégin
Second Place - Ignoto Militi
Third Place - The Black Monolith

The overall ranking is listed in the compilation published on Bandcamp in descending order.

On behalf of the entire team (musicians, jury, collaborators, and supporters), we express great satisfaction for six months of selection work and hope to make a small contribution to the development of experimental underground music.

Feed you head

credits

released January 25, 2024

REVIEWS

Avant Music News
avantmusicnews.com/2024/02/03/amn-reviews-various-artists-idil-music-award-2024-2024-unexplained-sounds-group/#respond

ConcreteWeb zine
www.concreteweb.be/reviews/various-artists-idil-2024

Luminous Dash
luminousdash.be/reviews/various-idil-music-award-2024-unexplained-sounds-group



Published by ©Unexplained Sounds Group
Curated by Raffaele Pezzella
2024. All rights reserved

license

all rights reserved

experimental avant-garde drone improvisation musique concrete sound art Italy