08 October 2024: Tony Levin; Nad Sylvan & Bonamici (aka Christian Thordin) - Unifaun

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Tune in to the Fisheries Debate broadcast live on KMXT from 7-9 before the show.

 Bringing it Down to the Bass

Over the past half century, Tony Levin has been a prolific session player and one of the most active live performers on the planet. He’s contributed his talents to over five hundred albums amongst which include 15 with Peter Gabriel and 18 with King Crimson (counting live, studio, and compilations) alongside contributions to the work of John Lennon, Alice Cooper, Lou Reed, Herbie Mann, Paul Simon and many others. On tour, he’s traveled the World many times over with the aforementioned King Crimson, Peter Gabriel, and several of his own bands including Stick Men
.
This Fall, he’ll stage 65 performances in North America as a member of BEAT, celebrating King Crimson’s ‘80s repertoire alongside Adrian Belew, Steve Vai and Danny Carey interpreting “Discipline, Beat and Three of a Perfect Pair.”

Levin’s seventh solo album, and his first since 2007, is an autobiography of sorts, with the themes drawn from Levin’s musical life. It features a myriad of collaborators from his half-century-plus on the road and in the studio with Peter Gabriel, King Crimson and many, many others.

Features a Murderer’s Row of guest musicians including Robert Fripp, Vinnie Colaiuta, Earl Slick, Mike Portnoy, Steve Gadd, Jerry Marotta, Gary Husband, L. Shankar, Pete Levin, Jeremy Stacey, David Torn, Pat Mastelotto, Larry Fast, Steve Hunter, Manu Katche, Alex Foster, Dominic Miller, Markus Reuter, Collin Gatwood, Chris Pasin, Jay Collins, Josh Shpak, Don Mikkelsen. 

credits

released September 13, 2024

1. BRINGING IT DOWN TO THE BASS
Drums: Manu Katche
Guitar: (solo) Dominic Miller
Keyboard: Pete Levin
Trumpet: Chris Pasin
Alto sax: (solo) Alex Foster
Baritone sax: Jay Collins
Bass: TL
Drums recorded by Toby Gendron at Planet Studios, Montreal
Guitar recorded by Tony Lake
Horns recorded by Scott Petito at NRS Studio
Horn arrangement by Pete Levin

2. ME AND MY AXE
Drums: Jerry Marotta
Guitar: Steve Hunter
Keyboards: Larry Fast, Pete Levin
Bass: TL
Drums recorded by Ariel Shafir at Dreamland Studios

3. ROAD DOGS
Drums: Jeremy Stacey
Keyboard: Pete Levin
Bridge rhythm touch guitar: Markus Reuter
Bass, cello, stick, vox: TL
Drums recorded by Milo Jerreira-Hayes at The Bert Jansch Studio

4. UNCLE FUNKSTER
Drums: Vinnie Colaiuta
Stick: TL

5. BOSTON ROCKS
Drums: Mike Portnoy
Guitar: Earl Slick
Keyboard: Gary Husband
Stick, vox: TL
Guitar recorded by Ariel Shafir at Dreamland Studios

6. ESPRESSOVILLE
Drums: Steve Gadd
Guitar: Joe Caro
Keyboard: Pete Levin
Bass: TL
Trumpet: Josh Shpak
Trumpet: Chris Pasin
Trombone: Don Mikkelsen
Drums recorded by Rob Katz at Wackerman Studios
Horn arrangement: Pete Levin
Espresso machine sounds by Tony’s Breville

7. GIVE THE CELLO SOME
Drums: Jerry Marotta
Organ: Pete Levin
NS cello, bass, vox: TL
Drums recorded by Ariel Shafir at Jersville Studio

8. SIDE B / TURN IT OVER
Vox and bass: TL

9. BEYOND THE BASS CLEF
Violin: L. Shankar (Shenkar)
Keyboards: Gary Husband
Oboe, English horn: Colin Gatwood
Stick, cello, bass: TL

10. BUNGIE BASS
Drums: Pat Mastelotto
Guitar: David Torn
NS Bass, cello: TL

11. FIRE CROSS THE SKY
Stick, vox: TL

12. FLOATING IN DARK WATERS
Soundscape: Robert Fripp
Percussion: Jerry Marotta
Steinberger bass: TL

13. ON THE DRUMS
Vox: TL

14. CODA
Cello: Linnea Olsson, & Bess Brydolf (in utero)
NS Bass, piano: TL 

 

peter gabriel progressive rock rock king crimson stick men Kingston

 

  Unifaun biography

Founded in 2004

Nad Sylvan and Bonamici (aka Christian Thordin) accidently stumbled upon each other on the Genesis website´s forum in 2003. Bon had written an instrumental song, "Tribute to Genesis" and wanted some critics from Genesis board members. Nad certainly liked it, contacted Bon and suggested a collaboration. Since they both live in Sweden, they teamed up quite effortlessly. What they both seemed to have in common, besides a passionate love for progressive rock, was also their backgrounds; At the age of five, both Nad and Bon started to play the piano - only relying upon their ears as they are self-taught.

Bon musical journey wandered towards jazz, fusion, folk/world music and latterly progressive rock.
He studied and improvised music at Hubbard High School, Ohio, USA 1977-78 and played keyboards in various musical constellations in the US, Sweden and Norway during the 70´s and 80´s.

With a young family and racing two small kids during the 90´s as his primary, it wasn´t until the 00´s that time had come for a full-blown musical endeavour, composing in many different styles - but in general more in the tradition of world/folk music as well as piano driven jazz excursions.

Nad picked up on his singing ability in his early teens, just as he did with a few more instruments besides the piano. Writing/recording and performing his own songs as a solo artist and in various bands throughout the 70´s, 80´s and the 90´s has become a lifestyle.

He looks at his singing voice being more of that of an instrument that can be "tuned" and changed to fit the music, rather than the other way around, hence the associations with Collins/Gabriel. You listen to Nad´s solo work, and you will hear quite a different approach - yes, Nad is a chameleon!

After three solo albums from 1995-2003, where Nad played and sang everything himself - he longed for a long term musical relationship, and found the perfect partner in Bonamici.

Together with Nad, progressive rock have become the foundation of this duo - and in the old farm house, Bon´s studio has grown into a high tech facility, incorporating everything from advanced gear for creating motion pictures, to all kinds of vintage- as well as software instruments.

With this first offering with "UNIFAUN", the duo set out to do "the songs Genesis never did", initially as a very innocent flirt with their old heroes and basically just for fun and games - very much with a glint in the eye!
After the second song ("Mr. Marmaduke and the Minister") had been uploaded to their website, a demand for a full album began to emerge from fans of both Gabriel- and Collins era Genesis. Seemed like fun!

After four years of writing/recording - the duo where approached by Hansi Cross of Progress Records, Sweden. And here we are.

"Ok, we survived goal number one! Now we must live up to the next one, "to become rock stars before we hit 50!", says Nad, 49 and Bon, 48... :)

Biography provided by Nad Sylvan of UNIFAUN

10 September 2024: Gilgamesh; M.B. & Sonologyst; Markus Reuter & Stephan Thelen

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

 

I am also hosting Rural Electric (Mostly) Country Music after the Meet the Candidates live broadcast beginning around 8 pm.

Gilgamesh (1972–1975, 1977–1978) were a British jazz fusion band in the 1970s led by keyboardist Alan Gowen, part of the Canterbury scene.

History

The original basis of Gilgamesh was keyboardist Alan Gowen and drummer Mike Travis, the two working together on a band project with guitarist Rick Morcombe. The original Gilgamesh line-up consisted of Gowen, Travis, Morcombe, Jeff Clyne and Alan Wakeman on saxophone.^[1]

Review by sgtpepper

Gilgamesh was formed at the peak of progressive rock era when ambitions met with sophisticated and maturity. That characteristics matches their music well. Though labeled as Cantebury band (and they definitely match that comparison when looking at the line-up), they are actually closer to the jazz-rock/fusion area. Music on that album is quite nuanced with proficient playing that is exploratory rather than rigorous, more atmospheric than energetic. It is one of the less accessible "Canterbury" music which may be an advantage for instrumental freaks and may put off folks looking for good compositions. The first composition (over 10-minutes) is, in my opinion, the landmark of Gilgamesh, blending several advanced motives to create an impressive instrumental suite. Shorter pieces are less substantial but we still have two tracks well worth attention - number 5 and 7 (their names are too long to write here ;-)). The 5th track evolves from a fine jazzy keyboard-guitar tandem into a "Hatfieldesque" fiery upbeat piece. The seventh track graces us with the female vocals again in the "Hatfield" way, but before that, I must again highlight the excellent guitar leads supported by Rhodes. Really tight playing by all band members.

I wanted to give it 3.5 stars but due to highly proficient playing, will round it up to 4. 

                                                    Forme by M.B. & Sonologyst
 

Maurizio Bianchi, referred to as the father of Italian electronic music, rarely looks backward. When asked where to start exploring his extensive discography, he recommends an album from his early period in the 1980s and whatever release is his latest. This relentless push for novelty has been at the core of his experimentalism for almost five decades. Despite his long career, he remains in the vanguard. Bianchi’s early work is a departure from traditional musical forms, using a textural and process-oriented approach. His pieces explore psychological states, using sound as a medium. He often discusses his music as a form of resistance against the commodification of culture, seeking to maintain an integrity that challenges both the listener and prevailing norms. Bianchi’s intellectual and artistic independence is central to his explorations of sound, technology, and their impact on emotion.
A similar form of unquiet exploration has defined the career of Raffaele Pezzella. In addition to music recorded under various pseudonyms, Pezzella publishes two or three releases per month across the four labels making up his Unexplained Sounds Network. Pezzella is curator in addition to sound engineer, artist, and label head, finding a wide variety of music from around the world that falls somewhere in the Venn diagram of ambient, acousmatic, post-industrial, sound art, and the outright weird. His Sound Mapping project consists of more thirty-five releases, a valuable document of modern sonic avant-garde from around the world. As Sonologyst, Pezzella integrates digital methods with analog instruments, producing abstract, dreamlike soundscapes haunted by phantoms of the mind. His work is deeply influenced by musique concrète, sound libraries of old documentaries, and he looks to figures such as Brian Eno, Pauline Oliveros, Terry Riley, Jon Hassel and - of course - Bianchi as inspiration. His interdisciplinary approach also draws from literature (Lovecraft, Burroughs, Ballard), film (Tarkowskij, Cronenberg), philosophy (hauntology, nihilism), and science (particle physics).
While Bianchi and Pezzella differ in generation and sound, their artistic philosophies align - the urge to innovate and willingness to push against artificial boundaries of genre are manifested in restless manipulations of the raw fabric of sound. While from different eras, the Euclidean distance between Bianchi and Pezzella in musical space is quite small.

Forme is the first collaboration between this duo. It is not so much a combination of discrete contributions from Bianchi and Pezzella as a deep integration between two minds. There is no roadmap to where Bianchi ends and Pezzella begins - Forme is not a Frankenstein’s monster constructed on an ad-hoc basis from spare parts. Instead, their musical processes and philosophies merge to the point of being largely indivisible. The resulting seven tracks fit well into either’s oeuvre. The album includes electronics and hypnotic bassy oscillations, suggesting themes of psychological horror, societal breakdown, and dystopian futures. The compositions use dense, layered soundscapes that incorporate industrial noises, shifting sound walls, and detailed textures, evoking a range of sensations from cosmic expanses to the claustrophobic intensity of sleep paralysis.
Culturally and aesthetically important art asks you to think and feel differently. It can be challenging, difficult, and even frustrating. It does not spoonfeed its message and it may not provide any answers. But this type of art is the most worthwhile. While Forme may be challenging and difficult, when approached with a curious mind it is also intriguing and immensely enjoyable. The previous works of both Bianchi and Pezzella have consistently engaged with fundamental questions about the very nature and potential of music. Forme not only continues this exploration of music's essence and its boundless possibilities but also invites listeners to actively participate in these inquiries.

Mike Borella

In music, the definition of "form" describes a musical structure in two or more sections, with various characteristics in the articulation, melody, and rhythm of a composition. But when it intersects with experimentation, the form takes on a more autonomous and uncompromising characteristic, so that a connotation of such research is the meeting between tradition and innovation. This is intended to be "Forme," a work pervaded by investigative exploration of the unknown electro-modulatory. And the user of such emotional torrentiality will be able to receive an existential fulfillment that leads to formal irrationality.

Maurizio Bianchi 

credits

released July 25, 2024
Our thanks to Raffaele Pezzella for providing us with a copy of this release.
REVIEWS

Vital Weekly
Does Maurizio Bianchi need an introduction? I hope this name is familiar, playing unsettling electronic music since the late 1970s. Raffaele Pezzella is from the next generation of likewise unsettling electronic musicians and works as Sonologyst. His work was also reviewed a lot. The two of them would one day work together, and it’s perhaps a mystery why this didn’t happen sooner. Whereas Bianchi’s influences may lie in very early industrial music and musique concrète, without any specific names, for Pezzella, it’s a lot more, Brian Eno, Pauline Oliveros, Terry Riley, Jon Hassel and, no surprise, Bianchi, besides influences from films books, philosophy (hauntology, nihilism), and science (particle physics). “Forme” is a work pervaded by investigative exploration of the unknown electro-modulatory. And the user of such emotional torrentiality will be able to receive an existential fulfillment that leads to formal irrationality”, which is, I guess to say there isn’t much form here, but more of a flow of sounds, electronic in nature. Who does what on these seven tracks is unclear and hardly necessary. Whatever they do, it all blends well. There is a consistent flow in these pieces, rather than tight composing, almost as if mistakes were left in, creating odd shifts. Maybe I read too much into it, and is all of this carefully planned? I love this sort of rusty spaceship accident waiting to happen soundtrack; the leaky nuclear reactor minutes before combustion and we feel the burn slowly arriving. Enough metaphors to describe the music, and I am sure you’ll get my drift. Bianchi, in particular, produced a massive catalogue in his 40-plus career, and pinpointing the masterpieces was not easy. I couldn’t say if this is one of those, partly because I haven’t heard all of his output. I can say I enjoyed this one a lot! (FdW)

Avant Music News
avantmusicnews.com/2024/07/26/amn-reviews-m-b-maurizio-bianchi-sonologyst-forme-2024-unexplained-sounds-group

Ver Sacrum
www.versacrum.com/vs/2024/08/maurizio-bianchi-sonologyst-forme.html

This Is Darkness
The latest release on the wonderful Unexplained Sounds Group label is this delightful album from M.B. & Sonologyst in which playful electronic music is blended with dark ambient undertones. The end result is absolutely gorgeous and reminds me in places of early 19070’s Tangerine Dream. This is one of those albums that reveals something new with each and every listen, and deserves to be listened to as you lie back in a darkened room and lose yourself to the unfolding music. Stunning!



FreeForm Radio thanks Raffaele Pezzella for providing us with a copy of this release.
M.B. music credits.
Material composed at the beginning of the second decade of the third millennium, using digitized equipment mixed with outdoor soundscapes. Amorphous collages, compiled at the beginning of 2024.

Sonologyst music credits
Analog synths, processing, sampling, mix intersections, and mastering.

Special thanks to P.U.M.A. for contributing to the tracks "Forma Farraginosa" and "Forma Farraginosa Estesa". Also thanks to Monica Calanni Rindina for making M.B. and Sonologyst terrestrial forms interact on so many planes; and to Mikko Saarikoski for the electric guitar part in "Forma Siderale".


Published by ©Unexplained Sounds Group
Mastered by Raffaele Pezzella (Sonologyst)
Artwork (Policromie) by Maurizio Bianchi
Layout by Matteo Mariano
Cat. Num. USG098
© 2024. All rights reserved.

license

all rights reserved

tags

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experimental avant-garde drone improvisation musique concrete sound art Italy

 

ROTHKO SPACES, VOLUME 2

American painter Mark Rothko famously said that “the only theme noble enough for art is tragedy.” This is what I told Markus when we met on April 22, 2024 at Castle Studios close to Dresden, Germany, and what he had in mind when he improvised the pieces that became the foundations for the 6 tracks on this album.

The original concept of the ‘Rothko Spaces’ project - realized in volume 1 with David Torn - was to combine electric guitar performances (played with a massive amount of feedback and distortion) with the sounds of a string orchestra. For volume 2 and the involvement of Markus, the guitar was of course going to be replaced by

touch guitar. Markus also took the feedback idea to the next level by setting up a sound system consisting of 5 cranked-up tube amps that made the whole tracking room a vibrating and unpredictable instrument with a sonic life of its own. There were microphones everywhere, including inside the grand piano (with the sustain pedal held down by a brick) and in the cellar (where you can hear the occasional car going by).

While Markus was recording his improvisations in the studio, I started to hear a choir in my head, so when I started working on the pieces in Zurich, I expanded the original concept to include voices and also some orchestral percussion. Thanks also to our friend Jon Durant, who contributed his signature ‘cloud guitar’ to some of the pieces.

Stephan Thelen, Bucharest, July 5th, 2024

—
Markus Reuter: Touch Guitars© AU8
Stephan Thelen: Orchestra and Choir Samples, Guitar, Arrangements

All tracks written by Reuter/Thelen, except ‘A Safe Haven’ and ‘No Way Out, Part 2’, written by Reuter/Thelen/Durant

Markus‘ touch guitar was recorded on April 22, 2024 at Castle Studios, Röhrsdorf, Germany Engineer: Arno Jordan

Mixed by Stephan Thelen, May/June 2024 in Zurich, Switzerland / Mastered by Alexandr Vatagin, June 2024 in Vienna, Austria / Dolby Atmos mix by Neeraj Khajanchi

—
Special thanks to Jon Durant for additional samples, cloud guitar on ‘A Safe Haven’ and inspiration for the fugue-like theme on ‘No Way Out, Part 2’. His cloud guitar on ‘A Safe Haven’ was recorded on April 26, 2024 at Dead Aunt Thelma‘s studio in Portland, Oregon. 

FreeForm Radio thanks Markus Reuter for providing us with a copy of this release.

—
RELEASE DATE: September 6, 2024
https://iapetus.bandcamp.com https://www.markusreuter.com https://www.youtube.com/markusreuter

 

19 December 2023: A Very FreeForm Radio Christmas with Chris Squire, California Guitar Trio, Kurt Michaels, and Markus Reuter

 

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. 

I will also be hosting a Twisted Christmas Christmas on the Rural Electric show 

right after the Island Messenger at 7 pm until 9 pm.  

Parodies and original songs presenting a more humorous and satirical side of the holidays.

From Wikipedia:

Chris Squire's Swiss Choir is the second and final solo album by Chris Squire. An album of traditional Christmas music, it was released in 2007 and includes former Genesis guitarist Steve Hackett, future King Crimson drummer and keyboardist Jeremy Stacey and the English Baroque Choir.

All tracks were arranged by Chris Squire and Gerard Johnson

 California Guitar Trio - 10 Christmas Songs

AllMusic Review by Glenn Astarita

Not that there is an abundance of progressive rock-tinged acoustic guitar trios among the ranks, but this aggregation stands tall among its peers as the guitarists' inventiveness surges forward with this altogether warmhearted reckoning of Christmas carols and other pleasantries. The guitarists' nimble yet at times forceful approach is wholly evident during their highly rhythmic spin on "Jingle Bells." They perform the classic "Greensleeves" with a sensitive, chamber-like approach while also tackling the Lennon/Ono favorite "Happy X-Mas (War Is Over)." However, part of the magic resides within the trio's ability to delve into the inherent frameworks of each song, while also reformulating themes and rhythms into personalized statements. Essentially, the artists have produced a rather poignant Christmas outing, awash with interweaving lines and lilting harmonies, as they complement their superior artisanship and forward-thinking deployments with a cheerfully rendered collection of holiday favorites.

 

Midnight on Christmas Eve A Child Dreams excerpt by Kurt Michaels

This is a soundscape I put together a LONG time ago....the title, “ Midnight On Christmas Eve (A Child Dreams) says it all. Good sleep music to help excited kids drift off to sleep so Santa can do his (or her) thing. Was recorded originally in 2003 immediately following the release of my debut cd, Inner Worlds part one, along with a few others that we never got around to releasing. Better late than never....Merry Christmas to everyone!

Winter Solstice:  Soundscape versions of traditional songs usually associated with this time of year, at least here in Germany. In addition to the meditative soundscapes (which are based on the series of pitches of each tune) I've also overdubbed straight versions of the original melodies. Enjoy this parallel universe... It's strangely hypnotizing. Only available from December 1st to December 31st.

 

5.1 surround mix available here:
surroundmusic.one/album/winter-solstice/

credits

released December 17, 2018

christmas jul merry natale noel weihnachten weihnachtslied yule yuletide Berlin

10 October 2023: Nektar; Markus Reuter; qorakitobchi

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.

 

Remember the Future is the fourth album from English progressive rock band Nektar. Much like their debut album Journey to the Centre of the Eye, it is a concept album which is formally divided into ten tracks but in fact consists of one continuous piece of music.

Release

Remember the Future was first released in 1973 by Bacillus (Bellaphon). 

Side oneNo.    Title    Length
1.    "Remember the Future (Part 1)"

    a. "Images of the Past"
    b. "Wheel of Time"
    c. "Remember the Future"
    d. "Confusion"

    16:40
Side twoNo.    Title    Length
2.    "Remember the Future (Part 2)"

    a. "Returning Light"
    b. "Questions and Answers"
    c. "Tomorrow Never Comes"
    d. "Path of Light"
    e. "Recognition"
    f. "Let It Grow"

    19:00

Hopeless Angels Origins released December 24, 2022

Written and performed by Markus Reuter
Markus Reuter: Touch Guitars S8, Live Looping

Recorded on July 26 2022 by Arno Jordan at
Castle Studios, Röhrsdorf, Germany

Mixed and Mastered by Markus Reuter, December 23, 2022

license

all rights reserved

 

qorakitobchi's album "Ruins of Uzbekistan" is a relentless sonic journey that seems to have emerged from the very heart of Central Asia's unforgiving deserts. It resonates as if it were forged in the crucible of nomadic noise musicians, whose sonic expressions are as abrasive as the winds that sweep across the arid expanse. Enveloped by layers of dust, battered by the relentless desert gales, and occasionally swallowed by the shifting sands, qorakitobchi's compositions evoke a powerful and unyielding experience, akin to navigating a monolithic wall of sound amidst the captivating mystique of Central Asia.

credits

released September 21, 2023
Our thanks to Raffaele Pezzella for providing FreeForm with a copy of this release.
REVIEWS

Luminous Dash
luminousdash.be/reviews/qorakitobchi-ruins-of-uzbekistan-unexplained-sounds



qorakitobchi is the brainchild of Anvar Kalandarov, a musician hailing from Uzbekistan. Since its inception in 2012, this project has boldly ventured into uncharted sonic territories. Anvar has crafted a sonic experience that melds the harsh, unyielding essence of industrial, drone, and noise elements from Western origins with the primal and unrefined qualities of traditional Uzbek musical instruments, including the tanbur, the rubab, and the sato.


Published by ©Unexplained Sounds Group.
Curated and mastered by Raffaele Pezzella.
Cat. Num. USG088
Cover Picture: ruins of the medieval walled city Dzhanpik-Kala
unexplainedsoundsgroup.bandcamp.com
© 2023. All rights reserved

license

all rights reserved

tags

Tags

experimental avant-garde drone improvisation musique concrete sound art Italy

07 December 2021: An Ambient Winter Evening with Markus Reuter and Cousin Silas

 

Note that tonight's show may begin later than 9 pm Alaska Time due to the live broadcast of a public meeting here in Kodiak.  FreeForm will begin immediately after the meeting if it runs past 9 pm. 

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 (links below) and makes a great gift for the holidays as well as brightening the musicians' holidays.  

 

Markus Reuter Winter Solstice

Bizarre soundscape versions of traditional songs usually associated with this time of year, at least here in Germany. In addition to the meditative soundscapes (which are based on the series of pitches of each tune) I've also overdubbed straight versions of the original melodies. Enjoy this parallel universe... It's strangely hypnotizing. Only available from December 1st to December 31st.

 

5.1 surround mix available here:
surroundmusic.one/album/winter-solstice/

credits

released December 17, 2018

1. Silent (Night) / Stille Nacht, heilige Nacht
2. Chorus of Youths / Tochter Zion
3. Snow (Children Song) / Leise rieselt der Schnee
4. Joy / In Dulci Jubilo
5. Night (Silent) / Stille Nacht, heilige Nacht

 

christmas jul merry natale noel weihnachten weihnachtslied yule yuletide Berlin

 

Cousin Silas - Variations on a Theme of Winter

There are many things that 'inspire' the music I do, but perhaps one of the most endearing is Winter. Apart from the usual cliches of transformation, and the memory echoes from childhood with its association with Christmas. It's also the way in which, at night, sounds are strangely muffled, morphed almost and how the landscape glitters and glows as though we have two full moons.
I guess all that sounds a little pretentious, but as I say, I do have a rather abiding passion for Winter.

My thanks to Thomas Mathie for the cover/artwork.

credits

released November 16, 2020

Cover/Artwork by Thomas Mathie 

 

ambient electronic experimental guitar sound alchemy soundscapes thomas mathie cousin silas United Kingdom  

10 September 2019: Lobate Scarp / Markus Reuter

We are honored to feature the new EP from Lobate Scarp, Spirals and Portals, released today.  This is an outstanding release and highly recommended.  We will also revisit their full-length release Time and Space.  We urge you to support this band by following them on Bandcamp and purchasing their music.

From the Lobate Scarp Bandcamp page:

Somewhere between Pink Floyd, Queen, Yes, and Nine Inch Nails, Lobate Scarp's unique Progressive Space-Opera Rock music will surely take you on a musical journey you won't forget.

“Highly recommended for fans of symphonic prog”- Jerry Lucky,
Prog Rock Files

“Absolutely brilliant stuff!”- Kevin Mulryne, Yes Music Podcast 
  
 Spirals and Portals track list:

	1.	Nothing Wrong 06:56
	2.	And We Tried
	3.	Beautiful Light

Songs and Lyrics by Adam Sears

Woodwinds and Strings Arrangement on "Beautiful Light" by Steven Leavitt

12-string acoustic guitar arrangement on "Beautiful Light" by Rich Mouser

Adam Sears- lead vocals, synths, piano, and organs.
Andy Catt- bass (and vocals on track 3)
Mike Gerbrandt- drums
Andrea Whitt- viola (and pedal steel guitar on track 3)
Hoyt Binder- electric guitar (tracks 1, 2)
Rich Mouser- dilruba (1), additional guitar (2), 12-string acoustic guitar, mandolin, shaker (3), additional vocals (1,3)
Rachel Grace- violin (1,3)
Danica Pinner- cello (2)
Nate "The Fish" Olmos- electric 12-string and 6-string electric guitars, vocals (3)
Charlie Adelphia- oboe, English horn, flute, clarinet (3)
Steve Leavitt- additional piano and vocals (1,3) harmonium, reverse snares (1), B3 organ (2), and Moog, synth programming, maracas, tambourine...  more

credits

releases September 10, 2019

Thank you to the following backers for help creating "Nothing Wrong" and "And We Tried":

Skot Fuchs
Andrew Griffin
Kim Henderson
Stefan Pietsch
Jean-Luc Putaux
Mason Rourman
Kelly Russo
Bill and Mary Ann Sears
Joel Sears
Judy and Steve Sears
Diane Stroud
Wolfram Wiessbrodt

Special thanks to backer Thomas Wunram.

license

all rights reserved

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progressive rock rock prog progressive progrock Los Angeles

Time and Space is an AOR rock-opera complete with Trumpets, Saxophone, Viola, Violin, Cello, Theremin, Glockenspiel, and a 30+ person choir singing in Latin. Alex Acuña (Weather Report) appears as a special guest percussionist in the opening 15-minute track and Rich Mouser (Spock’s Beard, Transatlantic, Neal Morse) mixed and mastered the album. Steve Leavitt produced and engineered.

"One of the top 13 albums of 2013!"- Progarchy.com (USA)

"Intriguing, refreshing, and inspiring mix of prog rock."- Diego Camargo, Progshine (Brazil)

"Highly recommended for fans of symphonic prog."- Jerry Lucky (Canada)

"Absolutely brillant stuff!" - Kevin Mulryne, Yes Music Podcast (UK)

"Great debut! highly recommended!" - Jürgen Meurer, Empire Magazine (Germany)

"The production is exceptional, the music is also exceptional. The band demonstrates they know what they want to do and they do it very well." - Carl E. Olson, Progarchy (USA)

"Wil je eens een keer verrast worden, dan is dit plaatje daar uitermate geschikt voor."- Ruard Veltmaat, Progwereld (Netherlands)

"'Time and Space' is a great debut album, one of the best...  more

credits

released December 12, 2012

Produced by Steven Leavitt
Executive Producer: Adam Sears

Mixed and Mastered by Rich Mouser at The Mouse House, Los Angeles, California

Songs and Arrangements by Adam Sears.
Lyrics by Adam Sears, except Time and Space and Jacob's Ladder-
lyrics by Lonny White with additional lyrics by Adam Sears
Music by Lobate Scarp

©2012 Lobate Scarp

1. lobatescarp.com
2. LSalbum2.com
3. Facebook
4. YouTube
5. Instagram

We will end the show with TOAP Camp Soundscapes 2019, a free download from Markus Reuter.

 

19 March 2019: Dick Dale / KLM / Leaving Richmond

We begin tonight's show by honoring Dick Dale who just recently passed away.
From Wikipedia:

1960s

Dale began playing in local country bars where he met Texas Tiny,^[16] who gave him the name "Dick Dale" because he thought it was a good name for a country singer.^[17]
Dale is credited^{[by whom?]} as one of the first electric guitarists to employ non-Western scales in his playing. He regularly used reverb, which became a trademark of surf guitar. Being left-handed, Dale tried to play a right-handed guitar, but then changed to a left handed model.^[9] However, he did so without restringing the guitar, leading him to effectively play the guitar upside-down, often playing by reaching over the fretboard, rather than wrapping his fingers up from underneath. He partnered with Leo Fender to test new equipment, later saying "When it can withstand the barrage of punishment from Dick Dale, then it is fit for the human consumption." His combination of loud amplifiers and heavy gauge strings led him to be called the "Father of Heavy Metal".^[8] After blowing up several Fender amplifiers, Leo Fender and Freddie Tavares saw Dale play at the Rendezvous Ballroom, Balboa, California and identified the problem with creating a sound louder than the audience screaming. The pair visited the James B. Lansing loudspeaker company and ask for a custom 15-inch loudspeaker, which became the JBL D130F model, and was known as the Single Showman Amp. Dale's combination of a Fender Stratocaster and Fender Showman Amp allowed him to attain significantly louder volume levels unobtainable by then-conventional equipment.^[18]
Dale's performances at the Rendezvous Ballroom in Balboa in mid to late 1961 are credited with the creation of the surf music phenomenon. Dale asked for and gained permission to use the 3,000 person capacity ballroom for surfer dances after overcrowding at a local ice cream parlor where he performed made him seek other venues.^[19] The Rendezvous ownership and the city of Newport Beach agreed to Dale's request on the condition that he prohibit alcohol sales and implement a dress code. Dale's events at the ballrooms, called "stomps," quickly became legendary, and the events routinely sold out.^[19]
"Let's Go Trippin'" is one of the first surf rock songs.^[20] This was followed by more locally released songs, including "Jungle Fever" and "Surf Beat" on his own Deltone label. His first full-length album was Surfers' Choice in 1962. The album was picked up by Capitol Records and distributed nationally, and Dale soon began appearing on The Ed Sullivan Show, and in films where he played his signature single "Misirlou". He later stated, "I still remember the first night we played it ("Misirlou"). I changed the tempo, and just started cranking on that mother. And ... it was eerie. The people came rising up off the floor, and they were chanting and stomping. I guess that was the beginning of the surfer's stomp."^[21] His second album was named after his performing nickname, "King of the Surf Guitar".^[22] Dale later said "There was a tremendous amount of power I felt while surfing and that feeling of power was simply transferred into my guitar". His playing style reflected the experience he had when surfing, and projecting the power of the ocean to people.^[23]
Dale and the Del-Tones performed both sides of his Capitol single, "Secret Surfin' Spot" in the 1963 movie, Beach Party, starring Frankie Avalon and Annette Funicello.^[24] The group performed the songs "My First Love," "Runnin' Wild" and "Muscle Beach" in the 1964 film, Muscle Beach Party.

The Bucket List is the collective effort of guitar extraordinaire Phil Keaggy, legendary bassist Tony Levin and rhythm master Jerry Marotta featuring 12 original instrumentals that showcase the strengths of these three musicians.
Having recorded over 60 albums since the late 1960’s, Phil Keaggy is one of the most admired guitarists in the Contemporary Christian music world. Phil’s talents have earned him two Grammy nominations as well as being a seven time recipient of the GMA Dove Award for Instrumental Album of the Year.
How many musicians can claim they recorded/toured with King Crimson, Peter Gabriel, Pink Floyd, Yes, and let’s not forget John Lennon? Bassist and Stick player Tony Levin can and that’s barely scratching the surface of his musical biography. When Tony’s not bouncing between King Crimson and Peter Gabriel, he’s usually found on the road with The Stick Men.
For over a decade, Tony along with drummer Jerry Marotta were the rhythm section for the classic Peter Gabriel years. Jerry’s unique percussion style has graced the music of Paul McCartney, Hall & Oats, Elvis Costello, The Indigo Girls and so many others. These days, Jerry never takes a break working with The Security Project, The Marotta Brothers Band, The Fragile Fate and Flav Martin.
The genesis of this super trio can be traced back over ten years ago when Phil, Tony and Jerry first met in Woodstock for an impromptu jam session that lead to a live show and a whole lot of improvisation left in the can. Over the years the material was revisited and reworked then left to age in the barrel a little longer.
Fast forward to 2018, the recordings are given a fresh breath of air plus added tracks to formulate a collection of actual songs. The end result is executive producer Paul Grimsland finally getting to tick off a box of his Bucket List. Like a fine wine, The Bucket List has been aged to perfection and is ready for consumption from an audience thirsting for this musical delight.
Phil Keaggy – Guitars
Tony Levin – Bass/Stick
Jerry Marotta – Drums/Percussion
Executive Producer: Paul Grimsland
Produced by: KLM
Recorded at: Jersville Studio, Woodstock, NY
Dreamland Recording Studio, Woodstock, NY
Kegworth Studio, Nashville, TN
Engineers: Roman Klun, Pete Caigan, Adam Armstrong, Dylan Shad, Ariel Shafir
Engineer/Editor Extraordinaire: PTK
Mixed by: Michael Cozzi
Mastering: Chris Athens

Art Direction/Cover Design: Christine Baldelli/Lillypod Media
Photography: Edward AJAJ
Strategic Liaison: A.J. Chippero
https://tonylevin.com/road-diaries/klm-2019-shows/klm-winter-tour-2019

Subcircuits is the 6th studio album from the Los Angeles based electronic music project: leaving richmond.

A futuristic vibe while very human at the same time, creating a soundscape for your mind to traverse.

Let us soundtrack your day.

credits

released March 16, 2018

Our thanks to Leaving Richmond for providing a promo copy for tonight's show.
electronic ambient atmospheric chill chillout cinematic downtempo ethereal instrumental techno trance Los Angeles

12 September 2017: Steven Wilson; Markus Reuter & Ian Boddy

The first half of tonight's show will feature Steven Wilson's new release.

From the Steven Wilson HQ:    My fifth record is in many ways inspired by the hugely ambitious progressive pop records that I loved in my youth (think Peter Gabriel’s So, Kate Bush’s Hounds of Love, Talk Talk’s Colour of Spring and Tears for Fears’ Seeds of Love).

Lyrically, the album’s eleven tracks veer from the paranoid chaos of the current era in which truth can apparently be a flexible notion, observations of the everyday lives of refugees, terrorists and religious fundamentalists, and a welcome shot of some of the most joyous wide-eyed escapism I’ve created in my career so far. Something for all the family!”– Steven Wilson

1. To The Bone (6.41)
2. Nowhere Now (4.04)
3. Pariah (4.44)
4. The Same Asylum As Before (5.14)
5. Refuge (6.42)
6. Permanating (3.35)
7. Blank Tapes (2.09)
8. People Who Eat Darkness (6.03)
9. Song of I (5.22)
10. Detonation (9.20)
11. Song of Unborn (5.56)

The second half of tonight's show will feature a new, download-only release from Ian Boddy & Markus Reuter.

DiNDDL19 | released September 8, 2017 | Released on the download only sub-label of DiN, “Stay”, once again showcases the musical virtuosity & understanding of these two renowned composers.


“Memento” (DiN52) was the fifth DiN CD collaboration between the musical duo of Ian Boddy & Markus Reuter. The bulk of the material was recorded by the two musicians at the private studio of Boddy in the North-East of England. As so often happens in these sessions more music was laid down than could be used in the final release. The tracks on “Memento” oscillated between the more up-tempo pieces such as the title track & the two glorious ambient soundscapes, “Linger” and the album closer “Stay”. On reflection Boddy & Reuter decided to record some further material in the style of the latter two tracks, use one of the unreleased pieces and to mix an extended version of “Stay”, to create a new work that would be a companion piece to “Memento”.
Thus “Stay” (DiNDDL19) contains six tracks that reflect and extend the languid mood of the quiet moments found on “Memento”. Each of the tracks uses a different musical mode that gives each a different flavour. The pieces are built on the foundation of one of Reuter’s looped touch guitar soundscapes with Boddy employing his analogue modular systems, ranging from the haunting Ondes Martenot like solo lines of the opener “Waken” to the growling menacing tones of his Serge modular in “Vesper”.
credits
All tracks composed, played and produced by Ian Boddy & Markus Reuter (September 2016 – May 2017).
Mixed by Ian Boddy (June 2017).
Mastered by Markus Reuter (July 2017).
Ian Boddy:
Keyboards, Serge & Eurorack modular
Markus Reuter:
Touch Guitars® AU8, 6-string Electric Guitar, Looping, Programming, soundscapes

Stay (DiNDDL19)

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Ian Boddy & Markus Reuter

• 1.Waken00:0008:18
• 2.Haze09:41
• 3.Vesper10:02
• 4.Shore09:05
• 5.Aeolian09:30
• 6.Stay09:09

25 April 2017: New Releases from Ian Boddy & Markus Reuter and Steve Hackett

There is a strong theme (the historical plight of refugees and the hope for a more unified world), there is an orchestra, there is a choir, there is (most of) Hackett’s amazing band, there is Flamenco guitar, there is flute and mandolin, there is Prog, there is Rock, there is a mixture of styles, and yes, there is world music. And yet, there is always Hackett’s unmistakable electric guitar.
“Behind the Smoke” starts the album gently with a flamenco-style intro but soon turns into a massive grinding riff that suddenly, mid-song, reveals Hackett’s intention to expose his world music proclivities, with an eastern-sounding interlude. Soon enough, though, the massive wailing Hackett electric guitar that we know and love, returns to end the song.  The second track, “Martian Sea”, is a quick-paced, pop ditty that relies on Gary O’Toole’s cheerful and up-beat drumming. It has a catchy hook and a nice Hackett solo. Again the international influence is to be found in the sitar and violin interludes, which sound more Eastern and Middle-Eastern than Martian.
“Fifty Miles From the North Pole” is a slow and solid track with a James Bond-themed guitar sound. 007’s presence notwithstanding, the song conjures images of icy, arctic travel undergone by our poor protagonist, without the resources of “M”, nor indeed anyone else, behind him. The solo is typical Hackett. The icy vocals are almost spoken rather than sung, and the Eastern influences are insistently present in the strings parts. One is just beginning to feel that the song could have been edited to be half the length, when Hackett stamps his authority with a great solo that could have been found on an early Genesis record.
Tabla-like percussion (perhaps played on an acoustic guitar) hints that “Anything but Love” might end up being pure world music, but inexplicably, a typical Hackett acoustic guitar solo then gives way to a pure and simple pop song that could be a top ten hit with the hook “But you’ll never get away with anything but love”. It even has a harmonica solo, and definitely sounds like BOC’s “Don’t Fear the Reaper”. It’s not GTR, but it’s a great pop song.
“Inca Terra” starts as a slow and gentle ode with mythical lyrics sung in pastoral harmony. It is the heart of the album, and given its theme, one expects a Proggy direction, and that expectation is fulfilled later in the song. At times it sounds almost like a Greek traditional hymn (is that a bouzouki?), but then Hackett shows his roots with an acoustic guitar flourish that leads into a complex and fast-paced arrangement, climaxing in a huge Hackett solo that any Progger will appreciate. Hints of classic Genesis in full flight appear towards the end. A very good Prog arrangement indeed.
“In the Skeleton Gallery” has been performed live quite a few times by now, While it is not an obvious “single” (does such a thing exist in Prog anyway?), it seems at the start to be one of the more accessible songs, but don’t be fooled. Slow and intense, it has a pleasing initial melody, but expect a dark, eastern-sounding woodwind interlude, and a quirky change of direction led by keyboardist Roger King. It then leads into a heavy Prog instrumental arrangement built around that quirky keyboard riff that also comprises the ending. King’s influence is strong on this one.
“West to East” is another story of international alienation and the need for the world to unite. While the instrumentation is suitably precise and excellent, up to the standards expected of a musician like Hackett, this song is all about the message. If you are opposed the exit of Great Britain from the Union, or certain immigration policies recently implemented by the US, expect to identify with these lyrics.  “The Gift” is a short instrumental closer that will please fans of Hackett’s traditional guitar achievements. It is sad, lonely and reflective and ends the album with due pensiveness.
Although not as immediately accessible as his most recent releases times, due to the many directions taken, as well as the many world music influences introduced, ‘The Night Siren’ is still a Steve Hackett album, and it is one worth investing in. ‘The Night Siren’ is an album with substance and an urgent message.  Expect to be transported to the East (or Middle East) from time to time, but expect your Prog hunger to be satiated as well. Perhaps Steve Hackett’s darkest work, it still has many great moments and reminds us we simply cannot ignore the fact that Steve Hackett is indeed a living legend.
CD:
1. Behind the Smoke (6:59)
2. Martian Sea (4:40)
3. Fifty Miles from the North Pole (7:08)
4. El Niño (3:52)
5. Other Side of the Wall (4:01)
6. Anything but Love (5:56)
7. Inca Terra (5:54)
8. In Another Life (6:07)
9. In the Skeleton Gallery (5:09)
10. West to East (5:14)
11. The Gift (2:45)
Line-Up:
Steve Hackett – electric & acoustic guitars, oud,
charango, sitar guitar, harmonica, vocals (1 – 11)
Roger King – keyboards and programming (1 – 10)
Amanda Lehmann – vocals (1,2,3,6,7,8,9,10)
Christine Townsend – violin, viola (3, 4, 5, 7, 9, 10)
Rob Townsend – baritone & soprano sax, flute, flageolet,
quena, duduk, bass clarinet (1, 4, 7, 9)
Gary O’Toole – drums (3, 4, 10)
Nick D’Virgilio – drums (2)
Gulli Briem – drums, cajon, percussion (7,9)
Mira Awad – vocals (10)
Leslie-Miriam Bennett – keyboards (11)
Troy Donockley – Uilleann pipes (8)
Dick Driver – Double bass (3,4,5,7)
Nad Sylvan – vocals (7)
Kobi Farhi – vocals (10)
Benedict Fenner – keyboards and programming (11)
Jo Hackett – vocals (10)
John Hackett – flute (2,10)
Ferenc Kovács – trumpet (3)
Sara Kovács – didgeridoo (3)
Malik Mansurov – tar (1)

“Memento” (DiN52) is the fifth DiN CD collaboration between label boss Ian Boddy & renowned composer and touch guitarist Markus Reuter. They were there at the birth of DiN in 1999 with their inaugural release Distant Rituals (DiN2) and this latest work not only affectionately looks back to that album but forges ahead into new musical territory.
The album opens with the powerful tour de force of “Gyroscope” with its ever evolving guitar arpeggios and thunderous percussion. The following track “Spindrift” has a mysterious harmonic feel highlighted by Reuter’s beautiful guitar playing & Boddy’s ambient production. “Linger” & “Stay” form a pair of soundscapes where Reuter’s guitar loop ambiences are intermingled with extraordinary analogue textures from Boddy’s Serge modular synthesiser. The former provides a breathing space within the album after the two opening tracks whereas the latter brings the CD to a gentle, drifting close. The title track hearkens back to the duos first collaborative album with it’s pulsing cut up treatment of a Reuter guitar loop soundscape and perhaps informs the listener as to the nature of this “Memento”. Although Boddy often keeps in the background in terms of lead solo work when working with Reuter the track “Deadlock” features an Ondes Martenot style synth line that soars above this dark emotionally laden piece.
Once again Reuter & Boddy have proved to be a potent musical team with their balance of styles producing a complex, deep album. Effortlessly crossing genres between prog and ambient electronica it not only looks back to their roots but creates new sonic landscapes for the listener to explore.
Track listing:
01 Gyroscope (07:45)
02 Spindrift (06:56)
03 Linger (06:24)
04 Memento (06:31)
05 Vermilion (09:08)
06 Deadlock (09:34)
07 Stay (06:26)
Total Time: 52:58
All tracks composed, played & produced by Markus Reuter & Ian Boddy (September - November 2016).
Mixed by Ian Boddy & Markus Reuter (November 2016).
Mastered by Ian Boddy @ DiN studio (December 2016).
Markus Reuter:
Touch Guitars® AU8, 6-string Electric Guitar, Looping, Programming
Ian Boddy:
Serge & Eurorack Modulars, Moog Voyager, Ableton Live running NI Kontakt, Spectrasonics Omnisphere & Camel Audio Alchemy