26 July 2022: Porcupine Tree; The Dystopian World of J.G. Ballard

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Closure/Continuation is the eleventh studio album by British progressive rock band Porcupine Tree. The album is their first since 2009's The Incident. Despite public uncertainty of the band's future after frontman Steven Wilson's focus on a solo career in 2010, the album was recorded intermittently in complete secrecy among Wilson, Gavin Harrison, and Richard Barbieri across the course of the following decade, without long-time bassist Colin Edwin. With the COVID-19 pandemic putting members' separate plans on hold, the band found time to completely finish the album in September 2021. Towards the end of the year, the band's reformation was publicly announced, alongside the album's release date of 24 June 2022. Four singles were released ahead of the album—"Harridan", "Of the New Day", "Herd Culling", and "Rats Return". 

Reception

Professional ratings

Aggregate scores
Source	Rating
Metacritic	71/100[36]
Review scores
Source	Rating
AllMusic	[37]
Classic Rock	[38]
The Guardian	[39]
Metal Injection	9/10[40]
Pitchfork	6.9/10[41]
PopMatters	[42]
Record Collector	[28]
Slant Magazine	[43]
Sputnikmusic	4/5[44]

Prior to release, Loudwire named the album one of their most anticipated rock and metal albums in 2022.^[45] Upon release, the album was generally well-received, receiving an average rating of 71 out of 100 on Metacritic, based on eight reviews.^[36] Metal Injection praised the album for being "an outstanding and endearing comeback...while it doesn't bring anything new to the table...what it does accomplish and induce is quite exemplary".^[40] AllMusic concluded that the album was "A welcome new entry in PT's catalog" that shows that "the band have plenty left to say".^[37] Record Collector noted that while the album "perhaps misses the conceptual cogency of earlier Tree peaks", ultimately it "weds a reinvigorated affirmation of band identity to expansive energies, all to confident effect".^[28]

^{Read more about Continuation/Closure here.} 

The Dystopian World of J.G.Ballard

by Various Artists

 

Project: Ambient Sonology 2
Concept: ZeroK

In April 2009, J. G. Ballard died at the age of 78. By the end of his life he was recognised as one of the greatest British writers of the latter half of the twentieth century. The acclaim his work has garnered stems from its unsettling ability to describe the present in collision with near but unexpected futures. His narratives operate according to the temporalities of car crashes, epidemics, and physiological shocks. The word ‘Ballardian’ has entered the Collins Dictionary as a term denoting ‘dystopian modernity’.

The fiction of J. G. Ballard delves deep into the human psyche, not only by exploring the relationships between its characters, but also by conveying the cityscape in terms of the mind. Either real or imaginary, the urban spaces reflect and are reflected by the minds of the protagonists. Influenced by the psychoanalytic theory of Sigmund Freud, the Jungian model of the psyche, the experiments in anti-psychiatry initiated by R.D. Laing, as well as the technological advancements of the new millennium, Ballard proposes a new type of fiction. The aim of his pursuit is to answer some of the pressing issues that the self is confronted with in an urban milieu which is gradually becoming more dehumanized and impersonal.

“The advanced societies of the future will not be governed by reason. They will be driven by irrationality, by competing systems of psychopathology.”

J.G. Ballard

With this present compilation, curated by Raffaele Pezzella (Sonologyst), ZeroK label (in collaboration with, Lars Bröndum, Eraldo Bernocchi, Gavin Morrow , Joel Gilardini, Esa J. Ruoho, Heikki Lindgren, Mario Lino Stancati, Erik Jarl, Roberto Quezada, Jarko M. Hedenius, Janne Liimatainen, Mombi Yuleman and Christian Schneider) provides sound descriptions of the dystopian world narrated by the English master J. G. Ballard in his novels and short stories, creating an imaginary soundtrack of those s/f masterpieces.  

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

credits

released June 3, 2022

REVIEWS

Avant Music News
avantmusicnews.com/2022/06/27/amn-reviews-the-dystopian-world-of-j-g-ballard-2022-zero-k/

Richard Dodgin (This Is Darkness)
The Dystopian World of J​.​G​.​Ballard is another great compilation album from the Zero K label, featuring music from an impressive range of musicians (including HLER, JARL, and Lars Bröndum to name just a few). The album “… provides sound descriptions of the dystopian world … in his novels and short stories, creating an imaginary soundtrack of those s/f masterpieces …” with tracks of experimental, post industrial, drone, dark ambient, and electronica all fitting together nicely to create a remarkable listening experience. The album does have a cohesive feel to it, and yet the moods of the tracks vary: some are dark and confrontational, others are meditative and lo-fi, others yet are noisy, a number are minimalist, and others are challenging and disturbing. Fantastic.



Edited by ZeroK
Mastered by Raffaele Pezzella (Sonologyst)
Cover artwork: collage by RhaD
Photos by Gavin Morrow
© 2022. All rights reserved

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ZERO K Italy

Soundscapes for dystopias,
retro futurism and sci-fi drifts.

ZeroK is part of © Unexplained Sounds, network...  more

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• 
  Zerok bundle
  Jun 2022
• 
  The Dystopian World of J.G.Ballard
  Jun 2022
• 
  Music For Abandoned Cold War Places
  Oct 2020

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07 June 2022: Scanner; Richard Bégin

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 DiN72 | Scanner | The Homeland Of Electricity 

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

Release date 17th June 2022

Limited to 500 copies Digipak CD

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

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

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

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

Track Listing:

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

Total Time :  50:11

Demo Mix @ Soundcloud

 

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

released May 27, 2022

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

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

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

richardbegin.bandcamp.com


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

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

31 May 2022: Polyphores; Alan White Tribute (Tales from Topographic Ocean)

 

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Hyperincandescent (DiN71)

by Polypores

 

The DiN label via its founder Ian Boddy has its roots in the analogue electronica of the German Berlin School. However over the course of 100+ albums the music released on this UK based imprint have pushed far beyond this musical heritage. The electronic music scene is ever evolving and a new, younger generation of musicians involved in the burgeoning modular synth scene are untethered from the past and able to wander freely into unexplored worlds of sonic soundscaping.

Just such a musician is Polypores (aka Stephen James Buckley) who paints music with a Eurorack modular, drawing influences from ambient, new age, and experimental electronica. His music soars, bubbles, crackles, and soothes, in ever-shifting, immersive cosmic landscapes.

His musical output is both varied and prolific with sold-out vinyl releases on such well respected labels as Behind The Sky, Castles In Space and Polytechnic Youth. Notable live festival performances have included the Castles In Space Levitation event, Manchester’s Subliminal Impulse and the prestigious Future Yard in Liverpool.

Whilst Polypores did have a track on the fifth volume of the Tone Science series, Hyperincandescent (DiN71) is his solo debut on the DiN label. Releasing on both CD and Vinyl the music is split between two album length tracks that meander between different sections exploring a micro world of texture and form. At times calm and blissful the mood can suddenly be transformed into something more chaotic with strange, organic twisted shapes emerging from the undergrowth. His ability to play with tempo as a mouldable musical expression is at times breathtaking and highlights quite what a fearless sonic explorer he is.

DiN is very proud to showcase the talents of this quite unique artist as the label forges ahead into its third decade. 

credits

released May 20, 2022

Written, performed and pieced together by Stephen James Buckley in June 2021.
Mastered by Ian Boddy in July 2021.

Instrumentation:

Eurorack modular system comprising modules from Make Noise, Intellijel, Doepfer,
Mutable Instruments, ALM, Expert Sleepers, Joranalogue, Instruo & Takaab
Waldorf Blofeld
Specular Tempus Reverb

Thanks to:

Ian and Wendy for their work in making this happen.
Barry and Mark for listening.
Kate for the title.

Dedicated to Violet.

license

all rights reserved

ambient em electronic electronic music electronica eurorack downtempo eurorack modular modular synth new age Sunderland

 

For the second half of tonight's show we honor Alan White (14 June 1949 – 26 May 2022) who was an English drummer and songwriter, best known for his tenure in the progressive rock band Yes. He joined Yes in 1972 as a replacement for original drummer Bill Bruford. Following the death of bassist Chris Squire in 2015, White became the longest-remaining member in the band and the only member besides Squire to never leave the band prior to his death in 2022. He recorded 42 albums with the band.   We'll be playing sides 1, 3, & 4 of Tales from Topographic Oceans plus some tracks from Drama if time permits.

24 May 2022: Aphrodite's Child; Vangelis

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 Tonight we honor the memory of master musician and composer Vangelis who passed away at age 79 last Tuesday, May 17. 

Evángelos Odysséas Papathanassíou (Greek: Ευάγγελος Οδυσσέας Παπαθανασίου [eˈvaɲɟelos oðiˈseas papaθanaˈsi.u]; 29 March 1943 – 17 May 2022), known professionally as Vangelis (/væŋˈɡɛlɪs/ vang-GHEL-iss; Greek: Βαγγέλης [vaɲˈɟelis]), was a Greek musician, composer, songwriter and producer of electronic, progressive, ambient, and classical orchestral music.^[1] He was best known for his Academy Award-winning score to Chariots of Fire (1981), as well as for composing scores to the films Blade Runner (1982), Missing (1982), Antarctica (1983), The Bounty (1984), 1492: Conquest of Paradise (1992), and Alexander (2004), and for the use of his music in the 1980 PBS documentary series Cosmos: A Personal Voyage by Carl Sagan.^[1][2]

 

We begin tonight's program with Aphrodite's Child was a Greek progressive rock band formed in 1967, by Vangelis Papathanassiou (keyboards, flutes), Demis Roussos (bass, acoustic and electric guitar, vocals), Loukas Sideras (drums and vocals), and Silver Koulouris (guitar).^[1] They initially found success in Europe with hit singles like "Rain and Tears", "End of the World", "I Want to Live", and "It's Five O'Clock". The band's career ended shortly after release of their most influential album, 666 (1972), which has appeared on a number of lists of the top progressive or psychedelic albums of all time. 

666 (subtitled The Apocalypse of John, 13/18) is the third and final studio album and only double album by Greek progressive rock band Aphrodite's Child, released in June 1972 by Vertigo Records. Ostensibly an adaptation of Biblical passages from the Book of Revelation, it is the group's most critically acclaimed project. Due to internal tensions during the recording process and conflict with the record company, by the time it was released the band had already disbanded and its members had begun work on solo projects. 

The central concept is a countercultural interpretation of the Book of Revelation, in which a circus show based on the apocalypse performs for an audience at the same time that the real apocalypse takes place outside the circus tent, and at the end the two merge into one.^[4] Ferris described the result as a "concept book", and stated that he intended for the narration to be looser than Tommy, but more rigid than Sgt. Pepper.^[4]

^{The music of 666 is more ambitious and experimental than previous Aphrodite's Child releases, containing greater use of electronic keyboards, studio experimentation, expanded instrumentation,[29] and influences from genres such as jazz, musique concrète and world music.[30][31] Reflecting this character, only six of the album's 24 songs have vocals and lyrics, four by lead singer Demis Roussos and two by Loukas Sideras. The rest are either instrumental, instrumentals with narration, or use vocals as an instrument.[32] Although the album's material is often acknowledged as challenging and uncommercial, it has also been described as tuneful, "fun", and retaining elements of pop music.[9][32][33] Authors Paul Hegarty and Martin Halliwell interpreted the album as reflecting "the turmoil in Greece at the time",[29] while Vangelis argued that its theme was highly relevant in general, stating in Sounds in 1974, "The answer to the question 666 is today."[12] The Mojo Collection argues that "the album's lush arrangements were as startling as any of the progressive era and have aged better than most", in part due to Vangelis not relying excessively on contemporary synthesizers and the prominent role of guitarist Silver Koulouris.[31]} 

Blade Runner: Original Motion Picture Soundtrack is the soundtrack for Ridley Scott's 1982 science-fiction noir film Blade Runner, composed by Greek electronic musician Vangelis. It has received acclaim as among Vangelis's best work and an influential work in the history of electronic music.^[4] It was nominated in 1983 for a BAFTA and Golden Globe as best original score. The score evokes the film's bleak futurism with an emotive synthesizer-based sound,^[5] drawing on the jazz scores of classic film noir^[6] as well as neo-classical elements and Middle Eastern texture.^[1] It features vocals from Demis Roussos and saxophone by Dick Morrissey on "Love Theme". The track "Memories of Green" from Vangelis' 1980 album See You Later was also used.^[7]

The official release of the soundtrack was delayed for over a decade. The first 1994 release omitted much of the film's score and included compositions not used in the film.^[4] A 25th anniversary edition released in 2007 included further unreleased material and a disc of new music inspired by the film. Various bootleg recordings containing more comprehensive versions of the score, as well as superior sound quality to the original 1994 release, have widely circulated.^[8]

An orchestral rendition of the soundtrack was released in 1982 by the New American Orchestra, but disowned by both Vangelis and director Scott.^[8]

17 May 2022: Lobate Scarp; litmus0001

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We are excited to feature Lobate Scarp's new release, You Have It All on tonight's show.  This is a superb recording, destined to be a classic of contemporary progressive rock.  Our thanks to Adam Sears for providing a promotional copy of this release.

Lobate Scarp, You Have It All (Indiegogo/Bandcamp) ★★★★★ A+ 10/10

What kind of band would you get if you combined Keith Emerson on keyboards, Steve Hackett on guitar, Chris Squire on bass, Neil Peart on drums, and Robby Steinhardt on violin? That’s the best way I can try and communicate to you what the sound of Lobate Scarp is like. But don’t get me wrong; I don’t mean to suggest that Lobate Scarp is simply a pastiche of familiar sounds from ELP, Genesis, Yes, Rush, and Kansas. Not at all. What I mean is that the sound of Lobate Scarp is like some impossible dream come true.

As if it burst forth from the dream world of their cover art, Lobate Scarp does indeed have their very own unique sound. That’s the wondrous fact now firmly established by You Have It All, their second full-length album. It is a truly magnificent achievement. It instantly secures You Have It All a permanent place in the celestial upper echelon where my all-time favorite records rotate in eternal bliss.

Back in 2012, Lobate Scarp’s first CD, Time and Space, contained exquisite intimations of greatness. I am forever grateful to Adam Sears himself for boldly going where no band had gone before and introducing his work to me. I was simply floored. This band was offering something new: yes, their own sound; and who cares about fashion, we always want bravely epic prog with unlimited daring. Helmed by Adam’s visionary hand, that courageous debut album also hinted at a future greatness, because right away there was debate about the merits of the CD on this site. That’s a small clue a band just may be very special.

That kind of debate does not happen for a band that is a mere copycat nostalgia act trying to replay the glories of the era of the birth of prog. No, a band with their own sound, and doing something new and interesting, will inevitably provoke different and polarizing responses. First, Progarchy published a negative assessment, and then a positive assessment. Finally, I tried to break the deadlock at Progarchy, by myself declaring the album one of the very best albums of the year.

Over the years, I was delighted to learn of the band being quietly at work, with an occasional burst of beautiful light in 2016 and 2019. And now the patient work of a decade has come to fruition. You Have It All is an apt title for an album of such staggering ambition that actually and successfully attains all the moonshots it takes.

The first thing that has to be said about this record is just how good it sounds. It is absolutely one of the best sounding audio experiences of my life. Steven Leavitt and Rich Mouser and Michael Bernard have all done amazing work with this CD and created an audio paradise. The production and engineering investment of talent that has been lovingly poured into this record is indisputable in every note. Every penny that was crowdfunded has been spent to dazzling effect.

The startlingly immediate surround-sound of the drum kit on every track is a marvel to behold, whether it is special guest drummer Eric Moore (of Suicidal Tendencies, and Infectious Grooves) on the two epic tracks “You Have It All” (14:31) and “Flowing Through the Change” (17:25), or Jimmy Keegan (of Spock’s Beard, and Pattern Seeking Animals) or Mike Gerbrandt on the other tracks. And the various guitar tones will have you doing double takes… who is that? Is Steve Hackett on this album, or what??? And Adam Sears can be likened to Keith Emerson for his uncompromising pursuit of sound for the sake of glorious sound.

Usually, Lobate Scarp is Adam Sears (vocals/ keys), Andy Catt (bass), Peter Matuchniak (guitar), Evan Michael Hart (drums), and Christina Burbano-Jeffrey (violin), as when they performed most recently at RoSFest in April in Sarasota, Florida. But the impressive parade of studio musicians appearing on the CD recording is a testament to Lobate Scarp’s unrelenting pursuit of excellence by any means necessary. I have the impression that they will record and re-record, and collaborate and re-collaborate, again and again, in any permutation and combination of talents, regular or extraordinary, as they pursue the perfect sound and the perfect record. And gosh darn it, their diligence of a decade has paid off mightily with this release.

You Have It All has the effect of a typical Yes album on me, in that it unfailingly elevates my spirit and transforms my mood for the better just by listening. This is no small musical miracle. Yes is a band prized as rare on this earth for just that reason. Operating in that same prog tradition of making intimate contact with the listener, Lobate Scarp uses their magic power to do what only the rarest of musicians have the power to do.

As far as I can discern the story tying the album together, it goes something like this. The hero of the story is Everyman, so let’s call him Adam, since that is what the word Adam means. Adam is jamming with his prog band on “Conduit,” the opening instrumental track, with his band endlessly practicing in pursuit of perfection. But people think Prog Adam is crazy for loving to spend his precious time practicing prog music like this. This instrumental: It’s so long! Over five minutes long and there aren’t even any lyrics yet! The people are criticizing Prog Adam for his super-proggy instrumental. So, he replies in track two, telling them there is “Nothing Wrong” with his life. He’s doing what he wants to do. But just telling the haters to stop it is not enough. Prog Adam therefore goes in search of spiritual sustenance, looking for a spiritual “Life-Line” on the next track, as sustenance for his prog, and finding it. With this spiritual enlightenment attained, Prog Adam goes back to his band, and then they communicate the spiritual enlightenment by expressing its lesson in the epic track, “You Have It All.” Jon Davison even makes a guest appearance on this track, making a cameo as the voice of the universe that teaches Prog Adam what he needed to learn, so that he is then able to communicate it with the epic musical power of “You Have It All” (14:31). End of Part One.

Part Two begins with “Beautiful Light,” with Prog Adam viewing the universe on a daily basis through the mystical lens he learned about in Part One. But then, with “Test Tube Universe,” Prog Adam, either back in his day job as a scientist, or simply by making an analogy on the basis of considering a scientist in his lab, considers the thought that maybe the universe is just like an experiment that, although beautiful and supportive to us (see Part One’s lesson), does not really matter to its creator. But then in “Flowing Through the Change” (17:25), Prog Adam makes spiritual contact with the transcendent creative force behind the universe and taps into its deepest essence: namely, love. This final spiritual awakening to the fullness of love is foreshadowed with “In the Night I” and “In the Night II” which are threaded between the earlier tracks on the album, since “In the Night III” is the second movement within “Flowing Through the Change,” wherein Prog Adam sees the face of God, and thereby finds his way to the path of love.

If all this sounds a bit woo to you, what can I say except that, I’m probably making this all up, or else, if you listen to the music, it will make you into a believer in prog and love and light, and so on. The radiant power of the music on this album magically transforms whatever it comes into contact with. Unless your heart is made of stone. Or, maybe even then, too; that’s how good this music is.

So, what are you waiting for, Bandcamp Friday? It’s already here! You Have It All has everything you need.

Reviewed by C.S. Morrissey for Progarchy.com

'You Have It All ' is the second full length studio album from Lobate Scarp. Recorded from August 2021- March 2022. (Except for "Beautiful Light" and most of "Nothing Wrong"). Mixed and Mastered from March-May 2022

The album features special guests Jon Davison (Yes), Jimmy Keegan (Spock's Beard, Pattern Seeking Animals), Eric Moore (Suicidal Tendencies, Infectious Grooves), Ryo Okumoto (Spock's Beard), and Billy Sherwood (Yes).

credits

released May 6, 2022

 

 

 

New album by litmus0001. IMBER. Recorded in 2017. Meant to be released in 2019. Finally released in 2022 by AnubisMusic. Experimental ambient drone improvisation looping krautrock kosmichemusic post-rock.  This is exceptionally good ambient music and an excellent addition to the FreeForm Radio playlist.

Free download link available on Bandcamp and Facebook.   Imber and other releases are available on the Internet Archive.

 

10 May 2022: The Great Old Ones; Richard Bennett

 KMXT is live broadcasting the Kodiak City Council work session which may run past 9 pm.  

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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.

ALSO:Tonight at 7:15 pm I'll play a track from Lobate Scarp's upcoming album You Have It All.

Yog-Sothoth

Yog-Sothoth is an unfathomably powerful deity and one of the most powerful of the Outer Gods, a race of ancient deities who wield great power, size and intelligence, equal and possibly even superior to Azathoth himself, and is a truly cosmic menace that is beyond mortal comprehension. Yog-Sothoth is the embodiment of all of time and space across an essentially infinite number of space-time continuums. For all intents and purpose, he is connected to the multiverse. He is the grandfather of Cthulhu and the grandson of Azathoth. Yog-Sothoth is an all-knowing, all-seeing, and (supposedly) all-powerful being. He was born from the Nameless Mist, one of the three offspring of Azathoth alongside the Darkness and Nyarlathotep.

"Yog-Sothoth knows the gate. Yog-Sothoth is the gate. Yog-Sothoth is the key and guardian of the gate. Past, present, future, all are one in Yog-Sothoth. He knows where the Old Ones broke through of old, and where They shall break through again."

H.P.Lovecraft, The Dunwich Horror

credits

Thank you to Raffaele Pezzella (Sonologyst) for providing us with a copy of this release.

released April 29, 2022

REVIEWS

Avant Music News
avantmusicnews.com/2022/04/25/amn-reviews-the-great-old-ones-yog-sothoth-2022-eighth-tower-records

Warmth Highest
birdboyblizzard.music.blog/2022/04/23/yog-sothoth-by-the-great-old-ones/


The Great Old Ones is a project by Raffaele Pezzella (a.k.a. Sonologyst). Yog-Sothoth is the first of a series of soundscapes inspired by the Lovecraftian pantheon of deities.

Music by Raffaele Pezzella
4th track in collaboration with Kenneth Kovasin playing daxophone, cymbal, kantele, lyre, electronics.

Cdr limited edition of 100 numbered copies

Edited by Eighth Tower Records
Mastered by Raffaele Pezzella (Sonologyst)
Artwork by MrZarono
deviantart.com/mrzarono/gallery
© 2022. All rights reserved

license

all rights reserved

ambient h.p. lovecraft lovecraftian dark ambient dark chamber drone industrial lovecraft noise the great ones Italy

 

 

Richard Bennett East Grinstead, UK

Richard has played piano since he was 9 and done the exams up to grade 7. He has been writing music since his  teens. He tune s and repairs pianos as a profession and just enjoys writing music and recording it as a hobby. He has five albums available on Bandcamp.

03 May 2022: No FreeForm This Week

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FreeForm Radio takes a break this week.

We'll be back next week with great progressive music!

26 April 2022: My Five Essential Progressive Rock Songs featuring Yes, Camel, Porcupine Tree, Jethro Tull, Genesis, and Pink Floyd

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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.

 

ALSO:Tonight at 7:15 pm I'll play a track from Lobate Scarp's upcoming album You Have It All.

 This week is KMXT's Spring Membership Drive and members are sharing their My Five essential songs they can't live without.   I'll be playing My Five essential progressive rock songs; actually I'm gong to try to squeeze six songs in:

 

Yes - Heart of the Sunrise from the album Fragile

 

 

Camel -  Lady Fantasy from the album Mirage

 

 

Porcupine Tree - Anesthetize from the album Fear of a Blank Planet

 

 

 

Jethro Tull - Thick as a Brick (Side One) 

 

 

 

Genesis  - Horizons/Supper's Ready from the album Foxtrot

 

 

Pink Floyd - Echoes from the album Meddle

 

19 April 2022: Wara; Czar; Mario Lino Stancati

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.

 

From ProgArchives.com

Review #78

Studio Album, released in 1973

WARA was one of the first Progressive Rock bands that I've ever heard and for many years I didn't understand why it wasn't registered in ProgArchives; two months ago I made the recommendation and finally WARA was added and now I feel that it is my responsibility to write the first review of "El Inca (música progresiva boliviana)". There is not a big music scene in Bolivia; when we talk about Latin-American rock the major countries are always Mexico, Argentina, and Chile, then maybe Peru, Colombia, and even Venezuela but not Bolivia (that is not exclusively to Progressive Rock but to all kinds of Rock), well, take a look of this.

Before changing their style to a very folky Andean one, WARA recorded "El Inca (música progresiva boliviana)" which had more elements of Progressive and Hard Rock with bluesy riffs and nice bass and drums lines than their following albums. The lyrics of the album are in Spanish, so to me, it was easy to learn them since it is my mother tongue and as I said before: I've been listening to this album for a very long time.

The line-up of the band was a basic rock quintet: bass, guitar, keyboards, drums, and vocals (all of them making great performances on the album) but the collaboration with musicians who played more orchestral instruments such as violins, cellos, oboes, bassoons, and flutes gave the album a very homogeneous sound; the album reminds me a lot to DEEP PURPLE's first albums (the ones before GILLAN and GLOVER). My favorite track of the album is definitely "Canción para una niña triste" ("Song for a sad girl") because I find really relaxing to listen to such a soft delicate song right in between the other four more rocky ones.

As I said before: in the following albums of WARA their music turned to a much more folky and Andean kind of music but that doesn't suggest this album doesn't have folk elements, maybe they are very subtle, but there are; however, the hard bluesy symphonic rock is the main plate on this table. I would highly recommend this album to fans of Latin-American Prog Rock bands such as LOS JAIVAS, MAGMA (Argentina), CHAC MOOL, OS MUTANTES or ARCO IRIS, but also to fans of Hard Rock (Progressive or not) rock bands such as DEEP PURPLE, ATOMIC ROOSTER, URIAH HEEP or WISHBONE ASH.

This is an album that everyone could enjoy.

Uruk_hai | 4/5 | 2020-12-24

 

 

Review by Psychedelic Paul

CZAR had an all-too-brief reign in the prog kingdom as they only existed long enough to record one self-titled album in 1970. The London-based group were originally formed as a Pop group back in 1966 when they were known as Tuesday's Children. The band changed their name to Czar for this one-off moody Mellotron album. A 2007 CD remastered edition more than doubled the original seven songs on the album by adding eight bonus tracks. The silly album cover pictures a bear wearing a crown (presumably a Russian Tsarist bear) tearing into a picture of a startled-looking man. You can't judge an album by its cover though, so let's hope the music contained within is better than the bizarre Czar album cover.

The album opens with the proggy-titled song "Tread Softly on My Dreams", but there's no chance of falling asleep and dreaming your way through this stormy album opener. There's a dreamy Mellotron to be heard in the background, but right at the forefront is a powerful horn section, so we're in for a good solid dose of some mean and moody blues with a bold and brassy Jazz-Rock attitude. The music of Czar has the same pounding intensity as those other kings of prog, King Crimson, and this tremendous opening song has obvious parallels with "21st Century Schizoid Man". Both songs represent a dramatic and unforgettable storm and thunder entry into the wonderful world of Progressive Rock. Just when you thought it can't get any better, it does!! The second sensational song "Cecelia" is a Mellotron-drenched classic. This Symphonic Prog epic is guaranteed to send any self-respecting prog fan into paroxysms of ecstasy and delight. If music be the food of love, then this is delicious manna from heaven sent down to Earth from the Prog Gods above in all of their infinite glory and wisdom. Heavens above! How on Earth did Czar not come to rule over the prog kingdom, forever and ever, amen, instead of disappearing without trace after just one awesome album!?? Such are the vagaries of the music business, where incredible talent doesn't always guarantee enduring success. Oh well, back to the music at hand after that minor digression. The third song on what's turning out to be a pretty amazing album is "Follow Me". This is another exhilarating artillery barrage of pounding percussive energy that Czar have unleashed from their impressive arsenal. It's a sonic boom of invigorating keyboard-driven prog that barrels along relentlessly for three and a half incredible minutes. It's also a very commercially appealing tune with "Hit Song" written all over it and would have no doubt gone storming up the charts if the song had ever been released as a single. The wonderfully uplifting harmonies on this album deserve a mention too, because they quite simply have to be heard to be believed, as no words can possibly do justice to how magnificent they are.

With the dawning of Side Two comes "Dawning of a New Day", and what a day it's turning out to be! The mighty Czar rules again over the prog empire with another terrific song! The stupendous songs on this album are so outstanding that almost every sentence deserves an exclamation mark!! This is one of those sensational Prog-Rock songs that opens deceptively gently, but gradually builds up in intensity, emerging into a rousing and anthemic, full-blown symphonic epic that will send you up into prog heaven on a soaring crescendo of sound! Space: the final frontier! It's time to boldly go where no man has gone before, because Czar are ascending up into the heavens now with "Beyond the Moon". The marvellous long-lost legends of prog are taking us on a wondrous journey far beyond the dark side of the Moon and out into the realms of deep space for some stellar Prog-Rock that's quite literally out of this world. This dazzling song shines as brilliantly as an exploding supernova for a few brief awesome minutes. It's not just the fabulous music that's awe-inspiring though, the stellar lyrics are gloriously cosmic too:- "Under the stars that we have traveled afar, Without song in our eyes and the rain and the wind in our hair, Starry-eyed faces from deep in the nigh, Without food without thought without even a glimpse of a life." ..... It's prog, Jim, but not as we know it. Drifting gently back down to Earth now, we arrive just in time for "Today", a gorgeous symphony of sound floating on topographic oceanic waves of Mellotron-drenched melodic prog. This truly beautiful Mellotronic epic has all of the magnificent Moody Blues majesty and symphonic splendour of "Nights in White Satin". Yes, it really IS that good! After "Today" it's mostly autumn now for "A Day in September", a radiant song which is positively abounding with joy and optimistic hope for the future, so one presumes it's an indian summer on this particular day in September. This glorious closing number is like a brilliant burst of sunshine on what is an altogether stellar album of fantastic songs.

The Czars were once the awesome rulers of the mighty Russian empire up until the Russian Revolution in 1917, and the band Czar were the rulers of the once mighty kingdom of prog for their one brief shining moment in the spotlight in 1970, or at least, they should have been..... The history of prog is littered with unique one-off album treasures that have become lost in the mists of time, and Czar were to suffer the same fate as many short-lived one-album bands of the late 60's and early 70's era. Thanks to the modern wonder of the Internet though, the band Czar are set to rise again and take the prog kingdom by storm, hopefully. Czar is an absolute must-have album that's worthy of a hallowed place in every Prog-Rock collector's treasure chest. 

FreeForm Radio thanks Raffaele Pezzella (Sonologyst) for providing a promotional copy of this release.

Mario Lino Stancati’s second album for the Unexplained Sounds Group. His first album, “Cross The Desert,” was released in 2020. An innovator of sound textures, Stancati is a multifaceted musician. Explore the dark minimalism of “Vairagya,” along with bright openings and rhythmic progressions. Like faces of a prism, the refraction of the musician's intimate universe slowly leads us into the artist's subconscious, the den of aesthetic isolation, a poetic expression through the electronic flow of his subliminal creations, and an introduction to a new era of experimentation.

credits

released April 1, 2022

REVIEWS

Avant Music News
avantmusicnews.com/2022/04/14/amn-reviews-new-dark-ambient-for-spring-metatron-omega-mario-lino-stancati-tenhornedbeast/


Mario Lino Stancati (Italy, 1981) graduated in "Disciplines of the Arts, Music and Theater". He is an actor, director, playwright, poet, musician and composer. In 2007 he founded the theatre company "Hotel de la Béance"; in 2009 he wrote the novel-poem "Lo Mal d'Umore", while in 2010 the philosophical anthology "The thought and the voice of philosophers. From Kant to Heidegger" and in 2014 the poetical outline "In equilibrium on nothing", among other writings. Those works highly influenced his approach to the music, an approach unchained to any musical genre. Stancati also composed the soundtrack for the Chiara Rigione’s 2020 short film “Orfani Del Sonno”, and the soundtrack for the poetry film "The Clapping Tree", written by Matt Dennison, starring Rebecca Page, directed, filmed and edited by Jutta Pryor (Australia). His first official album “Cross The Desert”, was published by Unexplained Sounds Group in 2020.

Music by Mario Lino Stancati
Video by Mario Lino Stancati
www.youtube.com/watch?v=FSeVwTonTfI&t=2s

Edited by ©Unexplained Sounds Group
Mastered by Raffaele Pezzella (Sonologyst)
sonologyst.com
unexplainedsoundsgroup.bandcamp.com
© 2022. All rights reserved

experimental avant-garde drone improvisation musique concrete sound art Italy