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21 September 2021: Melancholy Circus; The Pineapple Thief
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Due to the City Council work session lasting until 9:35, we did not have time to play Pineapple Thief - we will feature them on October 5.
The first half of tonight's show is a concept album released March 1, 2021.
Composed
of eight songs and 59 minutes long, Contents Under Pressure features a
symphonic prog approach of exploring mental health using bass guitar,
trumpet, piano, and synthesizer solos, as well as guest guitarists,
Landon Hankins and Ron Rutherford.
The album takes the listener for a journey from the life and perspective of someone born during the opening song and growing older as the album progresses. This "being" ventures through life unsure of himself/herself and making decisions on his/her own, some of which are questionable.
The album takes the listener for a journey from the life and perspective of someone born during the opening song and growing older as the album progresses. This "being" ventures through life unsure of himself/herself and making decisions on his/her own, some of which are questionable.
credits
released March 1, 2021
Ryan Hankins
lead and backing vocals, piano, mellotron, harpsichord, electric piano, Hammond organ, Pipe Organ, Vocoder, bass guitar, trumpet, synthesizers, drum/percussion programming, harmonica, kazoo, jaw harp, recorder, sound effects
Landon Hankins
Tracks 1, 3, 6, 7 - Lead/Rhythm Guitar
Ron Rutherford
Track 7 - Guitar Solo
Aria Brunner
track 1 - Lead vocal
Track 5 - ukulele
Sydney Hankins
Track 1 - Sound FX
Ryan Hankins
lead and backing vocals, piano, mellotron, harpsichord, electric piano, Hammond organ, Pipe Organ, Vocoder, bass guitar, trumpet, synthesizers, drum/percussion programming, harmonica, kazoo, jaw harp, recorder, sound effects
Landon Hankins
Tracks 1, 3, 6, 7 - Lead/Rhythm Guitar
Ron Rutherford
Track 7 - Guitar Solo
Aria Brunner
track 1 - Lead vocal
Track 5 - ukulele
Sydney Hankins
Track 1 - Sound FX
progressive rock rock fusion psychedelic rock synth rock Kansas City
The second half of tonight's show is an outstanding release from The Pineapple Thief.
THE PINEAPPLE THIEF, THE LEADING
LIGHTS OF EUROPE’S EXPERIMENTAL ROCK DOMAIN RELEASE THEIR NEW ALBUM
VERSIONS OF THE TRUTH ON SEPTEMBER 4TH ON KSCOPE
Over the last half-decade, The Pineapple Thief - led by musical polymath Bruce Soord and bolstered by the involvement of master drummer Gavin Harrison - has rapidly ascended to the upper echelons of Europe’s Alternative Rock scene.
Versions Of The Truth - out on September 4th through Kscope - is the latest installment in the band’s deserved (and welcome) rise to success.
The band's anthemic 2018 release Dissolution garnered worldwide acclaim. Earning TPT its highest chart positions to date and the album led to two extensive European headline tours (including a headline show at London's prestigious O2 Shepherd's Bush Empire) and a hugely successful tour of North America.
With the release of its new album, The Pineapple Thief is set to raise its exceptional standards once more, having produced what may be one of the most important albums of 2020.
Versions Of The Truth represents a conceptual progression from Dissolution (a contemplation on our ‘post truth’ world)... and lyrically tackles similar themes, but from a more personal perspective. Reflecting on how there can be more than one ‘version of the truth’, the album’s songs revolve around the impact the media can have on our lives and the people we love.
Recording began at Bourne Place (London) and Soord Studios (Yeovil) after the band had completed its US tour (October 2019 to April 2020), with engineering handled by Bruce Soord and Gavin Harrison. The album has been mastered by Steve Kitch.
Over the last half-decade, The Pineapple Thief - led by musical polymath Bruce Soord and bolstered by the involvement of master drummer Gavin Harrison - has rapidly ascended to the upper echelons of Europe’s Alternative Rock scene.
Versions Of The Truth - out on September 4th through Kscope - is the latest installment in the band’s deserved (and welcome) rise to success.
The band's anthemic 2018 release Dissolution garnered worldwide acclaim. Earning TPT its highest chart positions to date and the album led to two extensive European headline tours (including a headline show at London's prestigious O2 Shepherd's Bush Empire) and a hugely successful tour of North America.
With the release of its new album, The Pineapple Thief is set to raise its exceptional standards once more, having produced what may be one of the most important albums of 2020.
Versions Of The Truth represents a conceptual progression from Dissolution (a contemplation on our ‘post truth’ world)... and lyrically tackles similar themes, but from a more personal perspective. Reflecting on how there can be more than one ‘version of the truth’, the album’s songs revolve around the impact the media can have on our lives and the people we love.
Recording began at Bourne Place (London) and Soord Studios (Yeovil) after the band had completed its US tour (October 2019 to April 2020), with engineering handled by Bruce Soord and Gavin Harrison. The album has been mastered by Steve Kitch.
credits
released September 4, 2020
14 September 2021: Lyonel Bauchet "The Diver" (DiN68); Anthology of Exploratory Music from India
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Lyonel Bauchet is a well established and prolific composer, mainly working in
the field of library music, with over 100 album releases in a career
spanning over 40 years. Working from his studio just north of Paris he
is best known in the Electronic Music world for his mastery of the
Buchla modular synthesiser. Indeed his huge Buchla 200e system formed
the basis for the sonic world he previously created for the DiN label
with his digital only release “The Secret Society” (DiNDDL11) in 2011.
Ten years later DiN label boss Ian Boddy coaxed Bauchet in to creating a
new album which is this time destined for a full CD edition.
“The Diver” is a concept album in that it alludes to an undersea world many of us will never visit. The five tracks segue into a seamless piece of audio that explore the hidden vistas and dark spaces of the deep sea. Utilising his vast musical experience Bauchet has created an astonishing sound world that ebbs and flows like the ocean currents. The attention to detail and immersive sonic textures sparkle on top of vast oceanic swells that travel from the peaceful and quiet through to darkly dangerous. Once again his use of the Buchla modular is evident with beautiful soaring and trilling Vangelis like lead tones. Underneath the sequencer patterns and restrained percussion bubble & roil building to subtle climaxes before descending back in to the dark depths.
The life of a library music composer is very often rather anonymous so it is a great privilege for the DiN label to be able to present this album release from such a talented composer. Dive in to the sonic undersea world of Lyonel Bauchet and lose yourself in this stunning album.
“The Diver” is a concept album in that it alludes to an undersea world many of us will never visit. The five tracks segue into a seamless piece of audio that explore the hidden vistas and dark spaces of the deep sea. Utilising his vast musical experience Bauchet has created an astonishing sound world that ebbs and flows like the ocean currents. The attention to detail and immersive sonic textures sparkle on top of vast oceanic swells that travel from the peaceful and quiet through to darkly dangerous. Once again his use of the Buchla modular is evident with beautiful soaring and trilling Vangelis like lead tones. Underneath the sequencer patterns and restrained percussion bubble & roil building to subtle climaxes before descending back in to the dark depths.
The life of a library music composer is very often rather anonymous so it is a great privilege for the DiN label to be able to present this album release from such a talented composer. Dive in to the sonic undersea world of Lyonel Bauchet and lose yourself in this stunning album.
Our thanks to Ian Boddy and DiN for providing us with a copy of this release.
credits
releases September 17, 2021
All tracks composed, programmed and recorded by Lyonel Bauchet January - April 2021.
Instruments:
Buchla & Associates Instruments
Mos Lab custom system
Macbeth M5N
Synthi AKS
Metasonix KV100 & D1000
Analogue Solutions Impulse Command
Make Noise 0-CTRL & Strega
Eurorack Modular
Spitfire Audio Strings
Spectrasonics Keyscape
All tracks composed, programmed and recorded by Lyonel Bauchet January - April 2021.
Instruments:
Buchla & Associates Instruments
Mos Lab custom system
Macbeth M5N
Synthi AKS
Metasonix KV100 & D1000
Analogue Solutions Impulse Command
Make Noise 0-CTRL & Strega
Eurorack Modular
Spitfire Audio Strings
Spectrasonics Keyscape
license
all rights reserved
07 September 2021: The Annual FreeForm Back-to-School Show!
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31 August 2021: The Survival of St. Joan (A Medieval Rock Opera) ; Stars of the Lid
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The Survival of St. Joan is a rock opera by Smoke Rise (Gary Ruffin, Hank Ruffin, Stan Ruffin, and Randy Bugg — music composed by Hank and Gary) from an original concept and libretto by Off-Broadway playwright and screenwriter James Lineberger.
The plot of The Survival of St. Joan was possibly inspired by Operation Shepherdess: The Mystery of Joan of Arc by André Guérin and Jack Palmer White, a revisionist history alleging that Joan of Arc escaped execution and later married a nobleman named Robert des Armoises. An idea rejected by historians, the notion of a legendary Joan who lived on in secret has persisted.[4] Certainly inspired by the Vietnam War,[citation needed] the opera tells of the government of France and Pierre Cauchon, Archbishop of Beauvais, releasing Joan of Arc and allowing a double, also believed to be a witch, to burn in her place. She is sent to live with a mute farmer, who falls in love with her,[1] as he elucidates in songs performed in soliloquy toward the audience. Realizing that there is no end in sight to the Hundred Years' War, the first act ends with Joan seeking to rejoin the army,[1] despite the fact that she is no longer hearing her voices.
In Act II, Joan learns that she has lost the respect of the army, who attempt to rape her. (The libretto in the concept album has Joan raped about halfway through the act; this was changed when stagings went beyond a band performance to a full-fledged play.) She meets with some deserters who no longer understand the meaning of the war, and reject its former religious purposes, complaining that only their generals and the nobility can live above suffering. Alone and anonymous, Joan is eventually found by villagers who mistakenly decide she has put a hex on their cow, tie her to a tree and immolate her, thus ending her life almost as history would have it.[1] Upon her death, Joan re-establishes contact with her three voices, St. Michael, St. Catherine, and St. Margaret.
And Their Refinement of the Decline is the seventh and most recent studio album by Stars of the Lid, which was released by Kranky in April 2007. The album was Kranky's 100th release, and was issued as a double CD and as a triple vinyl LP set (featuring alternate artwork). And Their Refinement of the Decline features minimal, droning compositions of varied length created from treated guitar, horn, piano, and other classical instruments.
The track "Dopamine Clouds Over Craven Cottage" refers to Craven Cottage in London, the home stadium of English football club, Fulham F.C.. At the time of the album's release, their captain was ex-United States soccer international Brian McBride, who shares the same name as Brian McBride from Stars of the Lid. The track "Don't Bother They're Here" uses the melody of Stephen Sondheim's 1973 song "Send in the Clowns".
In December 2007, American webzine Somewhere Cold ranked And Their Refinement of the Decline No. 5 on their 2007 Somewhere Cold Awards Hall of Fame.[9]
Stars of the Lid is an American ambient music duo consisting of Brian McBride and Adam Wiltzie. The duo formed in Austin, Texas in 1993, and they list among their influences minimalist and electronic composers such as Arvo Pärt, Zbigniew Preisner, Gavin Bryars, and Henryk Górecki, as well as Talk Talk, post-rock artists Labradford, and ambient innovator Brian Eno. Their compositions are largely beatless soundscapes, composed of droning, effects-treated guitars along with piano, strings, and horns; volume swells and feedback fill the gap of rhythmic instruments, providing dynamic movement. Their sound has been described as "divine, classical drone without the tedious intrusion of drums or vocals."[1]
24 August 2021: Circuline; Oliver Wakeman & Steve Howe
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Nominated
for PROG magazine's Limelight award for best new band, cinematic New
York-based prog rockers Circuline have managed to gather an impressive
all-star line-up of SEVEN guest guitarists on their latest release
"Counterpoint", including members of Enchant, Happy the Man,
Renaissance, and Sound of Contact. Circuline performed at the 13th
International Rites of Spring festival (RoSfest), Philadelphia's Liberty
Music Fest, Chicago's Progtoberfest, New Jersey's ProgStock, and has
toured England opening for IO Earth. Find them on Facebook.
credits
released May 5, 2016
Circuline is:
Andrew Colyer - keyboards, sound design, vocals
Darin Brannon - drums, percussion, keyboards
Natalie Brown - lead vocals
William "Billy" Spillane - lead vocals, rhythm guitars
Paul Ranieri - basses
Beledo - guitars
Vocal lyrics and melodies by Randy Mcstine.
Vocal harmony arrangements by Natalie Brown, Andrew Colyer, and William Spillane.
Guest Guitarists:
Ryche Chlanda (Fireballet, Renaissance, Flying Dreams)
Alek Darson (Fright Pig, Samurai of Prog)
Matt Dorsey (Sound of Contact, Dave Kerzner Band)
Randy McStine (The Fringe, Lo-Fi Resistance)
Doug Ott (Enchant)
Alan Shikoh (Glass Hammer)
Stanley Whitaker (Happy the Man, Oblivion Sun)
Recorded at:
The Cave, Red Hook, NY; engineered by Andrew Colyer and Darin Brannon
Mixed by: Alek Darson (alekdarson.com)
Mastered at: Sun Room Audio, Cornwall, NY; engineered by Dan Coutant (www.srmastering.com)
Photography by Rob Shannon Fotopic Photography, Catskill, NY (fotopic.com)
Art illustration/graphics/cd design by Darin Brannon of DB Media Productions
Legal management: Ronald Bienstock
Band Housing courtesy of Sally and John Bowkett
Circuline is:
Andrew Colyer - keyboards, sound design, vocals
Darin Brannon - drums, percussion, keyboards
Natalie Brown - lead vocals
William "Billy" Spillane - lead vocals, rhythm guitars
Paul Ranieri - basses
Beledo - guitars
Vocal lyrics and melodies by Randy Mcstine.
Vocal harmony arrangements by Natalie Brown, Andrew Colyer, and William Spillane.
Guest Guitarists:
Ryche Chlanda (Fireballet, Renaissance, Flying Dreams)
Alek Darson (Fright Pig, Samurai of Prog)
Matt Dorsey (Sound of Contact, Dave Kerzner Band)
Randy McStine (The Fringe, Lo-Fi Resistance)
Doug Ott (Enchant)
Alan Shikoh (Glass Hammer)
Stanley Whitaker (Happy the Man, Oblivion Sun)
Recorded at:
The Cave, Red Hook, NY; engineered by Andrew Colyer and Darin Brannon
Mixed by: Alek Darson (alekdarson.com)
Mastered at: Sun Room Audio, Cornwall, NY; engineered by Dan Coutant (www.srmastering.com)
Photography by Rob Shannon Fotopic Photography, Catskill, NY (fotopic.com)
Art illustration/graphics/cd design by Darin Brannon of DB Media Productions
Legal management: Ronald Bienstock
Band Housing courtesy of Sally and John Bowkett
all rights reserved
circuline rock cinematic rock crossover prog progressive rock New York
For the second half of tonight's show, we will feature The 3 Ages of Magick, the 2001 release from Oliver Wakeman and Steve Howe.
From reviewer SouthSideoftheSky on Prog Archives:
As a complete Steve Howe fanatic, I had to check this album out. Steve plays on several tracks - both acoustic and electric guitars. I was surprised about how good this album is, and not just because Steve plays on it.
Oliver has picked up more than a few tricks from his father. Their playing styles are indeed very similar. Rick has taught both his sons very well. But I would not say that Oliver doesn't bring anything new. I don't think that this album just as well could have been a Rick Wakeman album - Oliver has developed his own style. What impressed me the most was not the playing but Oliver's ability to write music. This is very good instrumental material. The album is varied yet consistent and does not get boring half way through as so many instrumental albums do.
The music is something of a crossover between Rick Wakeman and Mike Oldfield. The Celtic influences and instruments stand out in particular. But this is hardly New Age music even if some tracks have that feeling. This music has much more punch than New Age music. Some tracks really rock! In their own kind of way.
For fans of Rick and Steve, give Oliver a chance.
Studio Album, released in 2001
Songs / Tracks Listing
1. Ages Of Magick (5:48)
2. Mind Over Matter (4:02)
3. The Forgotten King (3:02)
4. The Storyteller (3:42)
5. The Whales Last Dance (4:30)
6. Time Between Times (5:03)
7. Flight Of The Condor (4:48)
8. Lurey And The Mermaid (3:02)
9. Standing Stones (4:31)
10. The Enchanter (6:04)
11. The Healer (4:18)
12. Through The Eyes Of A Child (2:13)
13. Hy Breasail (8:38)
Total Time: 59:41
Bonus Tracks on 2013 reissue:
14. Hit 'N Myth (Previously Unreleased) (5:14)
15. The Faerie Ring (Previously Unreleased) (5:36)
16. Dream Weaver (The Storyteller Demo) (3:33)
- Oliver Wakeman / piano, keyboards, Hammond, composer, producer
AND
- Steve Howe / electric, acoustic & steel guitars
With:
- Tony Dixon / Uilleann pipes, whistle, flute
- Jo Greenland / violin
- Tim Buchanan / fretted & fretless basses
- Dave Wagstaffe / drums, percussion
Artwork: Anne Sudworth
CD Resurgence - RES144CD (2001, UK)
CD Esoteric Recordings - ECLEC 2415 (2013, UK) Remastered with 3 bonus tracks
17 August 2021: Nigel Mullaney "The Turning" (DiN67); The Beyond - Music Inspired By The Lucio Fulci Death Trilogy
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I'll be hosting "Rural Electric" from 7-9 pm tonight, leading into FreeForm Radio at 9 pm. My playlist will include country music from New Zealand as well as a number of excellent singer-songwriters.
Our first featured release tonight is an excellent hour of electronic music from Nigel Mullaney.
Our thanks to Ian Boddy and DiN for providing us with a promo copy of this release.
Nigel Mullaney for many years has lived a life of relative musical anonymity
preferring to inhabit the worlds of soundtrack and library music. Whilst
he has been involved with several other collaborative musical projects
it is only in the last couple of years that he has started to spread his
solo musical wings with the album releases “31 Days” on DiN and “The Navigator” on Behind the Sky Music.
The last year has shown all of us how fragile our existence is and how vital it is to nurture a physical and artistic connection to creativity and those that surround us. The Turning is an album that was forged from the concepts and ideas first explored in the album “31 Days” (DiN61), a desire to capture the raw emotion of a live electronic performance coupled with the expression of Jonathan Jowett’s piano playing and Mullaney's work with the Elemental Chamber Orchestra. Modular & Moog synthesizers were used to assemble a deep sonic palette that reflects the emotional concepts of the album fused with a variety of studio sessions, acoustic recordings and Elektron machines. The tracks were all mixed on to a vintage Ampex ATR-102 using an SSL desk and numerous vintage outboard equipment.
The 10 tracks on this album, whilst dominated by modular textures and sequences take this style of composition to new heights in their truly widescreen cinematic landscapes. The opener “Lost At Sea” is a beautiful example of how to create such a journey in under seven minutes. The following eight pieces take the listener on an emotional travelogue before succumbing to the blissful closing of the album with “Nostalgia Bomb”.
DiN label boss Ian Boddy curated the track selection and running order to create an electronic music album full of emotional complexity and hope.
The last year has shown all of us how fragile our existence is and how vital it is to nurture a physical and artistic connection to creativity and those that surround us. The Turning is an album that was forged from the concepts and ideas first explored in the album “31 Days” (DiN61), a desire to capture the raw emotion of a live electronic performance coupled with the expression of Jonathan Jowett’s piano playing and Mullaney's work with the Elemental Chamber Orchestra. Modular & Moog synthesizers were used to assemble a deep sonic palette that reflects the emotional concepts of the album fused with a variety of studio sessions, acoustic recordings and Elektron machines. The tracks were all mixed on to a vintage Ampex ATR-102 using an SSL desk and numerous vintage outboard equipment.
The 10 tracks on this album, whilst dominated by modular textures and sequences take this style of composition to new heights in their truly widescreen cinematic landscapes. The opener “Lost At Sea” is a beautiful example of how to create such a journey in under seven minutes. The following eight pieces take the listener on an emotional travelogue before succumbing to the blissful closing of the album with “Nostalgia Bomb”.
DiN label boss Ian Boddy curated the track selection and running order to create an electronic music album full of emotional complexity and hope.
credits
released July 16, 2021
All tracks composed, programmed and recorded by Nigel Mullaney August 2020 - January 2021.
Instruments:
Moog, Eurorack Modular, Elektron, Korg & Taylor T5 Guitar
The Elemental Chamber Orchestra
Jonathan Paul Jowett - Piano
Special thanks to:
Jonathan Paul Jowett - Phoenix Creative Media Ltd
Ian Boddy - DiN Records
Wendy Carroll - DiN Records
Ben Wilson - DivKid
Robin Rimbaud - Scanner
Dan Wahlbeck - DPW design
All tracks composed, programmed and recorded by Nigel Mullaney August 2020 - January 2021.
Instruments:
Moog, Eurorack Modular, Elektron, Korg & Taylor T5 Guitar
The Elemental Chamber Orchestra
Jonathan Paul Jowett - Piano
Special thanks to:
Jonathan Paul Jowett - Phoenix Creative Media Ltd
Ian Boddy - DiN Records
Wendy Carroll - DiN Records
Ben Wilson - DivKid
Robin Rimbaud - Scanner
Dan Wahlbeck - DPW design
all rights reserved
ambient edm em electronic electronic music electronica idm downtempo modular synth Sunderland
For the second half of tonight's show, we offer our listeners a little more challenging listening experience.
Our thanks to Raffaele Pezzella and Eighth Tower Records for providing us with a copy of this release.
Lucio
Fulci, born in Rome in 1927, remains as controversial in death as he
was in life. A gifted craftsman with a sharp tongue and a wicked sense
of dark humor, Fulci achieved some measure of notoriety for his gore
epics of the late 1970s and early 1980s. Abandoning his early career as a
med student, Fulci entered the film industry as a screenwriter and
assistant director, working alongside such directors as Steno and
Riccardo Freda. Fulci quickly established himself as a prolific
craftsman adept at musicals, comedies and westerns. In 1979, Fulci's
film making career hit a high point with him breaking into the
international market with Zombi 2 (1979), an in-name-only sequel to
George A. Romero's Zombi (1978), which had been released in Italy as
'Zombi'. With its flamboyant imagery, graphic gore and moody
atmospherics, the film established Fulci as a gore director par
excellence. Over the next three years, Fulci plied his trade with
finesse and flair, rivaling even the popularity of his "opponent" Dario
Argento. Bleak horrors are transformed into bloody poetry - Fulci's
loving camera technique, and the decayed splendour of his art design,
make the films more than just a gross endurance test. His opus
latifundium, his “real estate” is the “Trilogy of Death”: Paura nella
città dei morti viventi (City of the Living Dead,
1980), a Lovecraftian story of a priest who hangs himself thus opening
the gates of hell; L’aldila (The Beyond, 1981), about a hotel which is a
gate to hell, and Quella villa accanto al cimitero (House by the
Cemetery, 1981), about one Dr Freudstein who, by transplanting parts of
his victims to his body for over a century has managed to stay alive.
These films are about intrinsic quality, texture, consistency. For this
reason they affect sense rather than intellect – confusion, disgust,
suffering, delight at the pangs of horror are the qualities these films
evoke. The screen is not the marker between actual and virtual but, in
Paul Virilio’s words, the “osmotic membrane”. Or in the Gilles Deleuze’s
words “not in a different world but in a link between humanity and the
world…to believe in this as in the impossible, the unthinkable, which
nonetheless cannot be but thought”. By the 1990s, Fulci went on a hiatus
with film making for further health and personal reasons as the Italian
cinema market went into a further decline. Lucio Fulci passed away at
his home on March 13, 1996 at the age of 68.
This new Eighth Tower Records project, dedicated to the Lucio Fulci’s “Trilogy Of Death”, a unique and unrepeatable corpus in the history of Italian “supernatural cinema”, tries to imagine an alternative soundtrack for those movies. The several souls of Fulci’s movies are evoked by the musicians - Nàresh Ran, Mario Lino Stancati, Daniel Ferreira (Kloob), Leonardo Granchi (Bad Girl), Cristiano Bocci, Paolo Acquaviva (DuoSerpe), Sara Fontana, Dario Arrighi (Progetto No Name) - through a variety of music styles (electroacoustic, dark ambient, concrete music, progressive rock, drone music). Some of them kept in mind the lesson of the master Fabio Frizzi, the well known composer of the original soundtracks, while others escaped any attempt to revive that glorious tradition and interpreted Fulci’s horror universe in a totally contemporary and unedited way.
This new Eighth Tower Records project, dedicated to the Lucio Fulci’s “Trilogy Of Death”, a unique and unrepeatable corpus in the history of Italian “supernatural cinema”, tries to imagine an alternative soundtrack for those movies. The several souls of Fulci’s movies are evoked by the musicians - Nàresh Ran, Mario Lino Stancati, Daniel Ferreira (Kloob), Leonardo Granchi (Bad Girl), Cristiano Bocci, Paolo Acquaviva (DuoSerpe), Sara Fontana, Dario Arrighi (Progetto No Name) - through a variety of music styles (electroacoustic, dark ambient, concrete music, progressive rock, drone music). Some of them kept in mind the lesson of the master Fabio Frizzi, the well known composer of the original soundtracks, while others escaped any attempt to revive that glorious tradition and interpreted Fulci’s horror universe in a totally contemporary and unedited way.
credits
releases August 27, 2021
Curated and mastered by Raffaele Pezzella (Sonologyst)
Edited by Eighth Tower Records
Illustrations: ©John Chadwick 2016 - 2021
www.behance.net/jdchadwick
jdchadwickdesign@gmail.com
© 2021. All rights reserved
Curated and mastered by Raffaele Pezzella (Sonologyst)
Edited by Eighth Tower Records
Illustrations: ©John Chadwick 2016 - 2021
www.behance.net/jdchadwick
jdchadwickdesign@gmail.com
© 2021. All rights reserved
all rights reserved
ambient
dark ambient
dark chamber
drone
industrial
noise
Italy
29 June 2021: Laren D'Or; RHaD Metamusic; Bass Communion
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From Aural Innovations #14 (January 2001)
Laren d'Or is the moniker used by Hungarian musician Attila Héger, who plays keyboard driven music that is the encyclopedia description of symphonic progressive. Héger has been playing music since he started piano lessons at the age of six, and quotes among his influences such luminaries as Vangelis, Tangerine Dream, Mike Oldfield, Pink Floyd, Genesis, Jean-Michel Jarre, Yes, and Solaris. Vangelis and Jarre are probably the best analogies in terms of the music on War Of Angels, and Héger's compositional talents are without question equal to, if not better, than those more famous artists.
War Of Angels is divided into two parts. The first 5 tracks are the "Synthphonia" album and the next 8 are the "Progressive". The Synthphonia tracks are characterized by highly majestic symphonic keyboard works that bring to mind Bach or Wagner gone prog. Bold and intense, the music demands and receives the listener's undivided attention. I kept thinking that he could make a comfortable living doing soundtrack work, and, in fact, the promo material points out that Héger has been the in-house composer for a game developing company for the past eight years. The tracks labeled Progressive start off similar to the earlier tunes but in some cases are rocking out of bit more. The synth patterns have a spacier progressive edge, and are more beat oriented. "Sidestep Walking" is like a heavy symphonic techno piece. Quite a nice set and apparently what I was sent consists of most of the tracks from what is actually a 2-CD set.
In summary, Attila Héger will appeal to fans of heavy keyboard symphonic progressive rock. He also has a more aggressive metallic side which can be heard on his Al Norder project (an anagram of Laren d'Or).
RHaD (Research for Historical Audio Documents) is a side project of Raffaele Pezzella (better known as Sonologyst). What Pezzella brings us here is a
concrete example of something of what I have always believed – that ALL
sound is music, whatever its source (radio transmissions, telephonic
conversations, hi-fi test signals, old and forgotten documentaries,
unknown field recordists). More than that, there is something else that
goes beyond the simple creation of seemingly random sound collages;
there is no doubt that here we have the uncovering of secret worlds and
other realities, existences parallel to ours and yet separated by vast
temporal and spatial distances. Here we have recordings and found sounds
that have been manipulated in such a way as to render their contexts
irrelevant and meaningless. Subtle concatenations of sound and
substance, mood and context, in some instances creating a sense of
otherness, that what we’re hearing are broadcasts from dimensions and
realities that are not the one we live in. It’s exactly like trying to
tune into a specific station on a vintage radio set but you don’t quite
know where it is: as you turn the dial this way and that, you catch
glimpses of other lives and other existences playing out just like your
own. They are of our world and yet not part of it either. These six
“metasonic” messages from
seemingly emanate from an unknown Otherwhere and that alone will entice
us to listen further and more deeply, in the hope of catching something
that will peel back the layers and give us what we’ve yearned for. And
that, I think, is where the true beauty lies in this album.
Psymon Marshall
credits
released June 18, 2021
Metamusic by RhaD.
Featuring: Amline Thomas, voice; Michael Bonaventure, organ; Stefan Schmidt, classic guitar on track 1.
Daniel Barbiero, double bass; Francesco Arrighi, piano; Mara Lepore, piano, on track 3.
Radio tape recordings from Audiobox transmissions (1997-98).
Edited by ©Unexplained Sounds Group
Mastered by Raffaele Pezzella
Artwork: “Detour”. Collage on forex on cardboard by RhaD. 2020
www.deviantart.com/rhad-art
©2021 All rights reserved
unexplainedsoundsgroup.bandcamp.com
Metamusic by RhaD.
Featuring: Amline Thomas, voice; Michael Bonaventure, organ; Stefan Schmidt, classic guitar on track 1.
Daniel Barbiero, double bass; Francesco Arrighi, piano; Mara Lepore, piano, on track 3.
Radio tape recordings from Audiobox transmissions (1997-98).
Edited by ©Unexplained Sounds Group
Mastered by Raffaele Pezzella
Artwork: “Detour”. Collage on forex on cardboard by RhaD. 2020
www.deviantart.com/rhad-art
©2021 All rights reserved
unexplainedsoundsgroup.bandcamp.com
experimental avant-garde drone improvisation musique concrete sound art Italy
Atmospherics is a collection of Bass Communion music released by library music company Bruton Music[1] and distributed to media companies for use in television and radio programs. Some of the pieces are extracts and remixes of tracks from other Bass Communion albums.[2]
It was never commercially available.[3]
Composed by Steven Wilson, except "Aftermath" written by Steven Wilson/Theo Travis
All instruments: Steven Wilson
Executive Producer: Jez Poole.
Recorded & mixed at Battery Studios, London, UK.
Mix Engineer: Steven Wilson.
Mastering: Chris Parmenidis, Battery Studios, London, UK.
Post-production Co-ordinator: Claire Leaver.
Graphic Designer: Jacquie O'Neill, Zomba Design
22 June 2021: Ian Boddy "The Deep"; Bass Communion "And No Birds Sing"
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 Deep was originally released on Something Else Records in 1994 and
alongside his previous album, The Uncertainty Principle, has proved to
be one of his most popular pre-DiN releases. Inspired by the film The Abyss the original 11 tracks form a continuous suite of music that cover
everything from dark ambient soundscapes, Berlin school sequencing
through to melodic synth instrumentals. Opening with the haunting sound
of a submarine sonar the eerie Ligeti chord masses explode to life with
the heavily sequenced Dark Descent. The title track is narrated by David
Burns and sets the scene with some awe inspiring facts about the deep
ocean which remains largely unexplored. The music then follows a path
from the surface down to the dark depths of the hydrosphere until
reemerging with the classical orchestrations of Sub-Aquiem before the
album finally fades with the return of the sonar. This is as close as
Boddy ever got to a true concept album and compositionally stands up to
anything else in that oeuvre.
This reissue sees Dutch EM label Groove Unlimited working with Boddy to bring the definitive version of this classic electronic music album back to print. Remastered by Boddy himself there are also a couple of unreleased bonus tracks from the same time period adding an extra 12 minutes of material.
credits
released June 11, 2021
All tracks composed by Ian Boddy, except * by Ian Boddy & David Berkeley.
Produced and engineered by Ian Boddy and mixed to DAT at Something Else Studios (April - August 1994).
Original artwork design by Gary Scott.
Originally released on Something Else Records in 1994 (SER006).
This editions reissued on Groove Unlimited (GR-310).
Remastered by Ian Boddy March 2021.
Aquanauts:
Ian Boddy : Akai S3000 & MPC-60, Roland JD-990, D-550 & 100-M
Modular System, Kurzweil K2000, Korg Wavestation and VCS-3.
David Berkeley : Additional keyboards on Re-Emergence.
Jane Molloy : Voice on Sirens Call.
David Burns : Voice on The Deep and Sub-Aquiem.
All tracks composed by Ian Boddy, except * by Ian Boddy & David Berkeley.
Produced and engineered by Ian Boddy and mixed to DAT at Something Else Studios (April - August 1994).
Original artwork design by Gary Scott.
Originally released on Something Else Records in 1994 (SER006).
This editions reissued on Groove Unlimited (GR-310).
Remastered by Ian Boddy March 2021.
Aquanauts:
Ian Boddy : Akai S3000 & MPC-60, Roland JD-990, D-550 & 100-M
Modular System, Kurzweil K2000, Korg Wavestation and VCS-3.
David Berkeley : Additional keyboards on Re-Emergence.
Jane Molloy : Voice on Sirens Call.
David Burns : Voice on The Deep and Sub-Aquiem.
ambient berlin school em electronic electronic music electronica dark ambient modular synth sequencer synthwave Sunderland
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about Bass Communion And No Birds Sing
2 pieces that originated as sound design / soundtrack material for the work in progress movie And No Birds Sing.
This first 28 minute sequence is assembled from material created for the film, dark industrial sound design, with cavernous metal scrapes, water drips, subterranean drones, and shortwave radio transmissions.
The second theme piece is more beautiful and harmonic, built around a sequence of chords in regular intervals that only arrives back at the beginning after moving through 24 different piano chords.
And No Birds Sing is a story that crosses genres, having aspects of Psychological Thriller, Horror and Mystery. Reality merges with film and the supernatural when a London director starts to experience strange events and is forced to confront his troubled past. The film blurs the lines of reality, memory and fiction where sound constantly motivates the twists and turns of the action.
So far a 4 minute test trailer for the film has been shot, watch it here!
www.youtube.com/watch?v=pqIlIePsKF8
This first 28 minute sequence is assembled from material created for the film, dark industrial sound design, with cavernous metal scrapes, water drips, subterranean drones, and shortwave radio transmissions.
The second theme piece is more beautiful and harmonic, built around a sequence of chords in regular intervals that only arrives back at the beginning after moving through 24 different piano chords.
And No Birds Sing is a story that crosses genres, having aspects of Psychological Thriller, Horror and Mystery. Reality merges with film and the supernatural when a London director starts to experience strange events and is forced to confront his troubled past. The film blurs the lines of reality, memory and fiction where sound constantly motivates the twists and turns of the action.
So far a 4 minute test trailer for the film has been shot, watch it here!
www.youtube.com/watch?v=pqIlIePsKF8
credits
released June 16, 2021
All sound by SW 2020-2021 as Bass Communion
Final assembly and mix June 2021
Voices by Yali and Mia
Cover photograph and design by Carl Glover for Aleph
Audio resolution - 48k/24 bit
All sound by SW 2020-2021 as Bass Communion
Final assembly and mix June 2021
Voices by Yali and Mia
Cover photograph and design by Carl Glover for Aleph
Audio resolution - 48k/24 bit
license
all rights reserved
tags
15 June 2021: Kayhan Kalhor et al: Hawniyaz; Portraits: Gasparotti, Ciullini, 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.
Hawniyaz (Kurdish: ھاونیاز) is an album of Kurdish music released in 2016. It was the result of a collaboration among Kayhan Kalhor, Aynur Doğan, Cemil Qocgiri and Salman Gambarov.[1][2] The album was released by Harmonia Mundi. It includes traditional Kurdish songs that are recreated with a new composition, which includes classical, folk and jazz elements.[3]
Kayhan Kalhor is an internationally acclaimed virtuoso on the kamancheh (spiked fiddle), who through his many musical collaborations has been instrumental in popularizing Persian around the world and is a creative force in today’s music scene. His performances of traditional Persian music and multiple collaborations have attracted audiences around the globe. He has studied the music of Iran’s many regions, in particular those of Khorason and Kordestan, and has toured the world as a soloist with various ensembles and orchestras including the New York Philharmonic and the Orchestre National de Lyon. He is co-founder of the renowned ensembles Dastan and Masters of Persian Music. Kalhor has composed works for Iran’s most renowned vocalists Mohammad Reza Shajarian and Shahram Nazeri and has also performed and recorded with Iran’s greatest instrumentalists. He has composed music for television and film and was featured on the soundtrack of Francis Ford Copolla’s Youth Without Youth in a score that he collaborated on with Osvaldo Golijov. John Adams invited him to give a solo recital at Carnegie Hall as part of his Perspectives Series and he has appeared on a double bill at Lincoln Center’s Mostly Mozart Festival, sharing the program with the Festival Orchestra performing the Mozart Requiem. Kayhan is an original member of Yo-Yo Ma’s Silk Road Project for whom he continues to compose for and tour with. His compositions appear on all of the Ensemble’s albums. His most recent albums include Silent City, collaboration with Brooklyn Rider and I Will Not Stand Alone with santoor player Ali Bahrami Fard. Kayhan has been nominated for three Grammys and in 2017 was awarded a Grammy with Yo-Yo Ma and the Silk Road Ensemble (2017).
Kayhan Kalhor, born in Tehran, began his musical studies at the age of seven under Master Ahmad Mohajer. A child prodigy on the kamancheh, he was invited at the age of thirteen to work in the Iranian National Radio and Television Orchestra, where he performed for five years. At seventeen, Kalhor began working with the Shayda Ensemble of the Chavosh Cultural Center, the most prestigious arts organization at the time in Iran. While performing with Shayda, he continued studying the Iranian classical repertoire (radif) with different masters. In 1978 Kalhor went to Rome to study Western classical music and continued his studies at Carleton University in Ottawa, Canada, where he received a degree in music. He has composed works for Iran's most renowned vocalists, including Mohammad Reza Shajarian and Shahram Nazeri and has performed and recorded with many of Iran's greatest artists. In 1991 he co-founded Dastan, the renowned Persian classical music ensemble, and in 1997 he formed Ghazal ensemble with Shujaat Husain Khan. His commissions include works written for the Kronos Quartet and for Yo-Yo Ma’s Silk Road Project, with whom he continues to compose for as well as tour. In 2002 he was nominated for a BBC Radio 3 World Music Award; In 2005 he was awarded the Preis der deutschen Schallplattenkritik (“German Record Critics’ Award”); five of his recordings have been nominated for Grammys and in 2017 he was awarded a Grammy.
Portraits is a new series from Unexplained Sounds Group focusing on electronic
and electro-acoustic music composers. Each release creates a 'portrait'
of three musicians by showcasing representative pieces of their recent
musical journeys, serving as a guide for further listening and a means
of exploring their work. This first volume is dedicated to three Italian
musicians: Gabriele Gasparotti, Daniele Ciullini, and Mario Lino
Stancati. Gasparotti and Stancati are among the most talented emerging
musicians on the Italian experimental scene, while Ciullini is a veteran
of the post-industrial underground who, after a very long silence,
returned to music in 2012. Our thanks to Friend of Freeform Raffaele Pezzella for providing us with a promotional copy of Portraits.
GABRIELE GASPAROTTI
Gabriele Gasparotti (05/09/1987) composes electroacoustic music on analog instruments. He is the creator of the project Extrema Ratio (music inspired by the script of Alberto Cavallone’s lost movie Maldoror – Il dio selvaggio) and of the artistic collective Gasparotti Muga Muchū Morphing Theater – a multimedia project that aims at the interaction between music and the performative arts and is deeply influenced by surrealism and esoterism. His video La nascita di Zelda v. 2.0 (Zelda’s Birth v. 2.0) was screened at the 76th Venice International Film Festival in the section Il futuro del corto d’autore (The Future of Art Shorts). He is the founder of the record label Il Dio Selvaggio and his latest album is Istantanee vol.1 (Il Dio Selvaggio, Dio Drone, Dornwald).
soundcloud.com/gabriele-gasparotti
DANIELE CIULLINI
Active since the 80s in the area of the tape-network with some self-productions and participations in compilations of labels and fanzines of the time, after a iatus lasting about thirty years, Daniele Ciullini returns to the music and live sets. His recent works were published by Luce Sia and Silentes. Unexplained Sounds Group presents some unreleased tracks made by using toy instruments, field recordings and automatic voices.
soundcloud.com/danieleciullini
MARIO LINO STANCATI
Mario Lino Stancati (Italy, 1981) graduated in "Disciplines of the Arts, Music and Theater". He is an actor, director, playwright, poet, musician and composer.Not chained to any individual musical genre (he crosses progressive ambient, concrete music and avant-garde composition) and motivated to explore any form of experimentation with music, he developed methodologies and expressive practices capable of merging both vocal performativity and guitar playing.
soundcloud.com/mariolinostancati
GABRIELE GASPAROTTI
Gabriele Gasparotti (05/09/1987) composes electroacoustic music on analog instruments. He is the creator of the project Extrema Ratio (music inspired by the script of Alberto Cavallone’s lost movie Maldoror – Il dio selvaggio) and of the artistic collective Gasparotti Muga Muchū Morphing Theater – a multimedia project that aims at the interaction between music and the performative arts and is deeply influenced by surrealism and esoterism. His video La nascita di Zelda v. 2.0 (Zelda’s Birth v. 2.0) was screened at the 76th Venice International Film Festival in the section Il futuro del corto d’autore (The Future of Art Shorts). He is the founder of the record label Il Dio Selvaggio and his latest album is Istantanee vol.1 (Il Dio Selvaggio, Dio Drone, Dornwald).
soundcloud.com/gabriele-gasparotti
DANIELE CIULLINI
Active since the 80s in the area of the tape-network with some self-productions and participations in compilations of labels and fanzines of the time, after a iatus lasting about thirty years, Daniele Ciullini returns to the music and live sets. His recent works were published by Luce Sia and Silentes. Unexplained Sounds Group presents some unreleased tracks made by using toy instruments, field recordings and automatic voices.
soundcloud.com/danieleciullini
MARIO LINO STANCATI
Mario Lino Stancati (Italy, 1981) graduated in "Disciplines of the Arts, Music and Theater". He is an actor, director, playwright, poet, musician and composer.Not chained to any individual musical genre (he crosses progressive ambient, concrete music and avant-garde composition) and motivated to explore any form of experimentation with music, he developed methodologies and expressive practices capable of merging both vocal performativity and guitar playing.
soundcloud.com/mariolinostancati
credits
released June 4, 2021
REVIEWS
Avant Music News
avantmusicnews.com/2021/06/07/amn-reviews-gasparotti-ciullini-stancati-portraits-2021-unexplained-sounds-group/
Edited by ©Unexplained Sounds Group
Mastered by Raffaele Pezzella (Sonologyst)
D. Ciullini cover photo by Roberto Deri
©2021 All rights reserved
REVIEWS
Avant Music News
avantmusicnews.com/2021/06/07/amn-reviews-gasparotti-ciullini-stancati-portraits-2021-unexplained-sounds-group/
Edited by ©Unexplained Sounds Group
Mastered by Raffaele Pezzella (Sonologyst)
D. Ciullini cover photo by Roberto Deri
©2021 All rights reserved
experimental avant-garde drone improvisation musique concrete sound art Italy
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