08 August 2023: DiN iNDEX 08 (DiN80); Vyormouth

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This week's Rural Electric theme is "small towns".

 

 

iNDEX08 is the eighth DiN compilation album and includes two tracks each from the titles
DiN71 - 79. The artists on show this time are Polypores, Scanner, Ian Boddy, d’Voxx, 
Parallel Worlds, Surface 10, Node and Lyonel Bauchet as well as a collaboration between 
Ian Boddy & Erik Wøllo.

As with the previous seven DiN samplers label boss Ian Boddy has mixed and cross-faded the 18 tracks into a continuous ambient mix that not only showcases the albums featured on the release but presents an exciting and varied title in its own right. It also highlights the varied and intriguing music that the DiN label offers on its releases from deep analogue synth grooves through vibrantly melodic instrumentals to powerful, epic ambient atmospheres. An intoxicating mix of the old and new beautifully presented in a slimline cardboard wallet with an extra flap which just adds to the value and collectibility of this release.

With a total release catalogue now of 118 titles the DiN label is continuing to innovate and evolve as it heads toward 2024 when it will celebrate 25 years of releasing quality instrumental electronic and ambient synth music.

credits

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

released July 21, 2023

This compilation edited from the original tracks by Ian Boddy - April 2023.

Tags

ambient d'voxx em electronic electronic music electronica erik wollo lyonel bauchet node parallel worlds polypores scanner surface10 modular synth Sunderland

 

 

Liminal spaces refer to transitional or in-between areas that exist on the threshold between two distinct states or environments. These spaces are characterized by ambiguity, uncertainty, and a sense of being neither here nor there. Liminality can be experienced physically, such as in doorways, corridors, or airports, as well as psychologically, in moments of transition or transformation. The concept of liminality was originally developed by anthropologist Arnold van Gennep and later expanded upon by anthropologist Victor Turner. They used it to describe the middle stage of a rite of passage, where individuals are neither fully part of their old identity nor fully integrated into their new identity. However, the concept of liminality has since been applied more broadly to various aspects of human experience, including physical spaces. Liminal spaces often evoke a sense of unease or strangeness in people. This feeling can be attributed to the psychological phenomenon known as the uncanny. The uncanny refers to something that is familiar yet strange, ordinary yet unsettling. It is a state of cognitive dissonance that arises when we encounter something that challenges our expectations or blurs the boundaries between the known and the unknown. In liminal spaces, the uncanny can manifest in different ways. The ambiguity of these spaces can create a sense of disorientation and make us question our perceptions. The absence of clear markers or familiar cues can lead to a feeling of being lost or disconnected. Additionally, the transitory nature of liminal spaces can evoke a sense of anticipation or suspense, as we await what lies ahead or reflect on what we have left behind.
Vyormouth music is a clear manifestation of music as representation of liminal spaces, both physical as well as psychological. Listening to the long tracks of the album “Liminal Spaces” we experience a state of mental disorientation in which our brain not only perceives the ambiguity of slow transitions and potential eerie apparitions, but also reflects about our own identity as part of an uncertain reality. ZeroK is proud to present the mysterious and unsettling debut album of Vyormouth. 

credits

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

released July 20, 2023

Music by Vyormouth
Published by ZeroK
Mastered by Raffaele Pezzella (Sonologyst)
© 2023. All rights reserved

Tags

ambient dark ambient drone meditation post-industrial soundscapes Italy

 

2023 Summer Holiday

 Hello everyone. I will be on holiday for June and July and will return to hosting the show in August. 

 I don't know if there will be a substitute host or automated programming during the 9-11 time slot. 

See you in August!

30 May 2023: Yes "Mirror to the Sky"; Pink Floyd "The Dark Side of the Moon" 50th Anniversary remaster; Michael Bonaventure "Retrospective"

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This week featuring Aoife O'Donovan

 

 

Mirror to the Sky is the twenty-third studio album by English progressive rock band Yes, released on 19 May 2023 by InsideOut Music and Sony Music.^[2] It is their first studio album with American drummer Jay Schellen as a full-time member following the death of long-time Yes drummer Alan White in 2022, and to whom the album is dedicated.^[3]

Yes started work on the album shortly before the release of The Quest, their previous album, in October 2021. Like its predecessor, guitarist Steve Howe resumed his role as producer on Mirror to the Sky and the FAMES Orchestra in North Macedonia provide orchestral arrangements by Paul K. Joyce on some songs. 

Yes – Mirror To The Sky: "the best Yes album in more than 20 years"

By Sid Smith

( Prog )

No Jon Anderson, Chris Squire or Alan White? No problem for Yes. Prog’s great survivors hit a late-career upswing on Mirror To The Sky

With every studio recording, live album or tour announcement, there’s always a faction of fans who will turn up on a corner of the internet waving their ‘No Jon Anderson, No Yes’ banners. Their zeal is only matched by the nearby counter-demonstration shaking their ‘No Peter Banks, No Yes’ placards.

But time and events have moved on and maybe the ‘No Anderson’ contingent should too. In the aftermath of the singer’s unceremonious departure 15 years ago, we’ve since lost Chris Squire and Alan White, a stark reminder, should it be needed, that life is really too short to spend time grinding gears over something we have no control over. Rather than exercising well-worn prejudices and allowing expectations to become self-fulfilling prophecies, isn’t it better to approach a new album with an open mind? 

If 2021’s The Quest represented a return to some kind of form after the bland torpor of 2014’s Heaven & Earth, Mirror To The Sky feels like another useful step forward in Yes’ apparently never-ending story. There’s a good reason they released Cut From The Stars as a digital single ahead of the album: it has more hooks in it than an angler’s bag. With a cascading string motif; vibrant rays of organ; spiky, undulating bass; bubbling guitars; dead-ahead drumming and ecstatic skipping vocals, it moves with determined energy and purpose. Setting out the stall of a band that have now been fully rejuvenated with the installation of drummer Jay Schellen, it’s a track that has urgency and power in abundance. Or, to put it another way, it fucking rocks. 

Those catchy qualities continue with All Connected – its expansive feel seamlessly unrolls from one section to another, making the musical connectivity work with consummate ease. While taking disparate elements and welding them into something functional and cohesive is pretty much what Yes are best known for, there’s an argument that it’s not been done as elegantly as this for quite some time. If the chorus of Luminosity sounds, at times, like it might have been rejected by the local Christian Fellowship for being too happy-clappy, it’s at least bookended with an engagingly upbeat arrangement. The same cannot be said for the plodding dreariness of Living Out Their Dream, an unimaginative rocker whose by-the-numbers presence here is baffling.

That lapse of judgement is mercifully brief and the title track restores momentum. The piece showcases orchestral embellishments by Paul K Joyce, whose work also graced The Quest. Mid-tempo rather than magisterial, it nevertheless works well, with ethereal violin harmonics adding a chilly trail in the wake of Howe’s contemplative fretwork. The guitarist’s soloing throughout the track is especially good. At 75 years old he might have slowed down in comparison to the flash of his youth, but he demonstrates the wisdom of knowing that, in this case, a leaner, cleaner melodicism will serve the song all the better. As principal soloist and producer, Howe is ultimately free to overdub as many guitars onto a track as he sees fit without fear of anyone telling him otherwise, yet here he opts for a restrained approach that benefits the album overall. 

Yes’ internecine politics in the past have sometimes reduced the album-making process into a passive-aggressive grudge match, wherein the band are only able to work at the speed of the unhappiest member. By contrast, this line-up has publicly stated that the spirit of cooperation and mutual support evident during The Quest has continued to flourish. Though it’s hard to objectively quantify, there’s a sense that everyone being on the same page has brought optimism and coherence to the music. Jon Davison’s charming ballad Circles Of Time, which gently closes the album, though delicate on the surface, comes with a real inner strength that’s due to the simplicity of its arrangement and uncluttered sureness of its production.  

As with The Quest, this album also comes with a three-track bonus disc. The best of these is the middling Unknown Place. With its Hammond organ wig-out and solo cowbell section it seems designed to provide some clap-along crowd participation when Yes next get back on the road.

The long tail of Yes’ inventiveness during the 1970s burns so intensely to this day that it’s inevitable that the current band will likely always be judged against those past glories. While Mirror To The Sky doesn’t scale those early innovative heights and is unlikely to change the musical weather in the way the band once did, when judged on its own merits, this is a set that stands as the best Yes album in more than 20 years. Maybe it’s time to put down the placards and listen.

 A few weeks ago we featured a live 1974 recording of DSotM; tonight we spotlight the 50th Anniversary remastered recording of the original release.

The Dark Side of the Moon 50th Anniversary is a box set reissue of British progressive rock band Pink Floyd's original 1973 album. It was released on 24 March 2023 by Pink Floyd Records. Five digital-only singles were released to support the set. 

The Dark Side of the Moon is the eighth studio album by the English rock band Pink Floyd, released on 1 March 1973 by Harvest Records. Developed during live performances before recording began, it was conceived as a concept album that would focus on the pressures faced by the band during their arduous lifestyle, and also deal with the mental health problems of former band member Syd Barrett, who departed the group in 1968. New material was recorded in two sessions in 1972 and 1973 at EMI Studios (now Abbey Road Studios) in London.

The record builds on ideas explored in Pink Floyd's earlier recordings and performances, while omitting the extended instrumentals that characterised the band's earlier work. The group employed multitrack recording, tape loops, and analogue synthesisers, including experimentation with the EMS VCS 3 and a Synthi A. Engineer Alan Parsons was responsible for many of the sonic aspects of the recording, and for the recruitment of session singer Clare Torry, who appears on "The Great Gig in the Sky".

The Dark Side of the Moon explores themes such as conflict, greed, time, death and mental illness. Snippets from interviews with the band's road crew and others are featured alongside philosophical quotations. The sleeve, which depicts a prismatic spectrum, was designed by Storm Thorgerson in response to keyboardist Richard Wright's request for a "simple and bold" design which would represent the band's lighting and the album's themes. The album was promoted with two singles, "Money" and "Us and Them".

The Dark Side of the Moon is among the most critically acclaimed albums and often features in professional listings of the greatest of all time. It brought Pink Floyd international fame, wealth and plaudits to all four band members. A blockbuster release of the album era, it also propelled record sales throughout the music industry during the 1970s. The Dark Side of the Moon is certified 14 times platinum in the United Kingdom, and topped the US Billboard Top LPs & Tape chart, where it has charted for 981 weeks. As of 2013, The Dark Side of the Moon has sold over 45 million copies worldwide, making it the best-selling album of the 1970s and the fourth-best-selling album in history.^[4] In 2012, the album was selected for preservation in the United States National Recording Registry by the Library of Congress as being "culturally, historically, or aesthetically significant".

 

Michael Bonaventure Works 2018-2023

The music in this new collection of Bonaventure’s work since 2017 displays the ongoing synthesis and/or particularisation of genres, extra- musical influences and fields of intuitive awareness that have always been at work in his music. All of these being subject to the natural flow of evolution that comes through continual artistic exploration never to be constrained by convenient labels such as ‘classical’, ‘experimental’ ‘avant garde’ or ‘dark ambient’ etc. For example, a lot of the music in his endless cycle of ‘Preludes, Interludes & Postludes’ for organ is informed as much by phenomena that occur in electronic & digital sounds and processes as it is by the splendour, gestures and harmonic idioms of ‘normal’ contemporary organ music. His natural inclination to explore both fields simultaneously - electronic & acoustic - is rooted in his youth when he was playing on a Hammond organ with Leslie speaker, and a basic synthesiser, as well as learning to play the ‘real’ organ and exploring the (then) contemporary repertoire that fascinated and inspired him to create. In this regard, his main tool was the recording of improvisations and sonic explorations, not just with the organ but with anything that potentially had music in it. And it still is. The process of recording and transcribing is the very bedrock of his...  more

credits

released May 25, 2023

Michael Bonaventure (b. 1962, Edinburgh), composer, organist and collaborator in new and experimental music projects; based in Edinburgh & Amsterdam.
In recent times he has been producing work in the Dark Ambient field of electronica, as exemplified in the CD album In Tenebris Ratione Organi, released in 2019 by Eighth Tower Records. An earlier survey of his electronic & organ music, Works 2008 - 2017, was released on the Unexplained Sounds Group label in 2017, and in 2020 he co-created with the Italian guitarist & synthesiser musician Loo(p)cy (Lucia Caiazza) a new album entitled Across The Blood, released digitally in October 2020. Most recently he has formed a duo,’PNEUMA’, with the Scottish-based flautist, composer & improviser Richard Craig in which a new dimension of artistic practice is being explored through the synergy of flute, organ and amplified sounds in new compositions, improvisation and the adaptation of existing repertoire. Bonaventure’s own sonic universe derives its inspiration from mysticism and ritual, natural and imaginary worlds, astronomical and supernatural phenomena; much of his work is rooted in a personal kind of ‘adapted minimalism’ and in improvisation.
Recent works are: Omega (2023) for organ & fixed media, Prayer & Exaltation (2022) for organ, Odd, Even & December Union (2021) for music box, both written for Joseph Kudirka; Mavisbank (2021), an electronic track created for Hauntology in the UK, a CD album released in December 2021 by Eighth Tower Records; The Land Of Silence (2021), a setting of Ernest Dowson’s poem “Beata Solitudo” for soprano, live electronics & organ, premiered in Montréal in May 2021 by Kimberley Lynch & Adrian Foster; an adaptation of Giant Silver (a track from In Tenebris Ratione Organi) with new material for organ, premiered by Lauren Redhead & Alistair Zaldua at the BBC Tectonics Festival in Glasgow in 2021; and Giant Glass Green (2020), an electronic work commissioned by Earth World Collaborative and funded by Canada Council for the Arts. A number of his electronic works have been used in video art created by the Dutch-based artist Thomas Mohr and shown at various film/video art festivals in Europe in recent years, including at Berlin Atonal.
His music has been played in Canada, USA, Russia, UK, New Zealand, France, Spain, Germany, Belgium & The Netherlands as well as on BBC Radio 3, Concertzender (Netherlands), Radio Onda Rossa (Italy) and Resonance Extra FM.
As an organ soloist (with and without electronics) Bonaventure is also a seasoned interpreter of new & experimental music, with innumerable composer collaborations since the early 1980s. To date he has given over 200 premières and concertized in churches, cathedrals, universities and at festivals throughout the UK, in Europe & USA, on BBC Radio 3 & Radio Scotland, and on 7 solo CDs. These include four volumes of ‘Contemporary British Organ Music’ on the sfz label and the later organ cycles of Olivier Messiaen for Delphian Records, including a widely-acclaimed rendition of the massive Livre du Saint Sacrement, released in 2008.


Published by Unexplained Sounds Group
Music by Michael Bonaventure
Mastering by Raffaele Pezzella (a.k.a. Sonologyst)
Artwork by Christian Voyce
© 2023. All rights reserved. 

Our thanks to Raffaele for providing a copy of this release to FreeForm Radio.

Tags

experimental avant-garde drone improvisation musique concrete sound art Italy

23 May 2023: Quintessence; Mari Boine; Francisco Lopez

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

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Self is the fourth studio album by the English group Quintessence. It was the final album by the band to feature Maha Dev and Shiva Shankar Jones as both were fired from the band by Raja Ram prior to the release of Indweller.^{[citation needed]}

Self Review

by Dave Thompson

By 1972, the magical aura that once surrounded Quintessence had long since dissipated, just as the band itself had shed much of the evocative panache that characterized their greatest moments. One more album on the unfamiliar pastures of RCA was not going to correct their decline, but Self emerged a delight regardless, chiefly courtesy of the live second side that caught the band in full flight at Exeter University. Despite being just two songs long (""Freedom"" and ""Water Goddess""), the performance rolls back the years so effectively that the faintly workaday weight of side one is barely even relevant to the album's glory. There, of course, the band's customary blending of Indian mantra and jazzy heartbeats is as eclectic as ever, and the only downside is that the group has not really moved on from its original vision.

 

Track listing

Side one – At Olympic Studios 1972

1. "Cosmic Surfer" – 3:48
2. "Wonders of the Universe" – 3:27
3. "Hari Om" (not credited on album) – 0:44
4. "Vishnu Narain" – 6:26
5. "Hallelujad" – 4:14
6. "Celestial Procession" – 1:20
7. "Self" – 3:05

Side two – Live at Exeter University, 11 December 1971

1. "Freedom" – 6:45
2. "Water Goddess" (includes "Gange Mai") – 14:20

CD bonus tracks

1. "You Never Stay The Same" (single B-side, 1971) – 6:13
2. "Sweet Jesus" (single A-side, 1971) – 2:57

Personnel

• Sambhu Babaji – bass guitar
• Maha Dev – rhythm guitar
• Shiva Shankar Jones – vocals, keyboards
• Jake Milton – drums
• Allan Mostert – lead guitar
• Raja Ram – flute, percussion

 

• 
  
   

  Not only the fjords, reindeer fields and northen light are the drive forces for Mari Boine’s compositions. As a Sami activist singing in her mother tongue, Mari Boine always dares to go beyond the cliches. In her 9th solo album, Sterna Paradisea, she embarked to South Africa for inspiration and collaborations. Recorded in Cape Town, the album features guest appearances by legendary South African stars: singer Madosini Latozi Mpahleni, and the a-cappella ensemble Abaqondisi Brothers. The album is a blend of classic folk guitar, choir sounds, pop, TripHop and a twist of jazz by trumpeter Ole Jørn Myklebust who co-produced the album with bass player Svein Schultz.

  1. Lene Májjá – Lene Májjá
  2. Conversation with God – Ipmiliin hálešteapmi
  3. Courting Jewellery – Soagŋosilbbat
  4. Soria Moria Palace – Soria Moria Palássa
  5. Sterna Paradisea – Čuovgga áirras
  6. Claudine’s Song– Claudiinna lávlla
  7. The Mischievous – Skealbma
  8. Dawn – Iđitveiggodettin
  9. For My Daughter – De mana, ráhkásan
  10. Entranced – Lihkahusat
  11. When Night Is Almost Done – Go idja nuossa                      
      

      Musical style

      Boine's songs are strongly rooted in her experience of being in a despised minority. For example, the song "Oppskrift for Herrefolk" ("Recipe for a Master Race") on her breakthrough CD Gula Gula, sung in Norwegian unlike the rest of the songs which are in Northern Sámi, speaks directly of "discrimination and hate", and recommends ways of oppressing a minority: "Use bible and booze and bayonet"; "Use articles of law against ancient rights".^[10]

      Boine's other songs are more positive, often singing of the beauty and wildness of Sápmi, the Sámi lands of northern Scandinavia. The title track of Gula Gula asks the listener to remember "that the earth is our mother".^[11]

      Boine sings in an adaptation of traditional Sámi style,^[12] using the "joik" voice, with a range of accompanying instruments and percussion from indigenous traditions from around the world.^[13][14] For example, on Gula Gula the instruments used include drum, guitar, electric bass clarinet, dozo n'koni, gangan, udu, darbuka, tambourine, seed rattles, cymbal, clarinet, piano, frame drum, saz, drone drum, hammered dulcimer, bouzouki, overtone flute, bells, bass, quena, charango and antara.^[15]

      In 2017, she released See the Woman, her first English-language album.^[16]

                                                                                                                                   
      
      
      

      Dynamo

      by Francisco López

      Dynamo is a large-scale suspended artwork specifically developed for the atrium of the Spanish Pavilion at Expo Dubai 2020. Created by Daniel Canogar in collaboration with composer / audio-artist Francisco López, and produced in cooperation with the Spanish Agency for the Promotion of Cultural Projects –AC/E, the artwork is composed of sculptural screens that form three interlaced loops. Surrounding the artwork is a spiralling ramp that descends to the lower level of the atrium and allows the public to contemplate the artwork from multiple vantage points. Built-in inside the walls at the upper level of the atrium there is a large-scale, multi-channel sound system arranged in a ring of sixteen concealed speakers that project sound into the space, in ever-changing sonic combinations triggered by the visual patterns from the screens. The public can interact with the sculptural screens via an interactive system built into the ramp’s handrail: hands placed under the handrail’s sensors translate into animated sparks on the screens. The more the public activates the sensors, the more vibrant Dynamo’s visual and sonic content becomes. Mimicking the workings of an electromagnetic dynamo, the artwork eventually collects enough energy to generate a thundering experience that resonates through the atrium. This moment captures the intense roar of so many machines of the past echoing through our modern history –technologies that we behold with a mixture of fear and fascination. The ecstatic discharge is followed by a calmer phase evocative of the circulatory systems of living entities. This quieter mode gives way to a new cycle of gradual build-up, through an iterative repeating process of “collect and release” that is so much part of energy systems both biological and technological.
      Dynamo is a meditation on the circulatory nature of energy and the synchronization of biological and technological systems. It is also an invitation for us to imagine and participate in the dynamos that will energize our future.
      www.danielcanogar.com/work/dynamo
      Studio Daniel Canogar: Daniel Canogar, Artist; Diego Mellado, Project Manager; Diogo Queirós, Developer; Ana Saracho, Production; Ana Bazán, Production; Jorge Anguita, Artistic Production; Iván Hernández, Technician; Aída Navarro, Architect; Marta Galindo, Communication.
      
      Collaborators:
      Andoni Trecet & Aitor Hijar, ALFA Arte; Darien Brito, Programmer; André Almeida & tarquino Mota, Artica; César Saracho, Engineer; Alberto de Juan, Galería Max Estrella; Raül Estrada, NNConcept.
      Spanish Pavilion: Acción Cultural Española, Temperaturas Extremas, Empty.
      (c) (sound composition) francisco lópez 2021 – www.franciscolopez.net
      
      Dynamo [original soundtrack]:
      Created at ‘mobile messor’ (Los Angeles, Den Haag, Reykjavik, Dubai), 2020-2021.
      Edited and mastered at ‘Hundred Islands Studios’ (Rosclave enclave), 2022. 

      Tags

      experimental avant-garde drone improvisation musique concrete sound art Italy
      released April 6, 2023
      
      REVIEWS
      
      Vital Weekly
      It is not often that we see on the cover of a release all the accomplishments of the musician, but this one has all the facts about Francisco López. Much of which I gather regular readers of these pages already know. In the world of sound that is López, absolute sound plays an important role. Many of his releases are untitled so as not to direct the listener in any way. Sometimes there is a title, which means there is some direction. 'Dynamo' is such a work. López provided the musical side to an installation for the Spanish pavilion at the Expo Dubai 2020. The cover details lengthy what this installation is about, and it is too much to repeat, even in a few words... well, I try; there are three sculptural screens, loop-like with sixteen speakers, and the audience can react with the handrail. More people means more energy, hence the name dynamo of the piece. This fits exactly the world of sound that is López; very silent and very loud. Throughout the years, he shifted his methods towards more computer-based processing of field recordings instead of a more analogue treatment of sound. And as always, this might not be the case; I am, as always, merely assuming this kind of thing. It's been a while since I had a conversation with mister López, even when he's been residing in this beautiful country of mine. I hope López allows me to disconnect the audio from the visual here to look at the audio work as an independent work because, even with the description, we have no natural visual feeling here. Also, the music is disconnected from the work via the release of the CD. In the five pieces, each averaging fifteen minutes, López uses field recordings that are highly obscured from their original sources and, no doubt, from the extensive archive of López. There is a slightly industrial feeling here, like walking along a conveyer belt in a big industrial building. Machines buzz and hum, and there is a strong, energetic flow to the sounds here. Sometimes the sound of water sets events in motion, like a good old waterwheel but with a more electric feeling. Each piece ends abruptly, followed by some silence, again in true Lópezian style. There is some mighty intense music here, even without the tactile feeling of the installation. (FdW)
      
      Touching Extremes
      touchingextremes.wordpress.com/2023/05/15/francisco-lopez-dynamo
      
      Luminous Dash
      luminousdash.be/reviews/album-reviews/francisco-lopez-dynamo-unexplained-sounds
      
      Avant Music News
      avantmusicnews.com/2023/05/14/amn-reviews-francisco-lopez-dynamo-2023-unexplained-sounds-group
      
      
      
      
      Francisco López is internationally recognized as one of the main figures of the experimental music and audio art scenes. For over forty years he has developed an astonishing sonic universe, absolutely personal and iconoclastic, based on a profound listening of the world. Destroying boundaries between industrial sounds and wilderness sound environments, shifting with passion from the limits of perception to the most dreadful abyss of sonic power, proposing a blind, profound and transcendental listening, freed from the imperatives of knowledge and open to sensory and spiritual expansion. He has realized hundreds of concerts, projects with field recordings, workshops and sound installations in over seventy countries of the six continents. His extensive catalogue of sound pieces –with live and studio collaborations, as well as projects curated and directed, with more than a thousand artists– has been released by over 450 recording labels / publishers all over the world. Among other prizes, López has been awarded five times with honorary mentions at the competition of Ars Electronica Festival and is the recipient of a Qwartz Award for best sound anthology.
      
      
      Published by ©Unexplained Sounds Group
      Sound Composition: Francisco López
      Photography by Francisco López
      unexplainedsoundsgroup.bandcamp.com
      © 2023. All rights reserved
      experimental avant-garde drone improvisation musique concrete sound art Italy
      about

      

      Unexplained Sounds Group Italy
      Global Network of Aural Disorientation curated by Raffaele Pezzella
      
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      eighthtowerrecords...  more

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      discography

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        12 CDs Sound Mapping Collection
        May 2022
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        Songs from an obscure matriarchal tribe
        Apr 2023
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        Dynamo
        Apr 2023

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16 May 2023: Pulsar; Shylock; Mysterium, Incubus et Terror. Music inspired by Edgar Allan Poe stories

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Please support FreeForm Radio and KMXT by going to KMXT.org and pledging your support - 

You can still support the Spring Fund Drive: Donate Now!

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 also host the Rural Electric (Mostly) Country Music show Tuesday from 7-9 pm ADT

This week featuring Gordon Lightfoot

 

 Pulsar's second album, 'The Strands of the Future', is one of the definite and undisputable masterpieces of French prog, and together with their next recording 'Halloween', incarnates the band's peak in terms of inspired writing and skillful performing. Their style keeps on being somewhat inspired in 73-75 era Pink Floyd, but there are also obvious references to Tangerine Dream and Jean-Michel Jarre's electronic excursions (powerful presence of multiple layers of synths and mellotrons), and also some compelling pastoral passages of flute and acoustic guitar in the 3-minute coda. (from "Orexis of Death" blog)
Studio Album, released in 1976 
Songs / Tracks Listing

1. The Strands of the Future (22:08)
2. Flight (2:37)
3. Windows (8:47)
4. Fool's failure (10:17)

Total Time: 43:49

Line-up / Musicians

- Victor Bosch / drums, percussion
- Gilbert Gandil / guitars, vocals
- Roland Richard / flute, strings
- Jacques Roman / organ, Mellotron, bass, synthesizers

 Debut album released from this French outfit which has reached "cult status". "Gialorgues" has found its way onto many "best of" lists that I have seen and for good reason. SHYLOCK are from the KING CRIMSON school of progressive rock in style but have certainly their own unique style and delivery. For the most part SHYLOCK were a three piece band who brought in some guest musicians along the way. SHYLOCK deliver complex and involved prog which has a dark forboding theme and feeling to it. Guitars soar from your speakers and drumming is nice and complex with ever changing tempos. Songs are well constructed and seem to create different mood swings - from hyper driving acid laced guitar to the quiet dark atmospheric chamber-prog. If you like great speaker seperation then "Gialorgues" is just for you as SHYLOCK move from speaker to speaker creating some mind bending moments sure to make you smile. Oh yes I should also mention that this an all-instrumental piece of work. If you are looking for a real find and a very polished and professional sounding prog then SHYLOCK is just for you.                                               Review by loserboy   PROG REVIEWER

 

 

Mysterium, Incubus et Terror. Music inspired by Edgar Allan Poe stories

Edgar Allan Poe’s power to inspire artists of various different mediums and styles has been a significant factor of his enduring popularity, as has the man and the mystery himself. Whilst the academia hauntings of M.R. James and the cosmic horror of H.P. Lovecraft have experienced something of a renaissance in recent times, E.A. Poe has always been a lingering presence. His meandering stories featuring such things as the onset of plague in a quarantined complex, troubles at sea, a murderer preying upon victims in their homes in the streets of Paris and quite frequently the haunting phantasms of guilt and grief and loss. At the times the supernatural drifts in, it is frequently with a disconcerting subtlety, even when wreathed in Gothic robes. His horrors are relatable, timeless and ultimately haunting and therefore they and Poe endure.
Poe found his way into the lives of other readers and other creatives – the visual artists, the filmmakers and writers such as Stephen King, Neil Gaiman, Lemony Snicket and even Marvel comics creator Stan Lee, his influence and inspiration remains a persistent vitality like the echo of a beating heart or a strange mewling behind the walls. And there’s another thing, possibly more than any other author of strange tales, Poe has proven inspirational to many musicians – Sergei Rachmaninoff, The Alan Parsons Project, Philip Glass, Lou Reed, Tangerine Dream, are just some of the diverse acts to release music motivated by Poe.
Andy Paciorek (extract from the preface to the anthology of stories “E.A. Poe - Mysterium, Incubus et Terror” published by Eighth Tower).

To pay the right tribute to the literature of Edgar Allan Poe, Eighth Tower has called musicians from various countries and asked them their musical interpretation of 10 classic stories from the superlative productions of the American Master. 

credits

released May 5, 2023
Our thanks to Raffaele Pezzella for providing us with a copy of this release.
Published by Eighth Tower Records
Curated and mastered by Raffaele Pezzella (a.k.a. Sonologyst)
Artwork by John D. Chadwick
© 2023. All rights reserved

ambient dark ambient dark chamber drone industrial noise Italy

09 May 2023: Ian Boddy - Modulations III (DiNDDL31)

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

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 Modulations III  (DiNDDL31)

 

The Modulations series is a way for DiN label boss Ian Boddy to showcase his many, varied modular synth concerts and events. The first two released in 2020 & 2021 were released in digital format on the DiNDDL series as well as limited vinyl pressings in conjunction with Greek label Kinetik Records. However all live events came to a sudden end with the Covid pandemic and Boddy like the majority of musicians had to postpone any further Iive shows until this health crisis dissipated.

Resuming toward the end of 2021 Modulations III spans just over three hours of Boddy’s recent modular synth events with concerts in Birmingham, Manchester and Liverpool. There are also tracks from an art exhibition opening, an outdoor performance and an exclusive track for the Werra Foxma label magazine.

The core of the instrumentation in these tracks are Boddy’s mobile Eurorack cases but this was bolstered by gear from Buchla, Serge and Moog as well as an array of pedals and effects and with the Liverpool concert his beautiful French Connection Ondes Martenot style keyboard.

As ever Boddy builds audio landscapes that organically build, drift and vanish into the ether. Analogue bass lines grow and act as a bedrock for a myriad of scintillating higher register sequencer parts. Mysterious atmospheres evolve and mutate with graceful beauty. Soft focus orchestral string sections emerge from dark spaces and bring light and calm to the music. The audience is taken on a journey which follows a different path on every performance.

A listening guide detailing each track and its associated release alongside exclusive photos accompanies the Bandcamp download. 

credits

released May 5, 2023

Barry West for curating the Earth Requiem show at the Washington Arts Centre.
Tony Adamo and Chris Wave for organising the Seventh Wave Festival in Birmingham.
Alan Hempsall for organising the Subliminal Impulse Festival in Manchester.
Frazer Brown from Werra Foxma.
Neil Campbell for organising the concert at the Capstone Theatre in Liverpool.
Phil Booth for the Seventh Wave concert photo.
Wendy Carroll for cover artwork, all the other concert photos and running the DiN Merch stand.
All of you who attended the shows and concerts.

license

all rights reserved

ambient berlin school em electronic electronic music electronica dark ambient downtempo modular synth space music Sunderland