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Ian Boddy | Modulations | DiNDDL24

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DiN label boss Ian Boddy has always enjoyed playing live starting with his first humble steps in front of an audience over 40 years ago at Spectro Arts Workshop armed with a VCS3 and various tape loops. Since then he has performed hundreds of concerts in concert halls, churches, planetariums and various other unusual venues both in his native UK as well as in Germany, The Netherlands & USA. His concerts have invariably been unique events never to be repeated and several shows have been released as DiN albums.

The upsurge in interest in modular synth systems in the last few years has now opened up a whole new world of live performance opportunities for Boddy and 2019 saw him play several modular synth only shows. The venues included a record store and art gallery as well as online sets for blogs and podcasts. Using a much more tightly focused set of equipment than his regular keyboard based concerts these gave Boddy the chance to experiment and play organic, evolving tracks using a small modular set up alongside his French Connection keyboard.

The six tracks included in this release add up to over two hours of modular synth music spanning the entire range from calm ambient soundscapes through to pulsing Berlin School inspired sequencer work outs. Abstract textures and field recordings drift in and out of focus whilst retro electronica effects create other worldly atmospheres.

Modulations is being released as a digital download album as well as a 12” vinyl limited edition (100 copies) with edits of four of the tracks.

 

 

Dave Bessell | Reality Engine | DiN62

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Dave Bessell is a familiar name for followers of the DiN label for his previous solo release, “Black Horses Of the Sun” (DiN47), his two collaborations with Parallel Worlds (DiN41 & 56) and being a founder member of synth supergroup Node (DiN44 & 55). 

This latest downtempo electronica solo release sees Bessell indulge his passion for literature in compositions inspired by the writings of Jorge Luis Borges, the Brothers Grimm and Lord Dunsany. The tracks are coloured with a strong flavour of magic realism – think “Pan’s Labyrinth” or “The Science Of Sleep”. Sonically “Reality Engine” draws on a whole variety of musical influences, from classical to psybient taking in innovative analogue modular sound design and expansive evolving musical journeys along the way. Bessell often uses unusual instrumentation alongside his analogue and modular synths and here he uses the beautiful Aum guitar to stunning effect. Full of engaging atmospheric moods and distinctive melodies, the album contains a wealth of detail that repays repeated listenings.

The album also comes with downloadable links (via Bandcamp) to specially created 3D environments that can be viewed in virtual reality (or can be navigated around with a mouse if you don’t have access to a VR headset). You can see an example here:

https://tinyurl.com/wtka5b3

This new album showcases once again the simply unique voice of this talented electronic music composer.

 

 

 

Nigel Mullaney | 31 Days | DiN61

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Nigel Mullaney is a familiar name for followers of the DiN label with his early releases with label boss Ian Boddy under the name of Dub Atomica as well as his album with Ray Sherwin, “Music By Mirrors” (DiN38) under the moniker of Mazmoneth. More recently he has been working with Boddy utilising modular synth systems at several venues including the recently released download album “Schemes & Ruses” (DiNDDL23) recorded at the Capstone Theatre in Liverpool.

It thus comes as somewhat of a surprise that “31 Days” is his first solo album on DiN. It’s genesis came about through a musical challenge he set himself to compose a track a day for the entire month of January 2018. In the studio and on the road he explored sonic improvisations using a range of portable modular synthesisers as well as a selection of analogue keyboards and vintage outboard gear. Essentially each of the tracks is a live recording with no overdubs or additional stem mixing.

This resulted in over 4 hours of material that Ian Boddy carefully listened through and curated into a track list which represents a 70 minute cross section of Mullaney’s 31 day musical odyssey. As with Boddy’s DiN iNDEX sampler albums the music ebbs and flows from gloriously cinematic orchestral textures through to wonderfully rhythmic drum and sequencer tracks laced with cutting edge sound design and first class production values.

To quote Mullaney, “as the days and weeks progressed I found myself connected with my music and art like never before. It simply flowed through me”. The music certainly reflects this with a fresh and vibrant feel that showcases a talented musician at the top of their game.

 

 

 

Ian Boddy & Nigel Mullaney | Schemes & Ruses | DiNDDL23

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Concerts are unique experiences especially when the musicians on stage are improvising. Tracks grow and build only to be torn down and from the sonic debris the next piece slowly coalesces and takes its own shape.

This organic process comes naturally to DiN label boss Ian Boddy and his long time musical collaborator Nigel Mullaney. They have between them a wealth of experience both on the DiN label and in the commercial world of music production. Utilising an array of modular synth racks as well as hands on sequencers and drum machines the duo can constantly mould and shape their performances. Along with Boddy’s signature Ondes Martenot synth lead lines and Mullaney’s tasty Moog keyboard licks Schemes & Ruses is an audio document of their performance at the Capstone Theatre in Liverpool on 2nd March 2019. The evening was a celebration of the DiN label and it’s 20th year anniversary and the duo were supported by d’Voxx who recently released their debut album Télégraphe (DiN58) on the label.

The music starts in mysterious fashion with the enigmatic “Hidden Rooms” which builds to an astonishing orchestral climax before the steady, insistent drum grooves of Mullaney take over. Boddy’s Berlin School tinted sequence lines intertwine with these rhythms as the performance takes the listener on a sonic journey from ambient atmospheres to toe tapping slices of up tempo electronica that slowly increase in intensity to the heavily sequenced encore track “Showdown”.

Released on the download only sub-label of DiN Schemes & Ruses showcases two musicians whose natural habitat is as much on the stage as in a studio and captures a mesmerising one off evening of live electronic music.

 

 

Various Artists | Tone Science Module No.3 Cosines and Tangents | DiN59

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Tone Science sub-label, from DiN records, continues to explore the world of modular synth music.

Following the success and critical acclaim of the first two Tone Science compilation albums, DiN label boss Ian Boddy has collated another nine tracks from musicians of varying backgrounds  working in the realms of modular synthesis.

Three of these names will be familiar to DiN listeners whereas the other six are new to the label.

Thus the album opens with a shimmering soundscape from American ambient pioneer Robert Rich who has previously collaborated with Boddy on three DiN releases. Well known for his infamous “sleep concerts” Rich here focuses in on the sonic details that modular synthesisers can offer the composer. The following two tracks by Caspar Hesselager and Little Ambient Machine show beautifully how a simple melodic sequenced phrase can be shifted, fractured and refocused in the analogue domain.

The mid album section then features two very different tracks with a more experimental feel. Radek Rudnicki cleverly mixes samples of traditional Japanese music controlled in the modular world with great swathes of analogue synth whereas Eden Grey uses her modular in a very retro, radiophonic manner to conjure up the raw sounds of yesteryear.

The music returns to sequenced tracks with synth maestro Benge lightening the mood with the Kraftwerk like motifs of “Round #2”. The next track, “Angel”, is by d’Voxx who recently had their debut album, “Télégraphe” (DiN58) released on the DiN label to great acclaim. Once again they show off their skilful use of sequences with melodic progressions to create a captivating track. The album has it’s sonic climax with “Berserker” by Redshift which after a dark sonic intro section goes into overdrive with a huge Moog modular system going full tilt. Redshift is none other than Mark Shreeve who has been a long time collaborator with Boddy in the ARC project which has spawned several releases on the DiN label.

Finally after such a huge sounding piece the album calmly dissipates through the beautifully simplistic yet haunting “Hands” by Jogging House to bring to a close another varied and intriguing Tone Science album.

“Tone Science Module No.3 Cosines and Tangents” continues the journey down the rabbit hole of possibilities and sound worlds inhabited by artists and musicians working in this ever fascinating and varied musical field.

 

 

Ian Boddy | Altair |  DiN59

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DiN label boss Ian Boddy has been performing his own brand of ambient electronica since 1979. Over those 40 years he has built up a wealth of experience of what works in a live environment as well as being able to tailor his shows to the particular setting he finds himself in. As well as playing all over the UK and in Germany & The Netherlands he has also crossed the Atlantic several times to play shows in Philadelphia. The main reason for the latter destination is the wonderful community of listeners built up by Chuck van Zyl at The Gatherings series of concerts which provides a dedicated fan base for Boddy’s style of electronic music. Chuck is also the host of the excellent Star’s End Radio show on WXPN in Philadelphia and Boddy has often combined these concert trips with live radio shows for both Star’s End as well as Echoes Radio hosted by John Diliberto.

Thus 2018 ushered in a fresh adventure for Boddy with a new invitation to play at The Gatherings. His past performances have found their way on to releases such as Shrouded (his 2000 show) and React (DiN29) with Robert Rich. Several of his Star’s End live sets have also been released on DiNDDL as download only albums. However the trip in 2018 produced what is in Boddy’s opinion, his best pair of performances to date and so he has decided to release a double live album to showcase this trip. The first disc documents his Gatherings show on the evening of 20th October in the beautiful St. Mary’s Church in Philadelphia whereas the second disc is his live radio show on Star’s End performed at 2am on the Sunday morning immediately after his Gatherings show.

The music on The Gatherings disc features some tracks from his previous studio album As Above So Below (DiN51) as well as new material composed specifically for this concert. Boddy performed the show playing analogue keyboards and a modular set up borrowed over in the USA alongside Ableton Live laptop work. Muscular analogue sequenced grooves are overlaid with atmospheric beds of FX as well as grandiose sweeping chords. The music gradually building up to the climax of the track The Thaumaturge from his As Above So Below album for which the audience certainly show their appreciation.

The second disc from the Star’s End show is a more introspective set with atmospheric string interludes over deep ambient soundscapes. The music gradually crystallises into a delicate sequencer on Spire before the full Berlin School sequencer work out of Apostasy. Full of haunting tones the final track Remnants closes the set which works as a perfect companion disc to the earlier Gatherings concert.

Altair thus shows Boddy at the height of his powers playing two very different concerts within a few hours of each other in very different venues. Produced in a beautiful fold out 6 panel digipak this double CD album is a must for both Boddy fans as well as lovers of live electronic music.

 

 

DiN @ 20

Celebrating 20 years of the DiN label with Sid Smith.

To help celebrate this momentous occasion an old friend of mine, Sid Smith, who used to frequent Spectro Arts Workshop in my formative years back in 1978 – 1982 has written a nice piece about the history of DiN. Not only is Sid a professional writer (most notably the author of In The Court Of King Crimson) but he also joined myself for several pre-DiN meetings in local pubs whilst I was formulating my ideas for DiN in 1998. It thus seems suitably apt for Sid to give his viewpoint on the DiN label.

It’s Newcastle upon Tyne sometime in the autumn of 1998. Ian Boddy sits in a pub with a pint of beer that’s going flat as he talks. And talks. And then talks some more. He’s got an idea. It’s exciting and it’s dangerous. He’s thinking of starting up a new record label. “I must be mad,” he says with a big grin on his face. Something Else Records established in 1986 had been his principal home gathering a loyal following for what Boddy describes as ‘Berlin School’ output at the time. So why fix something that isn’t broke? Why go to the time, trouble and expense of creating a new label? It comes down to a shift in creative direction or, as Ian puts it more prosaically, “I’ve got this weird shit that I want to do.” He gets another round in. What he wants, he says, is to do something a bit more experimental; he wants this new label to feature other fellow travellers and explorers; he wants each album to have striking artwork and for them to feel like a collectible artefact, each one a limited edition – once they’re gone, well, they’re gone. 

For some people, all of that talk about setting up a brand new imprint for a new direction would be just talk. Let’s face it we’ve all had a good idea after a convivial evening in good company. The difference with Ian Boddy is that he went away and put his good idea into action. In the 17th Century, the poet Basho wrote: “No matter where your interest lies, you will not be able to accomplish anything unless you bring your deepest devotion to it.” Clearly, Basho knew a thing or two about running a record label. In the twenty years that have passed since Boddy left that pub in Newcastle and embarked on a journey that saw him put his idea into practice, DiN has become one of the key record labels in the burgeoning, ever-evolving international Electronic Music scene. With over 60 physical releases and over 20 download albums under its belt, the label plays host to no less than forty artists and performers hailing from the UK, Germany, USA, Japan, Norway, France, and Australia.  

Boddy has pursued his idea with a dogged determination and yes, more than a bit of devotion that has helped him overcome all the logistical obstacles that come when dealing with the mundane but vital tasks of factory production, marketing, accounting, and getting the word out about the work. Don’t for one second underestimate how daunting a task that has been. Tackling media indifference and a cultural shift that finds the notion of paying for music something that’s really rather quaint requires deep reserves of energy, self-belief and an ability to remain calm and take the long view of things. In April 1999 Ian’s Box Of Secrets, Distant Rituals with Boddy and Markus Reuter, and Strange Geographie by Halifax duo Protogonos represented the first physical evidence of an idea whose time had come. That these initial titles and many others in the long list of albums made have each sold out of their limited edition run of 1,000 is worth celebrating. Twenty years on they are the tangible proof of a  significant milestone whose repercussions continue to ripple and resonate outwards.  

A label is as much an act of imagination as it is of sheer will and determination. Over the last twenty years, Boddy has let himself be guided by his degree of interest and intuition about what he hears rather than seeking out something that might make a buck. If you know anything about Boddy and DiN it’s that he is the person least likely to try and grab ahold of a passing bandwagon. When asked who he thinks are the artists that are doing something important in the contemporary Electronic Music scene, he looks genuinely baffled as though it might be a trick question. “You know, I’m not sure. I don’t really keep up with trends. I’d rather just do my own thing. Always have and probably always will.”

Like the best small, independent labels, the music that makes up the DiN catalogue is only there because Boddy believes it should be. That is, he believes in the music itself. He believes it’s good enough, important enough even, to be heard by the wider public. Some will sell and sell well. Others will take a while to find their way into the homes, hearts, and heads of a listening community that is dotted at different points around the world. And that’s really what lies at the heart of DiN; the notion that there’s a loose fraternity of enthusiasts and listeners who will give something new or different a try not least because it appears as part of a series curated by someone they respect and trust. 

A trawl through the albums released since DiN’s foundation could be said to fall broadly under catch-all titles such as ‘ambient,’ ‘electronica’, ‘industrial’, ‘Berlin School’, ‘abstract’, ‘experimental’ and so on. The sheer range of artists that have been attracted to the label should act as some kind of guide to its authenticity and the respect it has commanded from its earliest beginnings. While Chris Carter, Robert Rich, Mark Shreeve (as ARC with Boddy), Tetsu Inoue, Node and Erik Wøllo might well represent some of the higher profile names in the EM firmament whose work graces the label, DiN has always been assiduous in its desire to provide a platform for artists with less visibility. Whatever their provenance or perceived status the egalitarian impulse underscoring DiN renders them all players working in a common cause. 

They each represent a kind of refraction of a musical spectrum, distinctive colours that hint at numerous directions to anyone with their ears wide open. Each conjure their own dreamscape, suggest their own vista, each opens out into their own starry constellations radiated with a strange, uncanny light. Some operate at the margins, discrete and brooding meditations, while others recount fragmentary glimpses of strange, occluded sonic environments. Not everything in this aural gallery is so mysterious nor dark. Some wear their hearts on their sleeves unambiguously offering more direct experiences which utilise melody, harmonic progression, extrapolation, tension and release as essential components. Boddy, unsurprisingly, is interested in both ends of the continuum. When he founded DiN it was in part as a kind of personal research and development as an artist.

“What I do on DiN are tracks that are melodic and reasonably structured with regular keyboard parts and there was nothing wrong with that. But going right back to when I started with synthesisers the possibility of them is that you don’t have to sound like anything else. A truly abstract painting doesn’t have to be representational. It can just be itself and you can do that with synthesisers. The sound can just be itself on its own terms.” 

Tone Science (DiN 49) released in 2016 took this idea to its logical conclusion. The album was the product of a year spent investigating the juxtaposition of timbre, texture, and melody through the Serge modular system. Creating self-playing patches and the aleatoric interactions that sprang from them fascinated Boddy who, in this instance, was more of a curator of sounds than a composer. “It was so off on a limb to what people normally expect from me but I thought I’d put it out. If you watch waves or a stream flowing, fundamentally they are always the same. But actually, no two moments in eternity will quite ever be the same. On the album, there’s enough randomness in those things that they just play themselves. The composition was the patch which from a philosophical point of view is quite an interesting idea.” 

Released in February 2016 Boddy had no inkling that this album would eventually lead him to create a specialist sub-label, DiN:Tone Science. Evidence of the label’s ongoing curiosity and support for individual performers and composers came with the release of Tone Science Module No.1 in 2018 and its follow-up, Tone Science Module No.2 in 2019. Just like other regular DiN releases they come housed in striking artwork. Here however their smart diagrammatic certainties belie the diaphanous, ephemeral ghosts haunting the output of those modular machines. Nino Auricchio and Paul Borg, better known as d’Voxx, who made their label debut with 2019’s Télégraphe have christened this thread of ambient electronica as New Modular. While capturing something of the medium’s burgeoning popularity thanks to affordable modular technology, Boddy, who began working with modular systems back in 1978, can be forgiven for a wry grin at its usage. Stick around long enough and you live to see everything come back around again. 

Earlier, Basho’s wise words were invoked. That ancient traveller also wrote, “Every day is a journey, and the journey itself is home.” In these difficult, financially uncertain times the fact that DiN has risen to the challenge to give exciting, interesting and challenging music a home to call its own is remarkable. Against all the odds stacked against it that DiN continues to do so, and expand into new ventures at the same time, is something that deserves to be celebrated and applauded at every opportunity. Being twenty years old is more than enough of an excuse to do exactly that. 

Sid Smith
Whitley Bay
April 2019 

Sid Smith is a freelance journalist writing about music and musicians in print and online. He has written hundreds of sleeve notes for large and independent labels and his work has appeared in Prog, Record Collector, Q, Uncut, Classic Rock, This Is Rock, BBC Music and other outlets and websites. You can find out more @thesidsmith.  

 

And in the words of some of the DiN artists.

It was a joy working with Ian on our three albums together. Ian’s DiN label has been such a guiding light for innovative electronic music, and I am proud to be involved.
Robert Rich

My collaboration with Ian and DiN Records has been fruitful in personal, artistic, and business terms and I wouldn’t want to miss it in my life. Congratulations and on to another 20 years!
Markus Reuter

DiN has continued to offer listeners music that inspires, intrigues and moves people over two decades. Having listened to various releases over the years, I was honoured to feature my own exploratory work within the framework of the label on the Tone Science series, a new outlet that embraces electronic soundscapes and experimentation. I love how the label has managed to reflect the development in musical technologies over the years, with an emphasis on the hardware and especially a new-found interest in modular synthesis. Here’s to another twenty years!
Robin Rimbaud – Scanner

Ian Boddy and his DiN label has a unique concept bringing together artists to create new and innovative soundworlds. I am very proud to be a part of this. My collaborations with Ian on 2 studio albums and 1 live album are some of the most important work in my discography.
Erik Wøllo

For Node, DiN represents a musical refuge from the madness of the mainstream music ‘industry’.
Node

DiN has meant and it still means a great honour and a token of esteem for me. It indeed opens the door to an audience that is appreciating the very way I create music.
Bernhard Wöstheinrich

DiN provides complete artistic freedom for me to explore my ideas in electronic music. Thanks to Ian for providing that opportunity and maintaining an artistic oasis amongst the mayhem!
Dave Bessell

Ian Boddy’s DiN label has been a reassuring oasis of quality electronica for many patrons of the art over these past two decades, so to be among the creative roster at DiN records is a great honour.
Paul & Nino (d’Voxx)

DiN: The kind of label you want to collect everything from. As well as fine music, with excellent production values, their artwork is second to none. A truly inspirational catalogue, one of which we were glad to be part of.
Radio Massacre International

Releasing on DIN felt like arriving in a club of select artists – like if your essay got picked up by an esteemed magazine. A place where electronic music is taken seriously for itself, not as a functional tool.
Hainbach

To me, DiN is a trusted and high quality source of diverse, thoughtful electronic music. Exactly what the world needs, in other words.
Paul Nagle

DiN gave me the opportunity to expose my music to the world. Before DiN, the audience for my music was much smaller, reduced mostly to Greece and a very small audience abroad. I really want to thank Ian and DiN for helping me and my music to grow and let the whole world appreciate my art. DiN really values and helps its artists and I really appreciate that.
Bakis Sirros aka Parallel Worlds

Much more than simply facilitating it, DiN is a rare space that actually nurtures experimental electronica. And I am proud to be a small part of it.
Zero Ohms

It’s always a special moment when I get my hands on the latest DiN release, its hard to put that feeling into words. There was a moment a year ago when I was performing on stage with DiN founder Ian Boddy, the beats and bass line from my system were weaving in and out of Ian’s expertly crafted soundscapes and we shared a perfect moment of musical unity. I get that same feeling with every DiN release, the label acts as a vessel for some of the most progressive music you’ll hear anywhere and allows new and established artists to continue to push sonic boundaries and create amazing genre defining music. Here’s to the next 20 years!
Nigel Mullaney

 

 

 

Ian Boddy Patreon Page

I’ve started a Patreon Page to engage more closely with followers of my music. If you’re not familiar with Patreon it’s sort of like a subscriber account but on a more personal level. I’ve got a huge archive of rare & unreleased music as well as studio & modular experiments that I want to share with you via this page. There are 3 levels of subscription:

Channel 1 @ $1 per month. This basic level gets you access to my Patreon page so you can see what’s going on.

Channel 2 @ $5 per month. Each month I will post a minimum of 30 minutes of rare, archive or unreleased music for you to enjoy.

Channel 3 @ $10 per month. Access to all the music posted for Channel 2 subscribers plus a minimum of a further 30 minutes of studio & modular synth experiments & bonus material.

November was the first month & kicked off with the first set of my inaugural performance at the Gatherings in Philadelphia back in 2000. Although some of this concert was released as the album Shrouded it has never been released in it’s entirety. I’ve remastered the audio & the second set plus encore is going to be made available in December. There was also a further 4 tracks online for Channel 3 subscribers.

Please have a look & consider subscribing to what I hope will be a new & unique way to engage with my music.

www.patreon.com/ianboddy