Box of Secrets
  Distant Rituals
  Strange Geographie
  Radio Sputnik
  In Vitro Tide
  iNDEX01 sampler
  Art of Sacrifice
  iNDEX02 sampler
  Surface Tensions
  Obsessive Surrealism
  Arcadia Borealis
  Back to overview
DiN 12
Aurora by Ian Boddy

Limited to 1,000 copies.

"Aurora" is the first solo studio release by Ian Boddy since his inaugural DiN release "Box of Secrets" in 1999. In the intervening three years he has been at the helm of the DiN label collaborating on several further DiN releases as well as performing concerts both in the UK and the USA. Boddy has often used concert appearances to test out new material and indeed some of the tracks on "Aurora" were first aired at his solo performance as part of the DiN series of concerts at the Buddle Arts Centre in his native north-east England.

"Aurora" sees Boddy creating a seamless mix between the 6 tracks, which covers an enormous amount of sonic territory in its 67 minute running time. The music runs the full gamut from purely abstract, impressionistic pieces such as the darkly oppressive textures of "Gravity Well" to the analogue sequencer driven track "Escape Velocity". Boddy has created a work with an almost orchestral sense of dynamics despite the resolutely electronic nature of its voicings. Great slabs of sound rise and fall, twisted textures recede to near inaudibility as Boddy once again creates a great sense of organic development throughout the pieces.

The title track is the culmination of an idea Boddy first envisaged on his first USA concert trip to Philadelphia in 2000. Based on Kyrie from Missa Papae Marcelli by the sixteenth century composer Palestrina it creates a slow legato choral texture that seems to materialise out of a dense soup of abstract sound FX and radio broadcasts. It's almost as though the music has been playing forever and by tuning to the correct frequency a small section is heard in between bursts of radio signals and deep space vibrations.

Whilst the familiar sonic territory of Boddy's love of analogue synthesis is well represented on "Aurora" he has further extended his tonal palette by embracing cutting edge software synthesis. This is particularly evident on Vox Lumina, which was conceived entirely in software using Metasynth and Pluggo to create strange, microtonal vocal rhythms. Thus with "Aurora" Boddy has once again proved that his music continues to evolve with an album that combines his analogue heritage with 21st century sonic explorations.

Track listing:
01 Gravity Well( 05.50 )
02 Ecliptic ( 10.36 )
03 Vox Lumina ( 09.06 )
04 Zero-G( 11.20 )
05 Escape Velocity ( 12.51 )
06 Aurora ( 16.49 )

Total Time 66.44

Software :
Logic, Metasynth, Absynth, Reaktor, EVP88
Analogue :
VCS3, Roland 100M, Doepfer A100, Analogue Solutions, Analogue Systems, radio
Digital :
Roland JD990, Roland D550, Roland JP8000, Akai S6000

Artwork : Bernhard
Design :

To hear tracks from this album go to

Review from Issue Ten of Grooves magazine.
Ian Boddy's spacy ambience might easily fit into a session of the Echoes public radio programme or into a wordless planetarium perfomance. His first full length solo work since Box of Secrets opens with the luxuriant "Gravity Well", a multilayered piece that starts like a THX test print, melting into effects-laden tendrils that form the basis of the bleepy, poignant synth of "Ecliptic", itself fading softly into "Vox Lumina", a harsher and more alien piece than the first two. "Zero-G" is an oppressive work, almost providing an aural backdrop for exploring the harsh, barren desert of a dead moon.

Picking up the pace with a more tightly and intricatley sequenced arrangement, the adventurous "Escape Velocity" seems to promise mystery and danger in escaping a planet's skeletal clutches, building a sizzling liftoff like Bowie's "Space Oddity". Closing Aurora with a hymnal work looking to the heavens above, Boddy's title track takes inspiration from Palestrina's Kyrie choral mass, a slow, ethereal morass of synth, oscillating and processed VCO's and radio signals generated from atmospheric effects, blankets of phased noise, electromagnetic swipes, and tweaks of meteors evaporating and the arcs and ribbons of auroral ions melting and twisting away.

Aurora is an ornately detailed, lush album that should resonate its sense of wonder with those who follow ambience in the vein of Robert Rich, Robert Fripp, and Steve Roach.

Alex Reynolds

Review from Issue One of e|i magazine.
Though it's hypochondriacally detestative of prog, much of the baseline of electronica derives therefrom; Boddy was, once upon a time, an independent practitioner in that venue and his work, though much admired by some then, was confused and rambling, far too amateuristic for much overly serious consideration. This recording, many years later, comes as a shock, an astonishment, as does his DiN line, which, judging from his recent label sampler, is quite impressive. Gone are the noodling discoveries of patch differentials and waveform fascinations, replaced by deep artistry and a tremendously matured compositional sense. There are, we may thank the gods, sufficient trad prog elements, ripened like sunkissed wine, to attract the old-line affinities in us, but they're cohered to abundant modernities and a sublime arrangement process that projects his work to the forefront of whatever one may care to label this "brand" of music. Abstract and serene but lush with floating mists, hazed backgrounds, stars, vapors, and austere hinterlands, Boddy's music surrounds the listener with earthly and sidereal pastoralities, igniting every so often in dynamic Berlin pulsing, galvanising the charged potentialities hiding in several songs. The title cut is a take on Palestrina's "Kyrie", from Missa Papae Marcelli, and worthy enough to have appended William Orbit's Pieces in a Modern Style; a lullabyish adagio that infuses oceanic calm and heavenly awe, it drapes itself in billowing folds as it exudes from the speakers. As one might expect, Aurora hangs solidly in with Braheny, Serrie, Vangelis (ca. L'Apocalypse), Orbit's mild side, and Jarre, minus all the kitschy-cutesy crap Jean-Michel thinks his audience is so enamoured of (and who knows? Maybe they are; mental illness is far from cured).

Marc S. Tucker