19 May 2025: Gordon Giltrap "Live at Oxford 1979"; Richard Wright "Wet Dream"

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I am also hosting Rural Electric, so tune in for some great country music from 7-9 before FreeForm! 

 

This is one of my favorite live albums of all time; Gordon Giltrap had a brief "progressive rock" phase and this album is an excellent chronicle of my favorite GG era.

Review by SouthSideoftheSky
SPECIAL COLLABORATOR Symphonic Team

Fast approaching

This excellent live album can be summed up in a single sentence: Some of Gordon Giltrap's best and most memorable tunes from his three best and most progressive albums, performed with more energy and with more of an edge compared to the studio versions with a great band backing him up. When this live concert was recorded in the late 70's, Giltrap was at the peak of his progressive period and had just released three good studio albums in Visionary, Perilous Journey, and Fear Of The Dark. So there was never a better time for him to record a live album and the result is a very good introduction to Gordon Giltrap.

Apart from Giltrap himself, the band consists of no less than two keyboard players in Rod Edwards and Eddie Spence, John Gustafson (who was also part of the Ian Gillan Band) on bass, and Ian Mosley (who also played with Steve Hackett and later became a member of Marillion) on drums. While most of the show is instrumental, there are a few numbers with Shirley Roden on vocals. The parts on which she sings lead remind me of the band Renaissance. The similarities with that band on these parts are particularly strong due to the combination of the music's being driven by acoustic guitar and piano, backed up by a rhythm section of electric bass and drums. Add to that a female vocalist in a somewhat similar style to Annie Haslam, singing songs with folky as well as Symphonic aspects.

But there are also many electronic keyboards used and Giltrap alternates here between acoustic and electric guitars to great effect. His acoustic guitar playing is the most impressive and he showcases very well his trademark acoustic style (that influenced among others Ritchie Blackmore's acoustic playing). Giltrap's speed and accuracy is incredible, and he plays even the most complex and fast parts with such ease and makes not the slightest mistake. But unlike some other technically skilled guitar players, he never lets technicality overshadow the often gorgeous melodies. His electric guitar playing is less distinctive, but is an essential ingredient in the overall sound. Also, though Giltrap is the star, he does not steal the show and allows the whole band to shine.

Live At Oxford is a fine addition to many a Prog fan's collection 

Review by kenethlevine
SPECIAL COLLABORATOR Prog-Folk Team

A live performance for essentially a solo guitarist always raises the question of faithful sound reproduction. For instance, GORDON GILTRAP plays both electric and acoustic guitar very well. Does he go with an additional guitarist to complement or at least not cramp his style? What of other instrumentation like sax which he occasionally hires? Should vocals be introduced for variety? On "Live at Oxford" GILTRAP makes several brilliant choices - hiring a competent backing rock band, continuing to play all guitars himself, engaging a female vocalist, and utilizing keyboards and vocals to fill some of the additional guitar and brass sounds. How he implements these decisions results in a show and a resulting album that plays to his strengths while rendering his shortcomings moot.

In some sense this virtuoso's work is best suited to the live setting, since his primary talent is in playing and, to some extent, arranging, as opposed to composition. Luckily his skill is exposed in a measured fashion throughout. The main source of material is "Fear of the Dark", the most recent album at the time of the concert, and it would be hard to imagine that those tracks represented here are not more fully realized than the studio versions. This is especially the case for the epic "Visitation" and the suspenseful "Fear of the Dark", both of which benefit from the sultry expressive vocals of SHIRLEY RODEN. Still, the best example of this adaptive spirit and of Roden's power is in "The Deserter"; originally an instrumental on "Perilous Journey", it is re-invented as a spacey lyrical piece with Roden's vocals replacing sax and some pointed guitar leads. I had never heard of Roden so has to look her up, and found that her limited credits include several prog artists including MICHAEL MOORCOCK, MIKE OLDFIELD and DAVID GILMOUR.

As is standard for Giltrap, none of the material or the performances are weak but here the energy of the live setting and the commitment to the team concept contribute equally to what could be the most suitable introduction to Gitrap for prog fans. 

 

Pink Floyd founder member and keyboardist Richard Wright’s debut solo album, Wet Dream, is to be reissued in July.

The album has been remixed by Steven Wilson in Dolby Atmos, 5.1 and stereo for this release. The original mix does not feature on any of the three physical formats and all the new mixes include some extra passages of music that were edited out of the original.

Originally released between Pink Floyd’s Animals (1977) and The Wall (1979), Wet Dream was self-produced and Wright wrote all the songs (except ‘Against the Odds’, which was co-written with his then-wife, Juliette). Remarkably, the album flew under the radar was at best under appreciated, if not almost unnoticed at the time.

Richard Wright : Wet Dream : Steven Wilson Remix : Review

Phil Aston14th August 20230 Comment6k

Richard Wright’s “Wet Dream” (1978): A Remix Revelation by Steven Wilson

The Original “Wet Dream”
Released in 1978, Richard Wright’s “Wet Dream” is an album I’ve cherished, even owning a vinyl copy tucked away probably in my garage. It’s a beautiful blend of instrumentals and vocals, showcasing Wright’s jazz inclinations. While I’ve always had a soft spot for “Broken China” among Wright’s solo works, “Wet Dream” is undeniably pleasant, a testament to his musical prowess.

Steven Wilson’s 2023 Remix
Fast forward to 2023, and we have a remix by the renowned Steven Wilson. Now, we’ve all seen remastered versions of albums, but a remix is a different beast altogether. Wilson’s expertise in extracting nuances from old recordings and highlighting elements we might have missed is unparalleled. His ability to enhance without altering our cherished memories of the original tracks is nothing short of genius.

This remix is a revelation. From the very first play, tracks like “Mediterranean Sea,” “Against the Odds,” and “White Waves” felt rejuvenated. The clarity with which each instrument stands out, be it Snowy White’s guitar or Mel Collins’s saxophone, is astounding. It’s as if the musicians are right there in the room with you.

A Dive into the Details
There’s a slight discrepancy in the songwriting credits between the original and the remix. The original credits all songs to Richard Wright, except “Against the Odds” to Julie Wright. The remix, however, attributes the words for “Pink Song” to Juliet Wright. It’s a minor detail, but worth noting for the purists.

The remix also comes with a booklet featuring photographs taken by Richard Wright, capturing personal moments from his holidays. Fans of the original will appreciate the reproduced gatefold sleeve, a nostalgic nod to the 1978 release.

The Verdict
If you’re a Pink Floyd aficionado, this remix is a must-have. Even if you own the original, the Steven Wilson remix offers a fresh, immersive experience that’s hard to resist. It’s not just about the enhanced sound quality; it’s about the emotions it evokes. Listening to it in a dimly lit room, letting the music wash over you, is an experience I can’t recommend enough.

In conclusion, the 2023 remix of “Wet Dream” is a testament to both Richard Wright’s timeless artistry and Steven Wilson’s remixing prowess. It’s available now on Polarphone Records, and I urge you to give it a listen.

Phil Aston | Now Spinning Magazine

 

 

12 May 2026: Focus "Moving Waves"; Agitation Free "Malesch"; Richard Barbieri "Hauntings"

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Focus II (better known by its international title, Moving Waves) is the second studio album by Dutch progressive rock band Focus, released in October 1971 on Imperial Records. Following the departure of original bassist Martin Dresden and drummer Hans Cleuver in 1970, the band recruited Cyril Havermans and Pierre van der Linden, respectively, and prepared material for a new album. Recording took place in London in April and May 1971 with Mike Vernon as producer. The album features "Hocus Pocus" a hard rock song featuring keyboardist Thijs van Leer's yodelling, scat singing, and whistling, and "Eruption", a 22-minute track inspired by the opera Euridice by Italian composer Jacopo Peri.

The album was released to a mostly positive response and remains one of their most commercially successful albums, reaching No. 2 in the UK, No. 4 in the Netherlands, and No. 8 in the US. "Hocus Pocus" was released as a single in the Netherlands in June 1971, followed by its international release in 1973, where it reached No. 9 in the US and No. 20 in the UK.^[3][4] The album is certified gold by the Recording Industry Association of America for selling 500,000 copies in the US.^[5]

Hocus Pocus" is a rock song that features van Leer yodelling, eefing, scat singing, and whistling. The song was written as a rock parody, and it was recorded for the album as it lacked any "outright rock" tracks at that point. The group wanted to incorporate an element of humour in the track because they felt it was missing in the rock genre.^[6] "Le Clochard" is French for "Tramp" and is fully titled "Le Clochard (Bread)". It is a melancholic classical guitar piece by Akkerman with van Leer backing on Mellotron. "Janis" is another Akkerman-penned ballad and features van Leer on the flute. "Moving Waves", a piano and vocal solo by van Leer, features lyrics by Sufi singer, poet, and teacher Inayat Khan. "Focus II" is a classical-jazz fusion instrumental.

Side two contains the 23-minute track "Eruption", a loose rock adaptation of the tale of Orpheus and Euridice from the opera Euridice by Italian composer Jacopo Peri. The track is in fifteen distinct sections, and the suite opens with an uncredited melody from the opera L'Orfeo by Monteverdi. "Tommy" features a guitar solo and was named and written by Tom Barlage of the Dutch fusion band Solution. "Euridice" is a classical lied which segues into the Gregorian-inspired "Dayglow" and followed by van der Linden's drum solo, "Endless Road". The suite ends with a return to its opening themes.

Release

Professional ratings

Review scores
Source	Rating
AllMusic	[7]
MelodicMusic

Moving Waves was released in October 1971 to mainly positive reception. It went on to peak at number 2 on the UK Albums Chart,^[8] number 8 on the US Billboard 200,^[9] and number 4 on the Dutch Album Top 100 chart.^[10]

The single "Hocus Pocus" peaked at number 9 on the Billboard Hot 100.^[11]

Moving Waves came in at number 24 in Q and Mojo's list of "40 Cosmic Rock Albums".^[12]

 

Malesch is the debut album by German rock group Agitation Free. It was released in 1972 on the Vertigo Records [Germany] label. It was reissued on CD in 1992 by the Spalax label and in 2001 by the Garden of Delights label, with another reissue in 2008 by Revisited Records. The album was inspired by the group's travels through Lebanon, Egypt, Greece, and Cyprus.

Track listing

All songs written by Agitation Free.

Side one

1. "You Play for Us Today" – 6:15
2. "Sahara City" – 7:51
3. "Ala Tul" – 4:57

Side two

1. "Pulse" – 4:51
2. "Khan el Khalili" – 5:34
3. "Malesch" – 8:24
4. "Rücksturz" – 2:11   

   Agitation Free's music is psychedelic, experimental krautrock with elements of spaced-out ambient, experimental electronic and drone. The music for the most part consists of driving organ-patterned drone-like rock; seamless psychedelic cosmic musical textures with intricate musicianship and musical variety; hard, driving rock similar to Amon Düül II; and jamming that occasionally invokes the interplay and styles of Garcia, Weir and Lesh of The Grateful Dead and hints at a blues rock base not unlike The Allman Brothers Band. Many of their songs have a trance-inducing, psychedelic feel with sections of driving rock fueled by fiery and melodic moving guitar lines and solid, propelling and intricate drumming and a prominent bass line. All of Agitation Free's songs are instrumental apart from some recitation on "Haunted Island".

   Their first album Malesch features short interludes of recordings from Egypt. Their second, titled 2nd is more laid-back and upbeat, with longer structure, much more of an emphasis on traditional styled jamming like the Grateful Dead and a warmer and more straightforward sound. On Malesch the songs blend together to make a seamlessly flowing, tangential and uninterrupted musical journey, whereas on 2nd songs are more predictably structured, more varied in their sound and stand more as independent works.

   Their sound is similar to, but fairly distinguishable from, other contemporary Krautrock bands such as Ash Ra Tempel, Amon Düül II, Guru Guru, Brainticket, Yatha Sidhra and Kalacakra, as well as the mixed-influence blues-based jam rock of The Grateful Dead and The Allman Brothers noticeable on 2nd, and slightly later and more symphonic bands like Asia Minor and Anyone's Daughter.

    
   

   TND Staff Album Review: ‘Hauntings’ by Richard BarbierApr 14 

     Album Reviews Tyler Roland

   Even if I don't dig everything he's put out, Richard Barbieri is one of my favorite musicians in the world. He's carved out one of those niches that even the most amped-up, pyroclastic keyboardist can't fill. Barbieri's careful, methodical sound design adds an X factor to whatever he's a part of, most notably two rock bands with a devoted following: Japan and Porcupine Tree. In the case of the latter, you rarely hear Barbieri playing piano or organ, which is often delivered by frontman Steven Wilson. Instead, he brings textures which are harder to define, lending a cinematic boost to the vast majority of Porcupine Tree's discography.

   His new solo album, Hauntings (KScope/Snapper), is as good a calling card as any for Barbieri's treatments and services. Some tracks have rhythmic drive, like "Anemoia," but Hauntings takes as much (or more) pleasure in dropping the listener into ambient interludes. Take the track after "Anemoia," "Victorian Wraith," which is little more than a cloud of sound. Rusty samples of clock chimes, thunder, and radio broadcasts decorate what may be my favorite cut, "1890."

   Vocals are few and far between throughout Hauntings, since Barbieri isn't a singer. The track "Artificial Obsession" has some disquieting, sampled spoken-word stuff that may not be for everyone. "Perfect Toys" weaves some into the mix as well, on a more subtle level. There's something to be said about how instrumental music is leagues more difficult to sell than songs with vocals front and center. But, for some reason, I find Barbieri shines brightest on Hauntings without any decipherable words.

   "Paris Sketch" is more of a full-blown Paris painting, as one of the most expansive tracks. There's even what the kids might call a "beat switch" near the end of the piece. How about that! Another great moment arrives at the album's conclusion, in the form of "A New Simulation." Hear the slide guitar? That's Porcupine Tree bandmate Wilson.

   While I believe that Barbieri's Stranger Inside (2008) is his greatest solo album, this is in strong contention for the silver medal. His first LP, Things Buried from 2004, has a too-cold, too-lifeless approach. His albums between Stranger and Hauntings don't have too many memorable moments going for them. Between 2017's Planets + Persona and 2021's Under a Spell, there are only a handful of tracks I'd call all-time Barbieri works. His series of EPs, released from 2017-18 and referred to as "Variants," are a lot more rewarding.

   Hauntings sees Barbieri present, with few frills, the flights of fancy he's best at arranging. The jazz and percussion tinges are there on compositions like "Snakes & Ladders," but they don't eclipse moods you'd swear were created from a director's chair. How can something be both opulent and sparse at once? Just take a listen.

   Light to decent 7/10. Order here.

   
   
   
   

 

05 May 2026: Far East Family Band "Parallel Worlds"; Sulk Rooms "Songs of Soil" (Quiet Details 49); "Music for Ancient Catacombs"

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Musical Style and Influence

The album features long, hypnotic tracks that reflect the band's experimental approach. It draws inspiration from the psychedelic sounds of early Pink Floyd and the electronic experimentation of Klaus Schulze. The music is characterized by its immersive soundscapes and intricate arrangements, making it a significant work in the progressive rock genre.

 Review by Proghead
PROG REVIEWER 

This is without a doubt the best album FAR EAST FAMILY BAND has ever done. Unlike other albums where the band focused mainly on ballads influenced by PINK FLOYD, on "Parallel World" they decided to merge the prog rock style of the time with electronic music in the vein of Klaus SCHULZE. And just like their previous album, "Nipponjin", this album was also produced by SCHULZE, and you could swear he actually played on the album (he didn't). All the synth duties here are Fumio Miya[&*!#]a (who also played guitar and sang), Akira Ito, and Masanori Takasaki (who we all know as the future New Age star of the '80s and '90s, that is KITARO).

For "Parallel World", the band went to England to record at Richard Branson's Manor Studios to strike a deal with Virgin Records. Unfortunately Virgin rejected the album (their loss), so it was left released only in Japan (with two different album covers, depending what you got, mines is the lesser known one with the peering eyes cover). About these two different album covers, I am unable to determine if what I own is a reissue, but probably is. Let's say this new electronic direction for the band was an excellent move as they produced their ultimate masterpiece. Here you get "Metempsychosis" which shows the band in a more experimental setting, complete with synth drones and percussion. "Entering" and "Times" will fool you for SCHULZE's own works, Shizuo Takasaki's drumming often reminds me of Harald Großkopf (WALLENSTEIN member who was often found playing on SCHULZE's albums), and it's packed with same kind of space electronic effects found on a SCHULZE album. It's the presence of guitar (from Fumio Miya[&*!#]a and Hirohito Fukushima) that separates this from a SCHULZE album. Then you have "Kokoro", which harkens back to their earlier works. This is basically a slow ballad, sung in Japanese that could easily fit on "The Cave: Down to the Earth". This is the only song like this on "Parallel World".

And then you get the 30 minute title track that is just so amazing that it totally justifies the five star rating I give this album! Here the band goes on a lengthy jam, with the Akira Fukakusa's bass dominating with tons of killer synths, lots of great spacy string synths and Moog. After about halfway through this piece, the bass and drums gives away to straigh-up synth experiments. Somewhere you hear some chanting and references to Zen Buddhism. There are some truly mindblowing use of Mellotron that pop up on occasions, and this one synth solo I am pretty sure none other than KITARO is responsible for. I can't believe this album, it's hard to believe that a guy whose later music is often dismissed as New Age fluff (KITARO, that is) is on this album. Truly a wonderful album and if the description of this album sounds good to you, find a copy. 

Next up in the quiet details series, with a beautifully crafted interpretation, is the UK-based musician, Thomas Ragsdale, here as Sulk Rooms with Songs of Soil. (Quiet Details 49)

Full release 6th May 2026.

A mainstay of the UK electronic music and live performance scenes - Thomas has been releasing music for well over a decade and established himself as one of our most important voices, making what he describes as “luminescent electronica”. 

Releasing on a range of excellent labels (Waxing Crescent, Werra Foxma,  Subexotic and more), plus loads of self-releases, has created a deep back-catalogue - and he’s a regular fixture playing live across the country alongside some of the biggest names around. He also plays in the band Pijn and runs his own Frosti label.

His quiet details interpretation, Songs of Soil, is a reflection on his life living in rural Yorkshire and his connection to nature - in his own words this “is an album dedicated to the majesty of worms”. 

Making extensive use of field recordings of these essential parts of the ecosystem in his allotment, Thomas imprints the organic chaos of their hidden world - sounds rarely heard by humans, amplified and shaped into captivating and mesmerising soundscapes.

These worlds are both delicate and evocative of unknown space and are the perfect compliment to the ethereal and powerful sonic atmospherics Sulk Rooms does so well. Using a range of synthesisers, guitars and effects, the album winds its way though a huge range of emotions. Vast dynamics - from time-stopping euphoria to soft introspection - Thomas’s command of his instruments is absolute.

Melodic, textural and deeply moving - this is Sulk Rooms at his very best.

Undulating synthetic motifs unfold to effervesce waves of bliss; choral pads draw you into psychedelic stasis; soft piano evokes gorgeous melancholy - all mixed with the potent textures from the worms and their ceaseless movement.

Overall a stunning and wonderfully constructed piece of work - a true album and exploration into the creativity of Sulk Rooms.

Huge thanks to Thomas.

The artwork was made as always influenced by the music and idea behind the album - originating from a photo from Thomas which was then captured with analogue photography and processed here at quiet details studios.

Credits:

Music by Sulk Rooms

Mastered by Alex at quiet details studios

Artwork by quiet details in collaboration with Thomas Ragsdale

Design by quiet details

© quiet details 2026 all rights reserved 

FreeForm Radio thanks Alex for a complimentary copy of this release.

Album - https://quietdetails.bandcamp.com/album/songs-of-soil

 

 

 

 

Across centuries, catacombs have exerted a powerful fascination on the human imagination. These underground networks, carved beneath cities and landscapes, have served as places of burial, devotion, secrecy, and contemplation. Their presence continues to resonate strongly today, inspiring artists, writers, and musicians who perceive them as symbolic spaces where history, spirituality, and the passage of time converge. The silence of stone corridors, the weight of centuries, and the sense of suspended time still speak vividly to contemporary sensibilities.
“Music For Ancient Catacombs” is conceived as a descent into subterranean spaces where time, memory, and silence accumulate layer after layer. The catacomb emerges as a resonant chamber in which sound takes the form of ritual, meditation, and threshold. These underground architectures, both imagined and real, evoke permanence and decay at the same time, spaces carved to preserve the dead and to host a deep sense of continuity beyond human presence.
Featuring contributions from key figures of the dark ambient scene whose work has long explored liminal zones between sound, spirituality, and darkness, the compilation shapes a coherent sonic environment built from drones, distant harmonics, and slow-moving textures. Each piece unfolds as a chamber within a wider underground complex, distinct yet interconnected, guiding the listener through a continuous immersive experience.

In the same series:

Music For Abandoned Monasteries
eighthtowerrecords.bandcamp.com/album/music-for-abandoned-monasteries

Music For Haunted Asylums
eighthtowerrecords.bandcamp.com/album/music-for-haunted-asylums

Music For Alien Temples
eighthtowerrecords.bandcamp.com/album/music-for-alien-temples  

credits

FreeForm Radio thanks Raffaele Pezzella for a promo copy of this release. 

releases May 14, 2026

REVIEWS

Bizarrechats:
bizarrechats.blogspot.com/2026/05/eighth-towers-music-for-ancient.html




Published by Eighth Tower Records.
Curated and mastered by Raffaele Pezzella.
Photos: The Catacombs of Paris and Naples; the Capuchin Crypt, Rome. Layout by Matteo Mariano.
Cat. Num. ETR071.
2026 All Rights Reserved.

ambient dark ambient drone ambient electronic music industrial noise ambient Italy

 

 

28 April 2026: King Crimson. "Red"; Vyormouth "Cartographies of the Unseen"

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Red is the seventh studio album by English progressive rock band King Crimson, released in October 1974 on Island Records in the United Kingdom and Atlantic Records in North America and Japan.^[6] The album was recorded at Olympic Studios in London in July and August 1974, and produced by the band themselves.

Red is a progressive rock album with a noticeably heavier sound than their previous albums; it was later called one of the 50 "heaviest albums of all time" by Q. This was achieved with the performances of just three band members: guitarist and keyboardist Robert Fripp, bassist and vocalist John Wetton and drummer Bill Bruford. The dense sound of the album was created through multiple guitar and keyboard overdubs and guest appearances by musicians including former King Crimson members Ian McDonald and Mel Collins on saxophones, classical oboist Robin Miller and English jazz trumpeter Mark Charig. Many of the album's motifs were conceived during the band's live improvisations. The track "Providence" was edited down from an improvisation recorded by the previous lineup of the band, with violinist and keyboardist David Cross in addition to Fripp, Wetton and Bruford, at a live performance in Providence, Rhode Island; Cross had been fired from the band by the time the album sessions began. "Starless" was written for their previous album, Starless and Bible Black (1974), but was considered too primitive to be released at the time; the lengthy version included on Red was refined and performed during concerts throughout 1974. The lyrics describe anxiety, tension, violence, entrapment and existential dread, reflecting the band's internal turmoil and impending breakup.

Fripp disbanded King Crimson roughly two weeks before the release of the album. Red became their lowest-charting album at that time, spending only one week in the UK Albums Chart at No. 45 and in the US Billboard 200 at No. 66. However, it was well received among fans and critics. It has received further praise retrospectively, being recognised as one of the band's best works, and has been reissued many times. 

On Red, King Crimson followed in the direction established by its predecessors Larks' Tongues in Aspic (1973) and Starless and Bible Black (1974). However, in contrast to those albums, Red features a more "layered" production, characterized by guitar and keyboard overdubs and the use of McDonald and Collins as session musicians. The rhythm section of Wetton and Bruford, whom Fripp referred to as "a flying brick wall", led the album's style towards heavy metal. Fripp, increasingly unsure of the group's direction, took a "backseat" when making large decisions during the sessions, leaving them to Wetton and Bruford;^[10] the two believed Fripp was merely "pulling another moody", but in the week prior to recording Red, Fripp had discovered the works of mystic John G. Bennett and decided to take "a year's sabbatical ... at Bennett's Institute" afterwards.^[11][8] He offered the idea of McDonald rejoining the band in his absence to EG; in light of the label's lack of interest in this idea, Fripp abruptly disbanded King Crimson on 24 September. Red was released two weeks later.^[12] 

 

Cartographies of the Unseen by Vyormouth unfolds within a reduced auditory field shaped by suspension and spatial perception. Vyormouth explores a sonic terrain defined by cold, abstract electronic structures and extended temporal development. The compositions evolve through minimal variation and sustained tension. Frequencies emerge and recede slowly. Distant reverberations persist at the threshold of perception. Low-level sonic artifacts generate a controlled sense of pressure. The sound remains detached. Continuity becomes a condition. The work constructs an environment. Listening places the listener inside a space with no directional movement and no narrative progression. Duration defines the experience. Temporal perception becomes fluid and diffuse. Sound extends into space and alters its boundaries.

credits

FreeForm Radio thanks Raffaele Pezzella for a promo copy of this release. 

released April 22, 2026

Published by ZeroK.
Music by Vyormouth.
Cat. Num. ZK13.
© 2026. All Rights Reserved.

ambient dark ambient drone ambient industrial noise ambient soundscapes Italy