26 December 2023: The Very Best of FreeForm Radio 2023

Be sure to follow KMXT FreeForm Radio on Facebook and Bandcamp.  

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

The 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 will also be hosting "The Best of Country Music 2023" on the Rural Electric show 

right after the Island Messenger at 7 pm until 9 pm.  

Best of FreeForm 2023 Spotify Playlist               The Best of Country Music 2023 Spotify Playlist

 The Very Best of FreeForm Radio 2023

Kurt Michaels 

Album: Stones From the Garden 

"Trouble", "Relax...Nothing's Under Control"

Gayle Ellett & the Electromags 

Album: Friends  

"Viewer Discretion Advised"

Subsignal 

Album: A Poetry of Rain 

"A Poetry of Rain", "The Art of Giving In"

The Fierce & the Dead 

Album: News From the Invisible World 

"Non-Player", "Golden Thread"

Dengue Fever 

Album: Ting Mong 

"Over the Handlebars", "Touch Me Not"

Bruce Soord 

Album: Luminescence 

"Instant Flash of Light", "Never Ending Light"

Tu-Ner 

Album: T-1 Contact Information 

"On the Other Side"

 RPWL 

Album: Crime Scene 

"Life in a Cage"

Jethro Tull 

Album: RokFlote 

"Voluspo"

Yes 

Album: Mirror to the Sky 

"Mirror to the Sky"

Benge 

Album: The View From Vega 

"The View From Vega, Part IV"

Ian Boddy 

Album: Modulations III 

"Boddy Love"

Steven Wilson

Album: The Harmony Codex

"The Harmony Codex"

 Sonologyst

Album: Shortwave Spectrum

"Spectrvm"

19 December 2023: A Very FreeForm Radio Christmas with Chris Squire, California Guitar Trio, Kurt Michaels, and Markus Reuter

 

Be sure to follow KMXT FreeForm Radio on Facebook and Bandcamp.  

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

The 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 will also be hosting a Twisted Christmas Christmas on the Rural Electric show 

right after the Island Messenger at 7 pm until 9 pm.  

Parodies and original songs presenting a more humorous and satirical side of the holidays.

From Wikipedia:

Chris Squire's Swiss Choir is the second and final solo album by Chris Squire. An album of traditional Christmas music, it was released in 2007 and includes former Genesis guitarist Steve Hackett, future King Crimson drummer and keyboardist Jeremy Stacey and the English Baroque Choir.

All tracks were arranged by Chris Squire and Gerard Johnson

 California Guitar Trio - 10 Christmas Songs

AllMusic Review by Glenn Astarita

Not that there is an abundance of progressive rock-tinged acoustic guitar trios among the ranks, but this aggregation stands tall among its peers as the guitarists' inventiveness surges forward with this altogether warmhearted reckoning of Christmas carols and other pleasantries. The guitarists' nimble yet at times forceful approach is wholly evident during their highly rhythmic spin on "Jingle Bells." They perform the classic "Greensleeves" with a sensitive, chamber-like approach while also tackling the Lennon/Ono favorite "Happy X-Mas (War Is Over)." However, part of the magic resides within the trio's ability to delve into the inherent frameworks of each song, while also reformulating themes and rhythms into personalized statements. Essentially, the artists have produced a rather poignant Christmas outing, awash with interweaving lines and lilting harmonies, as they complement their superior artisanship and forward-thinking deployments with a cheerfully rendered collection of holiday favorites.

 

Midnight on Christmas Eve A Child Dreams excerpt by Kurt Michaels

This is a soundscape I put together a LONG time ago....the title, “ Midnight On Christmas Eve (A Child Dreams) says it all. Good sleep music to help excited kids drift off to sleep so Santa can do his (or her) thing. Was recorded originally in 2003 immediately following the release of my debut cd, Inner Worlds part one, along with a few others that we never got around to releasing. Better late than never....Merry Christmas to everyone!

Winter Solstice:  Soundscape versions of traditional songs usually associated with this time of year, at least here in Germany. In addition to the meditative soundscapes (which are based on the series of pitches of each tune) I've also overdubbed straight versions of the original melodies. Enjoy this parallel universe... It's strangely hypnotizing. Only available from December 1st to December 31st.

 

5.1 surround mix available here:
surroundmusic.one/album/winter-solstice/

credits

released December 17, 2018

christmas jul merry natale noel weihnachten weihnachtslied yule yuletide Berlin

05 December 2023: Benge; A Prog Rock Christmas; Sonologyst

Be sure to follow KMXT FreeForm Radio on Facebook and Bandcamp.  

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

The 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 will also be hosting a (Mostly) Country Christmas on the Rural Electric show 

right after the Island Messenger at 7 pm until 9 pm.

Rural Electric Playlist on Spotify                                                  FreeForm Radio Playlist on Spotify

The View From Vega

Benge

Ben Edwards, better known by his pseudonym Benge, has been exploring the sonic possibilities of electronic instruments since he was a young boy, in the1970s. After graduating from art school in 1990 he set up his own music studio and started recording his unique blend of experimental electronica, culminating in his debut album "Electro-Orgoustic Music" and the formation of Expanding Records in 1995. Since then he has released dozens of albums as Benge, as well as collaborating with various luminaries from the electronic music world on many other album projects. He has formed several notable and ongoing bands such as John Foxx & The Maths, Wrangler (with Stephen Mallinder / Cabaret Voltaire and Phil Winter / Tunng), Fader (with Neil Arthur / Blancmange), and his most recent project Creep Show (Wrangler + John Grant). Benge's creative output now centres around his Memetune Studio Complex, located in one of the UKs remotest moorland locations, writing and producing his various music projects as well as making video art and TV programmes about his activities.

“The View From Vega”, his debut solo album on the DiN imprint, is primarily an ambient suite of tracks inspired by the space-music typically produced in the late 1970s and early 1980s. It uses a selection of vintage synthesisers, sequencers and FX units to provide a fertile sonic landscape to explore. The idea was to use simple sequences (using both analogue and digital units), sustained synthesiser pads and electronic piano improvisations, alongside various ancient delay, flange and reverb units. The beautiful, warm quality of the tones that exude from such instruments are very evident on the six tracks that slowly unfold their oscillations in organic, melodic soundscapes.

An unashamedly vintage sounding album in all its analogue glory, “The View From Vega” is released both as a 180g Vinyl edition and a Digipak CD with stunning artwork from Wendy Carroll that matches the music perfectly. 

credits

released October 6, 2023

Written and recorded by Benge at Memetune Studios, England, February 2023.
Mastered by Benge April 2023. 

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

Studio blog: myblogitsfullofstars.blogspot.com

"This is a primarily ambient suite of tracks inspired by the space-music typically produced in the late 1970s and early 1980s. It uses a selection of vintage synthesisers, sequencers and FX units to provide a fertile sonic landscape to explore. The idea was to use simple sequences (using both analogue and digital units), sustained synthesiser pads and electronic piano improvisations, alongside various ancient delay, flange and reverb units”.

The equipment used was as follows:

Synthesisers:
Moog Modular IIIC
Polyfusion Modular
Roland SH5 / System 100 / Piano-Plus-70
Yamaha CP30 / SS30
EMS VCS3
ARP Chroma

Sequencers:
Roland MC4
Moog Dual 960 (Cloned)
EMS TKS

FX Units:
Dynacord TAM21 Stereo Flanger/Doubler
Dynacord DRP16 Reverb
Dynacord DRS78 Reverb / Delay
Polyfusion Modular Phase unit
Electro-Harmonix Smallstone Phaser

Tags

ambient em electronic electronic music electronica downtempo modular synth modularsynth vintage modular Sunderland

 

 

 

We'll be playing various tracks from the 2019 release, A Prog Rock Christmas.

 

 

Shortwave Spectrum

Sonologyst

 We'll end tonight's shows with a track from this new release from Sonologyst.

The new Sonologyst "sonic documentary" delves into the secretive realm of shortwave transmissions; a chronicle of clandestine shortwave transmissions culled from a span of nearly four decades (1982-2021). These mysterious transmissions - repetitive voices, signals, sound pulses, short pieces of music - were collated and edited to compose the tracks of the main album.

Immersed in an isolating fog of dark ambient, deep drone music and cinematic sound art, it provides an auditory exploration of the ongoing Cold War. Originating from covert radio stations engaged in military and espionage endeavours, the tracks unveil a hidden sonic landscape of strategic communication.

The second disc, in its extensive presentation, provides a deeper immersion into these enigmatic broadcasts. Each recording remains unaltered, accompanied only by a ghostly drone. It offers an unfiltered glimpse into the world of clandestine communication, where words are transmitted beneath the radar and in the shadowy confines of the electromagnetic spectrum.

Double CD in a matt-finish gatefold ecopak with graphic design by Abby Helasdottir.

Watch album teaser (YouTube) by Abby...  more

credits

released November 23, 2023 

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

REVIEWS

Nine Circles
ninecircles.co/2023/12/03/rainbows-in-the-dark-sonologyst-shortwave-spectrum

Vital Weekly (excerpt review)

Raffaele Pezzella's musical project Sonologyst doesn't need much introduction. I reviewed several of his works and liked it a lot. You can find an indication of the source material in the title, shortwave sounds, and, in particular, from what is called number stations. This takes us back to the days of the Cold War when secret services worldwide used radio transmissions to communicate with agents in the field—voices reading groups of numbers, Morse codes or otherwise random bleeps and hard to intercept and block. The Cold War may have ended, but the information notes that in recent years, Chinese, Korean and Indian Numbers Stations have been picked up, and I assume these are at the core of the music here and not the 4CD set released by Irdial in the 1990s. It would make a damn good book to describe the use of radio (waves) as a musical instrument and the history thereof, as I believe that, next to the mouth, the radio is one of easiest accessible instruments available for any would-be musicians (if you already wrote such a book, then let me know). That is not to say that it's easy to play great music based on radio waves, but Sonologyst is a true master in crafting deep, dark, and highly ambient music with that ghostly atmosphere lingering in the background. As much as Number Stations are mysterious, so is this music. Oddly enough, maybe, there are six tracks on the first CD, somewhere between five and fifteen minutes, and the oddity is that these are more minimal than the forty-two-minute piece on the second CD. Each of these six stays in stasis and move within the given parameters. The long one, 'Shortwaves', is a piece that moves between many stations, picking up spoken word, classical music, pop music and whatever else along the way, against a backdrop of drones. It shows that one can do many things with radio waves, which is why I'm still fascinated by it. (FdW)

Avant Music News
avantmusicnews.com/2023/11/18/amn-reviews-sonologyst-shortwave-spectrum-2023-cold-spring-records

Luminous Dash
luminousdash.be/reviews/sonologyst-shortwave-spectrum-cold-spring/

This Is Darkness
Well, this is very cool – an album of dark ambient / deep drone, inspired by and using edited shortwave radio broadcasts from the mysterious ‘number stations’ that during the cold war (and beyond) transmitted coded messages for agents deep undercover in enemy nations. The resulting album is a collection of haunting and otherworldly tracks unlike anything I’ve heard in a long time. As a bonus, Sonologyst has included a 7th track that is less filtered – it contrasts beautifully with the six expertly crafted tracks that came before it, and provides an even deeper experience of these ghostly broadcasts. Highly recommended!




Published by Cold Spring Records
Sound, sampling, processing and mastering by Sonologyst.
Equipment: analogue synthesizers, shortwaves radio receiver, analogue tape recorders.
Mastered by Sonologyst.
Graphic design by Abby Helasdottir.

license

some rights reserved

tags

Tags

ambient dark ambient drone ambient experimental electronic music field recordings Italy

 

28 November 2023: Steve Hackett, "Foxtrot at 50"

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

The show will begin as soon as the work session ends or 9 pm if the meeting ends early.

Be sure to follow KMXT FreeForm Radio on Facebook and Bandcamp.  

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

The 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 had the privilege of seeing this show at the Moore Theatre in Seattle; it was one of the best concerts I have attended.  The band was having a great time and feeding off the crowd's energy.

Review of the new Steve Hackett live set ‘Foxtrot at Fifty + Hackett Highlights: Live in Brighton’

By Nick Tate

You might think Steve Hackett’s Genesis Revisited juggernaut has run its course, after more than a decade of reprising the band’s 1970s heyday. But you’d be wrong. Hackett’s latest live retrospective album, “Foxtrot at 50 + Hackett Highlights: Live in Brighton,” confirms there is much yet the former Genesis guitarist can bring to this satisfying project.

Like the prior eight live Genesis Revisited releases, “Foxtrot at 50” transcends nostalgia and sentimentality. It captures Hackett and his talented band of musicians delivering a crackling-good performance that updates 1972’s classic “Foxtrot” album — the band’s fourth and the first to chart in the U.K. (No. 12). It also showcases a handful of well-chosen solo works the multitalented guitarist/composer/bandleader has produced since leaving the band in 1977.

As usual, these performances are the next best thing to seeing Genesis live back in the day. But what’s most striking is the degree to which each band member brings a new sheen and shine to these timeless prog masterworks. The combined result takes these well-known pieces in surprising new directions, while remaining loyal to the originals. Perhaps more than any other Genesis Revisited release, this double-disc set demonstrates how well Hackett’s individual works hold up against the older Genesis material. As if to emphasize the point, this rich collection ends with an inspired mashup of the jazzy Genesis instrumental “Los Endos” and Hackett’s own “Slogan’s” from his 1980 “Defector” solo album — perfectly marrying the two halves of this live release. The upshot: This is a satisfying 50-year overview of one of prog’s most prolific and engaging elder statesmen that honors his past yet also confirms he is still breaking new ground at age 73.

The first half of album showcases a best-of collection of Hackett’s solo works, dating to his 1975 debut, “Voyage of the Acolyte,” recorded while he was still in Genesis and the same year Peter Gabriel departed the band. This set includes three tracks from that brilliant debut —the wildly eclectic prog-fusion instrumental “Ace of Wands,” the haunting “A Tower Struck Down” and “Shadow of the Heirophant,” featuring vocalist Amanda Lehman (an epic suite initially proposed to, but rejected by, his Genesis bandmates for inclusion on 1976’s “Trick of the Tail”). Hearing these tracks side-by-side with the “Foxtrot” material, a strong argument can be made that “Acolyte” just might be the best Genesis album that Genesis never made.

The first set also features more recent material, including “The Devi’s Cathedral,” a gothic story-song from his 2021 album “Surrender of Silence” that plays like a soundtrack from a Wes Craven horror film. Roger King’s churchy organ backdrop and Hackett’s ghosty fretwork provide the perfect backdrop for Nad Sylvan’s chilling baritone vocal. In addition, the setlist includes the jazzy title track from Hackett’s third solo album, 1979’s “Spectral Mornings,” the sprightly “Every Day” (from the same record) and the driving “Camino Royale” from 1982’s “Highly Strung.”

The second half of the release features Hackett and Friends’ replication of the groundbreaking “Foxtrot.” There’s no point in analyzing why this was the transitional album that brought Genesis international acclaim. It’s probably enough to simply say that the music here stands on its own merits and still manages to sound fresh and original after all these years. But it’s worth noting that classic tracks like “Watcher of the Skies,” “Get ‘Em Out by Friday” and the 23-minute seven-part suite “Supper’s Ready” can still raise gooseflesh in these new live versions.

A close listen reveals new textures and liberties the band takes that gives these tightly orchestrated pieces a new freshness. In particular, Sylvan stands out, channeling both Peter Gabriel’s quirky ancient-mariner croon and Phil Collins’ elfin tenor, yet somehow bringing something uniquely his own to his vocal delivery. His dramatic interpretation of Gabriel’s shape-shifting vocals on “Supper’s Ready” approaches Broadway-like theatricality and the result is nothing short of remarkable; it’s a true tour-de-force. Roger King also shines on keyboards throughout. He masterfully reworks Tony Banks’ symphonic intro to “Watcher of the Skies” (matching the original, which was performed on a mellotron famously bought from King Crimson). His classical-piano turns on “Time Table” (this being the first Genesis Revisited take on this track) and the rarely performed “Can-Utility and the Coastliners” bring a new luster to these high-water marks in the early Genesis cannon. And noteworthy performances are delivered by reedman Rob Townsend — whose sax and flute lines add new depth and tonal color to the proceedings — and the thunderous rhythm section of bassist Jonas Reingold and drummer Craig Blundell. (Reingold even gets his own solo bass spot and Blundell unleashes wildly unhinged melodic drum fills in the closing coda of “Hierophant” and during the “Apocalypse 9/8” interlude of “Supper’s Ready.”

Throughout, of course, Hackett’s searing and emotive fretwork cut like a foghorn through the darkly turbulent storm of sound that defined “Foxtrot” and some his best post-Genesis efforts, both anchoring and pushing the band to new heights. Highpoints include his resplendent Bach-like acoustic etude, “Horizons,” a staple of his live shows and fan favorite, and the jawdropping electric-guitar solo he unleashes on the classical-prog-rock “Firth of Fifth.” Worth noting: If you’re a Genesis fan who feels you just don’t need to hear yet another version of “Supper’s Ready,” you should reconsider — if only to take in the wildly unhinged solo Hackett unspools at the triumphal conclusion of this transcendent epic: This new version is a keeper and worth your time.

For audiophiles, the sound production throughout is crystalline, featuring gem-like clarity. Mixed by Chris Lord-Alge and mastered by Ted Jensen, it is available in various formats, including a four-LP edition and two-CD/Blu-ray and two-CD/two-DVD sets, all loaded with bonus extras and 5.1 surround sound mixes.

With “Foxtrot at 50,” Hackett has reached a bit of a milestone — producing live Genesis Revisited recordings of half of the eight albums he originally recorded with the band from 1971 to 1977. Which begs the question: Might Hackett tackle next the one album many fans and critics regard as Genesis’s finest hour (plus 34 minutes) — 1974’s “The Lamb Lies Down on Broadway,” which has not received the full start-to-finish Genesis Revisited treatment? What say ye, Mr. Hackett?

Released on Sept. 15th, 2023

Tracklist:

1. Intro / Ace of Wands
2. The Devil’s Cathedral
3. Spectral Mornings
4. Every Day
5. A Tower Struck Down
6. Basic Instincts
7. Camino Royale
8. Shadow of the Hierophant
9. Watcher of the Skies
10. Time Table
11. Get ‘Em Out by Friday
12. Can Utility and the Coastliners
13. Horizons
14. Supper’s Ready
15. Firth of Fifth
16. Los Endos/Slogans

Personnel:

Steve Hackett — guitars
Roger King — keyboards
Jonas Reingold — bass
Rob Townsend — saxophones, flutes
Craig Blundell / drums & percussion
Nad Sylvan — vocals
With: Amanda Lehmann — guitar, vocals

 

FreeForm Radio is taking a break; the show will return on November 28. See you then!

 

31 October 2023: The Annual FreeForm Halloween Show - Expanded to Five Hours!!!!

 Be sure to follow KMXT FreeForm Radio on Facebook and Bandcamp.  

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

The 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.

This year's Halloween show expands to a full five hours of fun, creepiness, and horror!

Here's the breakdown:

7-7:15:  The Island Messenger Spooky Edition

7:15-8:00:  Witch-themed Halloween Music

8:00 - 9:00:  A locally produced Halloween radio play:

A local theater group, Kodiak Stage Craft, have recreated a 1940's Radio Drama called That Thing in the Window written by Lucille Fletcher. This suspenseful auditory experience features local voice actors and original music compositions.

Another chance to listen live on KODK 90.1 @ 9pm

 

9:00 - 11:00:  Spooky, horrific, creepy, fun Halloween music including dark ambient sounds from The Necronomicon Pages.

11:00 - Midnight:  This American Life Halloween Special

The Necronomicon Pages

by Various Artists

Does Abdul Alhazred’s cursed Necronomicon, the best known of the 'forbidden books', really exist?
Is it really part of the so-called "pseudobiblia" (books that do not exist) or did Howard Phillips Lovecraft, (the "Loner of Providence") base the Mythos of Cthulhu and all the vast, incredible Pantheon that pervades his fascinating and disturbing literary adventures?

In February 1937, in a letter written to his friend Harry O. Fisher, Lovecarft wrote, ‘The term Necronomicon (from the Greek "nekros", corpse; "nòmos", law; "eikon", image, i.e. "Image, or Representation, of the Laws of the Dead") came to my mind during a dream, including the etymology “.
Despite this, the belief that the Necronomicon is a real book persist. In reality, of course there are many magical books that have vanished and that are very sought after. Some do resurface. In Renaissance Florence the translations of Plato were put on hold when the legendary writings of Hermes Trismegistus were rediscovered, and their translation was deemed more important. They actually weren’t lost; they just weren’t in Europe. We can also add The Steganographia of Trithemius to the list, a book that was deemed blasphemous, black magic and in reality, turned out to be a canon of cryptographical techniques. We also have the very strange and compelling Voynich Manuscript, that still hasn’t been decoded but attempts to do so have driven people insane, allegedly. It seems that magical works need translating from either dead languages or codes and that the world of the dark arts is surrounded in mystery, secrets and blasphemy as underground esoteric groups attempted to avoid the wrath of persecution.
The Necronomicon, like the books mentioned above, has its own legends and the waters have been thoroughly muddied through hoax, creative invention and rumour. My first understanding of it was that Lovecraft’s grandfather was an occultist who had a vast library of occult books that young Howard used to engulf himself in, reading all of them with fervour and becoming a black magician. The Necronomicon was amongst this library as were many of the books that he mentions throughout his writing. By creating the Necronomicon and alluding to the contents without revealing them, has he not invented something that carries weight and mystery to such an extent that readers believe it to be real, because the other books he describes are? And there we have it. The mad, Arab Abdul Alhazred was Lovecraft himself. The Necronomicon does not exist and yet it does and is living and breathing. Long may it continue in the writings, movies, games, comics, music and all future media to come. This is precisely what Lovecraft wanted.

In this collection of music pieces and soundscapes, Eighth Tower Records and the musicians involved tribute their homage to the Necronomicon and expand the enigmatic mythology with the same passion for the subject as all the other ‘Mythos’ creators. What’s more, for your perusal, the artwork is beautifully designed by Mr Zarono. 

credits

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

released October 5, 2023

REVIEWS

Avant Music News
avantmusicnews.com/2023/10/21/amn-reviews-various-artists-the-necronomicon-pages-2023-eighth-tower-records/#

Ver Sacrum
www.versacrum.com/vs/2023/10/the-necronomicon-pages-by-various-artists.html


Curated and mastered by Raffaele Pezzella (a.k.a. Sonologyst).
Artwork by Mr Zarono.
Layout by Matteo Mariano.
© 2023 All rights reserved.

license

all rights reserved

tags

Tags

ambient dark ambient dark chamber drone industrial noise Italy

24 October 2023: Gayle Ellett & the Electromags; Subsignal; Jeton Hoxha

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

The show will begin as soon as the work session ends or 9 pm if the meeting ends early.

Be sure to follow KMXT FreeForm Radio on Facebook and Bandcamp.  

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

The 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.

 

Gayle Ellett & the Electromags are back with a vengeance and a vibrant, hard rockin’,road-trippin’, tail-pipe busting, monster of second album. A follow-up to their guitar-focused, Shiny Side Up, this sophomore offering is a tour de force of global Prog stars dubbed Friends.

“I wanted to capture that feeling of hanging out on your deck, playing music with your friends under the stars all night long”, says Ellett of his lockdown inspired desire to jam with pals. Only Ellett, the acclaimed Prog musician of Djam Karet, took the “Friends” concept one step further, inviting pals from all corners of the globe to make music together, virtually.

Still based on the core group of Ellett (guitar), Craig Kahn (drums) and Mark Cook (bass), Friends features twenty-two guest musicians including members of BARAKA (Japan), Minimum Vital (France), Aisles (Chile), Electric Swan (Italy), Shylock (Germany), Edhels (Monaco), and California Guitar Trio (USA). The result is a late-night jam session full of fire and passion.

The track “Via Valencia” features 5-time Grammy Award winner Alfonso Rodenas on guitar, bass and Rhodes piano creating a stately, flowing, cinematic piece of music. You can almost see the coastline, and feel the warm sea breeze in your face on this excellent song. 

On “Splitting Hairs” award winning Blues guitarist Dudley Taft (with four #1 Songs on the HIT TRACKS TOP 100 Chart) brings to us some really high powered wailing guitar solos, as Ellett holds down the fort with his massive Hammond B3 organ. Guitar City” features Paul Richards from the California Guitar Trio, but on this track he turns in his acoustic guitar for a rare chance to fire up his electric guitar, and the results are amazing. 

“Maximum Connection” with it’s bouncing keyboards played by Thierry Payssan from the group Minimum Vital (France) is another real treat, and includes contributions from high school friend Bill Polits and Topanga local Aquinas Magaña playing tasty guitar solos. 

Issei Takami and Shin Ichikawa, from the Japanese band BARAKA, are featured on the track “TransPacific Highway”. Says Ellett, “I met them when my progressive group Djam Karet was head-lining a 3 day festival held on thebeach in France about 15 years ago. They are amazing players and really nice peopleoo! That is also where I met the guys from Electric Swan (Italy) and Aisles (Chile) whodeliver killer solos on the track “Sons Of Sebastien”.
 

When asked how Ellett rounded up so many greats for one album, the musician points to his 50 year career in recording. “Some of these folks I met back in the 1980’s while networking with bands from other countries: asking them to trade me their lists of DJs, distributors, and local music magazines. Others I met in high school and college, and some are my neighbors here in Topanga Canyon (Calif.).” He goes on to explain that his process was straight-forward, “After I composed these songs, we then recorded my rhythm guitar and Craig’s drums, and Mark recorded his bass at his studio. Then I
would send those basic elements along to my friends, and they over dubbed their parts
at their own studios.”

Now that the album is finished, Ellett says he’s proud to have achieved his goal, “I
always wanted to get all my friends together to play. And even though we didn’t get to
be in the same room, when I put on this album, it’s like we’re all playing together under
the same late night sky.”

For maximum enjoyment, try Friends with headphones!

FreeForm Radio thanks Gayle Ellett for providing us with a promo copy of this release.

All music composed, produced, mixed & mastered by Gayle Ellett
Album cover photography by Carl Weingarten
Recorded between in Topanga, CA., and Arlington, TX., and at numerous studios
throughout the world.
Gayle Ellett: Electric & Acoustic Guitars, MiniMoog, Hammond B-3 Organ, Rhodes
Electric Piano, Mellotron
Craig Kahn: Drums & Percussion
Mark Cook: Bass
And 22 Guest Musicians are: Ted Price, Brian Chapman, Alfonso Rodenas, Marc
Ceccotti, Joee Corso, Issei Takami, Shin Ichikawa, Dudley Taft, Thierry Payssan, Bill
Polits, Aquiles Magaña, Carl Weingarten, Walter Whitney, David Udell, Barry Cleveland,
Paul Richards, Lucio Calegari, German Vergara, Juan Pablo, Alvarez Ortega Bianchi,
Jim Crawford & Frederic L’Epee.
Available for sale (CD & Digital Download) at:
www.GayleEllettTheElectromags.bandcamp.com/album/friends
Youtube Video: “The Many Moods Of Morgan (Featuring Brian Chapman)”
www.youtube.com/watch?v=4xtRJ0dsuq0
Youtube Video: “Via Valencia (Featuring Alfonso Rodenas)” www.youtube.com/watch?
v=Q8bwydjVa-A

TRACK LIST for the Electromags album Friends (TOTAL TIME 52:06):
1 Viewer Discretion Advised (Featuring Ted Price) 3:53
Ted: Hammond organ
Gayle: electric guitar, minimoog, mellotron
Mark: bass
Craig: drums
www.soundcloud.com/TedPrice (USA)
2 The Many Moods of Morgan (Featuring Brian Chapman) 4:53
Brian: electric guitar
Gayle: rhythm guitar, minimoog, rhodes, hammond, mellotron
Mark: bass, soundscapes
Craig: drums
www.GreenhornBrothers.com (USA)
3 Via Valencia (Featuring Alfonso Rodenas) 3:46
Alfonso: electric guitar, rhodes, bass
Gayle: rhythm guitar, mellotron, hammond
Craig: drums
www.TheBlueDolphins.net (Spain)
4 It’s all San Andreas’ Fault (Featuring Marc Ceccotti & Joee Corso) 4:15
Marc: electric guitar (first & last solos) & synthesizers
Joee: electric guitar (middle solo)
Gayle: rhythm guitar, minimoog, hammond
Mark: bass
Craig: drums
MarcCeccotti.bandcamp.com (Monaco)
www.JoeeCorso.com (USA)
5 TransPacific Highway (Featuring Issei Takami & Shin Ichikawa) 3:11
Issei: electric guitar
Shin: bass
Gayle: rhythm guitar, minimoog, hammond
Craig: drums
www.BARAKArock.com (Japan)
6 Splitting Hairs (Featuring Dudley Taft) 4:42
Dudley: electric guitar
Gayle: rhythm guitar, minimoog, mellotron, hammond
Mark: bass
Craig: drums
www.DudleyTaft.com (USA)
7 Maximum Connection (Featuring Thierry Payssan & Bill Polits & Aquiles Magaña) 3:34
Thierry: synthesizers
Bill: electric guitar (first solo), EBow
Aquiles: electric guitar (last solos)
Gayle: rhythm guitar, mellotron, hammond
Mark: bass
Craig: drums
www.Minimum-Vital.fr (France)
www.Facebook.com/Bill.Polits (USA)

8 Three Parsecs from Tucson (Featuring Carl Weingarten & Walter Whitney & David Udell) 3:55
Carl: electric guitar
Walter: synthesizers, percussion & gongs
David: electric guitars
Gayle: rhythm guitar
Mark: bass.
Craig: drums
www.CarlWeingarten.com (USA)
9 Maria’s Lakeside Drive (Featuring Barry Cleveland) 3:20
Barry: electric 6 & 12-string guitars, bowed and bowhammered electric guitars
Gayle: rhythm guitar, acoustic guitar, minimoog, mellotron, hammond
Mark: bass
Craig: drums
www.BarryCleveland.com (USA)
10 Guitar City (Featuring Paul Richards) 4:36
Paul: electric guitars
Gayle: rhythm guitar, minimoog, mellotron, hammond
Mark: bass
Craig: drums
www.CGTrio.com (USA)
11 Sons Of Sebastien (Featuring Lucio Calegari & German Vergara & Juan Pablo) 3:05
Lucio: electric guitar (first solo)
German: electric guitar (second solo)
Juan: synthesizers (third solo)
Gayle: rhythm guitar, minimoog (intro & outro solos), hammond
Mark: bass.
Craig: drums
www.ElectricSwan.it (Italy)
www.AislesProject.com (Chile)
12 Bueno Sanga (Featuring Alvarez Ortega Bianchi & Jim Crawford) 2:59
Alvarez: electric guitars (first solo)
Jim: electric & slide guitars (second solo)
Gayle: rhythm guitar, hammond
Mark: bass
Craig: drums
LosPencales.bandcamp.com (Argentina)
www.JGCrawfordMusic.com (USA)
13 1960 Ocean Front Walk (Featuring Frederic L'Epee) 5:28
Frederic: electric guitar
Gayle: rhythm guitar, rhodes, mellotron
Mark: bass
Craig: drums
www.FredericLepee.eu (Germany)

Gayle Ellett & The Electromags: Friends
Official Release date: October 27th 2023
Licensed & Distributed by: PeacockSunrise Records
Catalog #: PSR-1-011
Contact: Gayle Ellett
Address: P.O.Box 1421 Topanga, CA. 90290 USA
Email: Info@GayleEllettAndTheElectromags.com
Website: www.GayleEllettAndTheElectromags.com
Label: www.PeacockSunriseRecords.com

 

Review of the new Subsignal album ‘A Poetry of Rain’

by Prog Nick

Ignorance is not bliss – not in Progressive Rock, at any rate. I must confess that until I was requested to do this review, I had failed to give German Progressive Rock band Subsignal the proper amount of attention. This was a shortcoming that changed in a major way when I began listening to their 2023 release, ‘A Poetry of Rain’. Now I find myself hurriedly trying to get my hands on everything that Subsignal have released, so impressed have I been with this album.

With one line-up change since 2020 (Dutch bassist Martijn Horsten for Ralf Schwager), Subsignal also comprises vocalist Arno Menses, guitarist Markus Steffen, keyboardist Markus Maichel and drummer Dirk Brand. An impressive line-up it is too, since every one of these performers is clearly very highly accomplished – a fact that becomes immediately apparent on listening to the record. Presenting a brand of Prog that is powerful and driving and at the same time highly melodic and emotional, Subsignal’s latest release absolutely hits the sweet spot.

The title and opening track is a melancholic meander that eases the listener in with a wave of acoustic melody. It is a deceptively ethereal introduction to the album, because within seconds, ‘The Art Of Giving In’ launches with gusto and bite, and declares in no uncertain terms that the listener is in for a mighty experience indeed. Driving and strident, the track is hugely engaging, with melodies that immediately demand attention and a complex, granite under-bed of odd-time bass and drums that will defy anyone to turn a deaf ear. Menses’ voice is superior, and the instrumentation is complex indeed. An outstanding start.

I am not a fan of programmed drums, therefore I was a little underwhelmed by the first bars of third track ‘Marigold.’ However, as partisan as this made me, so too was I very soon won over by the track’s melody and emotion. Outstanding vocal harmonies and a great guitar solo will do that to you. Excellent human drumming (Brand playing a superb tom-pattern with mallets) kicks in after one or two bars in any event, and the track rapidly reaches a place of defiant melodic polish.

‘Silver (The Sheltered Garden)’ has already been released as a single, and quite deservedly so. It restores thunderous Prog with staccato thumps of bass, drums and guitar that simply cannot be ignored. There is a doom-laden middle break that reveals this band to be as versatile as any out there, and Brand’s powerful patterns and complex ghost-notes are followed in tight unison by the rest of the band – especially Horsten’s solid work at the low end. Powerful and impressive, ‘Silver’ ensures that the overall album will by now command your ultimate attention.

‘Impasse’ is a solitary and sad melody built around Menses’ beautiful enunciation and Steffen’s endearing acoustic guitar. When the electric lead comes in, it quite unbelievably takes the track to an even more emotional level, and the track soars on the wings of heartbreaking melody – absolutely glorious.

‘Embers Part II: Water Wings’ allows Maichel to spread his wings with aplomb. His understated keyboard parts provide the foundation for a very fine track indeed. While the other members may generally be more prominent in the mix, this excellent keyboardist reveals himself to be an integral member of Subsignal and declares that he is not in any way to be underestimated.

Brand’s fast drum patterns and precise fills continue to impress in ‘Melancolia One’. He really is a master of syncopated, driving percussion. This song is an upbeat keyboard-based rocker in odd timing, and reveals Subsignal at their strident best. Jerky, angular rhythms literally ‘fill the empty space inside’ (as the lyrics state) and solid melodic Prog of the very best quality is the order of the day. The vocals and guitar solo are pre-eminent. At first listen it will feel as if the song deserves better than a fade-out ending, but on subsequent listens, the fade will make absolute sense to you. Filled with syncopation, starts, stops, breaks and surprises, ‘Melancolia One’ is a song intended for more seasoned Proggers. Classic Dream Theater fans take note – this one is top drawer and is right up your alley.

‘A Wound Is A Place to Let the Light In’ presents a more straightforward slow ballad groove that is no less fulfilling, due to its excellent melody. The first part of the song is not the Proggiest moment on the album, but soon some fairly elaborate arrangements are included and the subtlety of the keyboard work impresses again. The song has a classic melodic Prog breakdown that contains a superb riff, the likes of which King Crimson or Genesis would be proud.

Maichel continues to make his statement in the opening bars of final track ‘The Last of Its Kind’, which develops into an elaborate piece that demonstrates Subsignal’s proud Dream Theater and Fates Warning influences. This is heavy and brooding stuff, interestingly juxtaposed with a sax solo that really should sound out of place, but somehow does not. The track also actively demonstrates Mense’s versatility – he is as comfortable in heavier territory as he is in the more acoustic melodic material. As a band, Subsignal draw together on this track to provide a cohesion of the Prog Metal that they do so well – almost as a synopsis of all the album’s heavier stylings. Eminently impressive.

There is a bonus track named ‘A Room On the Edge of Forever’ which is a heart-rending acoustic guitar and vocal piece. This song, it turns out, was released as a video in 2021, having been recorded before the other tracks on the album, which were done in 2022. In it, Steffen demonstrates through beautiful Flamenco expressions that he is one of the classiest guitarists around. I am glad that this very beautiful bonus track was included, since it rounds the album out in the best way.

‘A Poetry of Rain’ was intended to be a counterpoint to previous album ‘La Muerta’, and it is therefore somewhat more Progressive than the latter. However, regardless of the album’s complexity and interesting arrangements, the band’s clear affection for accessible melodies and catchy refrains remains apparent throughout. Rich and lush in production with just the right balance of attack and refrain, ‘A Poetry of Rain’ was produced by RPWL’s Kalle Wallner and Yogi Lang, both of whom are real forces in German Progressive Rock. The artwork, which is reminiscent of Picasso, was designed by vocalist Arno Menses.

Progressive to its core, the album includes elaborate arrangements, soaring vocals, sophisticated melodies and sheer Progressive weight and crunch. It is punchy, complex, forceful and melodious – very often all at the same time. With ten songs and a total running time of about 50 minutes, this record will no doubt leave you wanting more.

Until now, I had no idea how good Subsignal were, but ‘A Poetry of Rain’ has made me very much aware. The band have described their music as ‘progressive, melancholic, cutting edge [and] emotional, blended with a good portion of melodic heaviness.’ Spot on, Gentlemen, and I would add the word ‘excellent’. I, for one, shall ignore you no more.

Release on Sept. 22, 2023 on Gentle Art of Music

1. A Poetry of Rain (Instrumental)
2. The Art of Giving In
3. Marigold
4. Sliver (The Sheltered Garden)
5. Impasse
6. Embers Part II: Water Wings
7. Melencolia One
8. A Wound is a Place to let the Light in
9. The Last of its Kind
10. A Room on the Edge of Forever*

*CD Only

Line-up / Musicians
Markus Steffen / guitars
Arno Menses / vocals
Martijn Horsten / bass
Markus Maichel / keyboards
Dirk Brand / drums

 

“Vowel” was recorded live by Jeton Hoxha at Braka Miladinov culture center of Struga, Macedonia, in June 2018. Previously published as only digital release on Eighth Tower Records, it was remastered and it's now available on cd. This recording is now part of the ZeroK black programs facility.

credits

FreeForm thanks Raffaele Pezzella for providing us with a promo copy of this release.

released October 12, 2023

REVIEWS

Ver Sacrum
www.versacrum.com/vs/2023/10/jeton-hoxha-vowel.html

Gonzo Circus
www.gonzocircus.com/vowel/

TOP LIST on Luminous Dash
luminousdash.com/portfolio-items/het-beste-van-2018-patsker-omaer-beguin-recensent/

Merchants of air
www.merchantsofair.com/albums/jeton-hoxha-vowel?fbclid=IwAR18V9TA_xpovhav0S32LJpHz6wn2G7k09Rao6XYuycnDtzHNd1A6idYUzk

Chain DLK
www.chaindlk.com/reviews/?id=10702

Avant Music News
avantmusicnews.com/2018/10/21/amn-reviews-jeton-hoxha-vowel-2018-eighth-tower-records/

Rosa Selvaggia
www.rosaselvaggia.com/recens.dischi_02_19.htm


Mastered by Raffaele Pezzella (Sonologyst)
Artwork by RhaD
zerok.bandcamp.com
© 2023. All rights reserved

license

all rights reserved

tags

Tags

ambient dark ambient drone meditation post-industrial soundscapes Italy

 

17 October 2023: Steven Wilson; Dengue Fever; Music for Haunted Asylums

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

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.

 

The Harmony Codex is the seventh studio album by British musician Steven Wilson, released on 29 September 2023 through Virgin Music Group.^[4][5]

Background

The record was first announced on 29 August 2023 with the release of lead single "Economies of Scale".^[6] Since then, the tracks "Impossible Tightrope", "Rock Bottom", and "What Life Brings" have been released as singles.

The album is said to be "a genre-spanning collection that opens up like a musical puzzle box" and musically more complex than Wilson's previous album.^[7][8]

Along with the release of the standalone record, a three-disc limited edition featuring a collection of bonus tracks under the name Harmonic Distortion.^[9]

Recording

Steven Wilson supposedly worked on the album "in a studio tucked inside a garage of a North London townhouse", piecing together the tracks with remote help from collaborators Ninet Tayeb, Craig Blundell, Adam Holzman, Jack Dangers, and Sam Fogarino.^[10]

Review

by Brendan Schroer CONTRIBUTOR (257 Reviews)
October 4th, 2023 Review Summary: Steven Wilson: A Feature Film Presentation

Let’s start this off with a quick exercise. First, I want you to take a listen to Steven Wilson’s 2013 opus The Raven That Refused to Sing. Even if you’ve heard it many times before, just take a moment to re-absorb that vintage prog majesty once again. The elaborate bass lines, the lush mellotrons, the jazz fusion tinges… yeah, that’s good stuff. Now that you’re done with that, let’s fast-forward to 2021 and revisit The Future Bites. The electropop sound, the (attempted) social commentary of the lyrics, the cold sparse atmosphere… now, that’s a stylistic 180 if I’ve ever heard one. Obviously Wilson was building up to the style found on The Future Bites – To the Bone definitely primed the pump for that – but when jumping straight from one end of his catalog to another, it’s enough to give one whiplash.

More than anything though, To the Bone and The Future Bites served as a message to his fans: expect the unexpected. For every elaborate prog number like “Luminol” or “Raider II”, there might be a dance-pop tune like “Permeating” or a bluesy rocker like “Eminent Sleaze” to catch you off-guard. And it’s this type of thinking that got me extremely curious about what Wilson would bring with The Harmony Codex. After all, what stylistic turn could he make after going all-in with the pop and electronic influences?

Well, Wilson did the best thing he could in this situation: take what actually worked on the previous record, and expand it into a more sprawling, cinematic experience. And he seemed poised to fully take advantage of this direction both aurally and visually, as the video for lead single “Economies of Scale” features two people dancing in a large chapel space with impressive choreography, shot entirely in one take. Oh, and Wilson himself makes a cameo appearance! See if you can spot him. Meanwhile, the music itself is just as grand and engaging; Wilson creates a complex tapestry of layered vocals, as the skittering Radiohead-style percussion gives the ornate instrumentation some grounding and tension. More than anything, “Economies of Scale” served as an excellent bridge between The Future Bites and the rest of The Harmony Codex.

Of course, much of the record delves even further into this sweeping musical territory. The other big single, and the one that Wilson really wanted people to be hyped for, is the 11-minute “Impossible Tightrope”. And how many lyrics do we get throughout this lengthy excursion? Three lines. That’s all we get. The rest of the track is an ambitious exercise in worldbuilding, including (but not limited to) the following highlights: wailing sax lines, cold post-punk-esque guitar leads, jazzy keyboard breaks, and a beautiful ambient section in the middle to cap it all off. And it’s at this moment that I realized something: The Harmony Codex as a whole is basically an olive branch between the traditional and modern prog sensibilities of Wilson’s solo career (granted, I suppose we already got this earlier on with Hand. Cannot. Erase., but still…). 

While “Impossible Tightrope” might be the best example of that bridge, it’s certainly present elsewhere too. For another extended tune that exhibits this middle ground extremely well, we get the highly atmospheric title track. The guitars and synths drone on hypnotically as Wilson’s wife Rotem provides some lovely narration to flesh out the ambiance of the piece. From then on, it’s mostly a suspenseful post-rockish buildup for the rest of the song… simple in concept, but strong in execution. Still, this is not to say that Wilson’s abandoned that more tender, singer-songwriter side of his DNA, as cuts like the pensive alt-rocker “What Life Brings” and the emotionally gripping ballad “Rock Bottom” prove. The latter is especially notable because it marks the return of longtime collaborator Ninet Tayeb, as she and Wilson embark on the first duet together since 2017’s “Pariah” – and, as always, Tayeb brings the house down with her raw, passionate delivery.

Despite all of this praise, I can’t help but feel as though something’s missing here. It might have to do with the overall lack of these more self-contained, concise moments, but the aforementioned worldbuilding could stand to be reined-in at times. While the extended, sprawling pieces are neat from a conceptual and atmospheric perspective, they also make The Harmony Codex more emotionally distant at times and – dare I say – even a bit hollow. I did mention earlier that “Economies of Scale” was like a way of connecting The Future Bites and The Harmony Codex together, and this does apply to some of the other songs as well. Unfortunately, that also comes with the former album’s baggage – whether it be in moments of questionable songwriting, dull vocal inflections, or an overly synthetic vibe.

Still, this shouldn’t deter Steven Wilson fans from checking out The Harmony Codex, as it’s a huge step up from its predecessor. If anything, this is basically the direction he should have gone in immediately after To the Bone, as it seems like a logical development from that record’s electronica-tinged prog-pop style. In any case, this is essentially Wilson’s “cinematic” album, and allows him to play around with a wide variety of fun styles and experiments using that theme. It’s sprawling, it’s immersive, it’s widescreen, and – most of all – it’s a sign that our favorite(?) modern progger still has plenty left to say, even over 30 years into his illustrious career.

 

Dengue Fever is an American band from Los Angeles who combine Cambodian rock and pop music of the 1960s and 70s with psychedelic rock and other world music styles. Their most recent album, Ting Mong, was released in September 2023.
 

Dengue Fever's sixth full length studio album. In Khmer folklore, a Ting Mong is a decoy or mannequin, similar to a scarecrow, used to fight away evil spirits and plagues.

credits

released September 15, 2023

Chhom Nimol - Vocals
Ethan Holtzman - Keyboards
Zac Holtzman - Guitars and Vocals
David Ralicke - Brass and Woodwinds
Paul Dreux Smith - Drums and Percussion
Senon Gaius Williams - Bass Guitars
Alex Lilly - Background vocals

Produced by PauL Smith and Dengue Fever

Recorded and mixed by Paul at Dos Leones, Burbank and Campo Viejo, Pipes Canyon

Additional recording by:
David at Nickel Jones Studio, Los Angeles
Senon at The Shoebox, Los AngeleS
Spencer Lere at Deckhouse Studios, GlendalE

Mastered by Reuben Cohen at Lurssen Mastering

Artwork by Imiri Sakabashira 

Tags

world alternative indie rock jazz psychedelic rock world world fusion Los Angeles

 

 Music for Haunted Asylums

The fascination with abandoned haunted asylums is a topic that has captivated the interest of many people over the years. There are a few reasons why these locations tend to hold a certain allure. First of all Asylums have a rich and often dark history, which attracts those interested in exploring the past. These institutions were built during a time when mental health treatments were not well understood, and the conditions inside were often deplorable. The stories of patient mistreatment, unethical practices, and the overall eerie atmosphere make for compelling narratives. Abandoned asylums, with their decaying buildings, broken windows, and overgrown grounds, create an atmosphere of mystery and suspense. Also they have become the subject of numerous urban legends and ghost stories. Over time, these tales have contributed to the notion that abandoned asylums are haunted by the spirits of former patients or the ghosts of the past. This connection to the supernatural adds another layer of fascination for those interested in the paranormal.

The talented musicians showcased in this compilation have meticulously crafted their aural creations with the explicit intention of transporting listeners into the captivating realms of the abandoned asylums. Through their musical artistry and skillful composition, they have harnessed the power of sound to evoke a sense of wonder and immersion, inviting audiences to embark on a sensory journey into these haunting and mysterious places.

credits

released September 14, 2023
Our thanks to Raffaele Pezzella for providing a promo copy of this release.
REVIEWS

Avant Music News
avantmusicnews.com/2023/09/17/amn-reviews-various-artists-music-for-haunted-asylums-2023-eighth-tower-records/

Ver Sacrum
www.versacrum.com/vs/2023/10/music-for-haunted-asylums-by-various-artists.html

Bizarre Chats
bizarrechats.blogspot.com/2023/09/music-for-haunted-asylums-eighth-tower.htm


Published by Eighth Tower Records
All tracks previously unpublished except "The Hall".
Curated and mastered by Raffaele Pezzella (a.k.a. Sonologyst)
Cover photo: Real Casa dei Matti, Palermo, founded in 1824.
© 2023. All rights reserved

license

all rights reserved

tags

Tags

ambient dark ambient dark chamber drone industrial noise Italy