Leo Zaccari is the author of the self-published novel, ARKHANGEL. He spent 14 years in radio working at cutting edge stations like WTHG, one of the first Modern Rock stations in the United States. He also spent time at WBJB in Lincroft, New Jersey where he produced the audio documentary Horror: Fiction, Film & Folklore which featured writers Brian Keene, Jon Skipp, James A. Moore, and the music of Bedtime for Robots. He currently teaches history at a community college while working on his second novel and serial fiction, both due out in 2019.
Love in Reverse has released their first recording in over 20 years with their new single “No Way This Time”. Signaling what the band calls the “beginning of their next phase” this song is destined to become one of your favorites in the LIR catalogue. With catchy hooks, intelligent introspective lyrics, rock-solid drumming, awesome guitar riffs, and some soul satisfying synth, Love in Reverse pick up right where they left off more than twenty years ago.
For those of you not familiar with Love in Reverse, they were the newest (re)incarnation of the band Dog. They blasted onto the scene with music that reflected the 90s alternative sound but with their own unique futuristic twist. Imagine if early Soundgarden melded with Smashing Pumpkins and borrowed Radiohead’s equipment to travel into the far off future to battle alien invaders. But apparently the burden of knowing how much pop culture in the future would suck took its toll. After a trio of albums singer/guitarist Michael Ferentino, drummer Dave Halpern, and bassist Andres Karu went their separate ways. The new single features all three original members sounding like they never left us. If only all bands could sound this good 20 years after breaking up, the universe would truly be a better place.
Hello everyone. Please allow me to introduce the first brand new Love in Reverse recording and video in over 20 years. Right here and now. "No Way This Time" marks the beginning of our next phase. Single will be released worldwide to most streaming and download joints on 8/2/19. Full album TBA. Have a fantastic day!
‘0x001’ is the 2016 release from Coarses. It’s a collection of ambient tracks that work just as well as stand alone pieces as they do as a whole. I stumbled upon this collection of drone goodness after seeing the trailer for the amazing short film ‘The Pond’ (link below). This is excellent music for writers of horror, thrillers, or any sort of dark fiction.
‘Open Field’ puts you in a trance right away with what sounds like the breathing of some fantastic machine. From the sound of it, its most likely a machine that eats people.
‘Worship’ creates an unsettling atmosphere, like you’ve just happened upon some ancient druidic ritual. Never a good thing.
‘Focus’ changes this up a bit with its catchy techno beat, and ‘Focus on Hands’ is the album’s best track. The finale is machine-like, bringing to mind The Terminator in his relentless quest to kill his intended target.
If you’re a fan of drone and ambient, this is definitely for you, and if you’re a fan of horror soundtracks, you should definitely check this out.
A ghost box, or Frank’s box, is a device used for contacting spirits through different radio frequencies. Some claim these devices should not be taken lightly, or abused, as there can be severe consequences. Others claim its all a bunch of superstitious nonsense. Either way, the ghost box has been the subject of great interest to those interested in contacting the spirit world. Doubtless its only a matter of time before Hollywood seizes upon this concept and creates an entire movie franchise around it. But for fans of music, Ghost Box Orchestra is something else entirely.
If you’re looking to “revisit” the 90s with new music, this is your chance! Ghost Box Orchestra is a band out of Boston that brings back the echo drenched neo-psychedelic 90s with a heart-warming vengeance. Sounding like The Verve back in their A Storm in Heaven days with a bit of Shoegaze thrown in for good measure, this album is definitely the type of music made for those who love music. And it contains enough reverb to kill a small elephant.
The album starts strong with “Flutter” and continues with the psychedelic guitars of the title track. Some high points include “Wave Goodbye”, with its slow plodding drums and sinister vocals sounding like some sort of death march. “Dead & Gone” conjures up memories of Stabbing Westward at their most menacing. Its heavy groove will make you want to smear the blood of your enemies on yourself after you’ve slain them. (editor’s note: this is not recommended as law enforcement usually frowns on such actions)
The last track, “Casualty Devotional” is the album’s masterpiece. It showers you in shimmery vocals while endless echoes of synthesizers and guitars fill the space around like an oncoming tide. Like a good story with a third act that pays off all the setups, this is the track that the entire album has been leading up to. And like a good story, you will not be disappointed, with the ending. After listening to this album, you will truly believe that you’ve been communicating with the spirit world, and from the sound of it, the Other Side is in good hands.
Labyrinth is the latest compilation from Eighth Tower Records, purveyors of fine ultraterrestrial dark ambient, drone, and electronic music. With a total of twenty two tracks there’s enough darkness here to swallow the Earth whole.
The compilation starts off with “When the Shadows Come” from Psionic Asylum, a deep, dark ambient track that starts you down the path to the Labyrinth. Some of the standouts are track 3, “Luft” by Monocube, which wades into static like you are waste deep in murky waters of the mind. A train whistle is used expertly to disconcert the listener, sounding much like a plane crashing.
Track 6 brings “The Labyrinth” by Warpness with helicopter sound effects that increase the tension. Track 17 is “Hostile to the Past” by Soliloqua which uses creepy organ music that plants the seed in your mind that perhaps coming here was a mistake.
Track 18 is from Traansmutt, entitled “HehBethKathDaleth” and its packed with plenty of disturbing sounds like you’ve accidentally intruded on some kind of ritual in an old Hammer horror film. Other tracks include “Tre” from Necrophorus, “Verminephrobacter eiseniae” from Stigmate, and “We’ll Return to Our Departed Selves” by IOK-1.
Finally, the compilation contains an interesting passage about the nature of the labyrinth itself: Mazes must be solved, a left brain activity that involves choices and an active mind and logical, sequential, linear thinking. A maze is multicursal, with many paths. If you don’t pay attention, you can get lost in one. Not so with a labyrinth. It is unicursal – one way in, one way out. There are no decisions, no choices, no thinking required. The only choice is to enter. To walk one is a right brain activity involving intuition, creativity, and imagination, and it requires a receptive mindset. You must trust the path, surrender to it.
A labyrinth is not a puzzle; it is a mystery. Theologian Diogenes Allen illuminates the difference: “When a problem is solved, it is over and done with. We go on to other problems. But a mystery, once recognized, is something we are never finished with. Instead, we return to it again and again and it unfolds new levels to us. Mysteries, to be known, must be entered into. We do not solve mysteries. The deeper we enter into them, the more illumination we get.”
1 Psionic Asylum “When the Shadows Come”
2 Sysselman “Submarine” (featuring Radio Feskslog)
Mike Black’s Go/No Go is more science than science fiction, but that doesn’t mean it’s not fun to listen to. On the contrary, Black creates an entire universe of sight and sound that awaits the most intrepid exploration. New listeners to the world of electronic music will be awed by the electronic ambience and by Black’s ability to craft worlds beyond our imagination; while more experienced listeners will revel in its seamless blend of different styles with deft nods to Tangerine Dream, Kraftwerk, Vangelis, Jean Michel Jarre, and even ELP. This album is as much a sonic exploration of the outer reaches of the universe as it is an exploration of the mind. Synthesizers prod and probe your consciousness with the precision of a surgeon. The beauty of music or the written word is that it can be interpreted many different ways.
The album hits the ground running with the title cut that marches relentlessly forward. The synth on the second track, “Ribbon Zipper”, is graceful enough to call to mind the final minutes of “Lucky Man”. Other standouts include “Down Very Fast” which plays like the electronic version of a fast paced thriller from Grisham or Baldacci. With its dark and menacing synthesizers, much of the album sounds like it could have been taken from an 80s soundtrack, albeit in a more serious and provocative tone. “The Ebb of Night” has a Japanese vibe reminiscent of “Mate Kudesi”.
I would say that “Trans Four” is the album’s masterpiece, but honestly, this album contains more than one. “Trans Four” is an epic sprawling masterpiece carefully constructed like a Mandala and executed with the precision of a virtuoso. In an album filled with gems, this one still manages to stand out. The album concludes with “Dark Rainy Roads” which ventures into the realms of sci-fi and horror, sounding at times like a cross between “The X-Files” and “Texas Chainsaw Massacre”.
Go/No Go is electronic music at its best, constructed not only by a highly imaginative musician, but also someone who is clearly a devoted fan of the genre.