recursal/Fanatic-Fandom huggingface dataset:
Aeron Alfrey

Visual artist Aeron Alfrey has furnished illustrations for books about horror authors like HP Lovecraft, Stephen King, and Thomas Ligotti. Alfrey’s meticulously detailed nightmare worlds are crammed with denizens of all varieties, densely peopled with black and white monsters like an unholy mash-up between the medieval apocalypses of Heironymus Bosch and the spooky imagery of Stephen Gammell (*Scary Stories to Tell in the Dark*). Although Alfrey has primarily provided artwork for horror fiction, he’s had dozens of exhibitions over the globe in the past few years, and has recently started doing artwork for bands.

"I am 34 years old, I live in a depressing little town in Indiana called Crawfordsville. It was once referred to as “The Athens Of Indiana” for its architectural splendor but over time many of those buildings have been destroyed or left to decay. It has been host to an assortment of abandoned factories over the years, many I’ve had the opportunity to explore. I was creeping outside of the hospital I was born in the other week. It’s been abandoned for going on twenty some years and remains in wretched decay, windows smashed in, walls collapsing, stairs filled with toxic debris. So, this is a place that lends itself to my stranger imaginings on long walks at night.

As far as how long I’ve been making art, I’ve been making it all my life. Some of my earliest childhood drawings are online at “An Ancient Beastiary.”"

"I’m an artist obsessed with a deranged fantasy world that exists in my head to which I’ve given the name “The Land Of The Moth.” It is a place where I organize many of my creative ideas into a cohesive imaginary environment. The Moth is a place of nightmares, ruined abstract cities, fantastically grotesque characters, a dream world of death magic and monsters.

Regarding my training as an artist, I went to a traditional art school where I focused on drawing painting and traditional printmaking techniques. My skills related to digital imagery have all been a self-teaching experience, although my interests in digital techniques were inspired in an old-fashioned lithography studio. I recall watching someone experimenting with a composition for a stone lithographic print in Photoshop and discovering the potential of using layers for different areas of an artwork."

Website Store Instagram

***Cadabra Releases:***

Mr. White Noise
Themes from Hell

"Themes From Hell” is a series which takes main themes from select records to hear loud and in full detail, music is isolated without vocals.

Editions:

Themes From Hell 1: Ligeia

Themes From Hell 2: The Colour Out of Space

Themes From Hell 3: At the Mountains of Madness

Themes From Hell 4: Call Me Corey

Themes From Hell 5: Carcosa

Themes From Hell 6: The Dunwich Horror

Themes From Hell 7: The Red Tower

Themes From Hell 8: The Mill River Revenant

Themes From Hell 9: The Small People

Themes From Hell 10: The Shadow Over Innsmouth

Themes from Hell 7x7" Set (11-17)
Fabio Frizzi

Fabio Frizzi is an Italian musician and composer.

He is the older brother of the late television presenter Fabrizio Frizzi.

Frizzi is best known for his eerie scores for European horror movies. A frequent collaborator with Italian horror icon Lucio Fulci from the '70s into the '90s on films such as Contraband, The Beyond, and A Cat in the Brain, his music often used analog synthesizers, with their fuzzy sound adding a layer of creepiness to his downbeat melodies. Still incorporating elements of electronic, classical, and rock music into his scores with help from vintage instruments, Frizzi went on to compose music for projects including TV's Il Capitano (2005), House of Forbidden Secrets (2013), and Puppet Master: The Littlest Reich (2018).

Fabio Frizzi was born in Bologna, Emilia-Romagna, Italy on July 2, 1951. As a teenager, he was passionate about both movies and music, and he formed a trio with fellow musicians Franco Bixio and Vince Tempera to write and perform music for movies and TV. In 1968, Frizzi and his partners scored a spaghetti Western, Ed ora... raccomanda l'anima a Dio! (aka And Now, Make Your Peace with God), and by the mid-'70s he was scoring several pictures a year. In 1975, Frizzi was hired to write music for I quattro dell'apocalisse (aka Four of the Apocalypse), a Western directed by journeyman director Lucio Fulci. Four years later, when Fulci was asked to direct a horror film inspired by George A. Romero's Dawn of the Dead, he brought Frizzi in to score the picture.

The movie, Zombie (aka Zombi 2), was an international success, and as Fulci's name became synonymous with gory Italian horror, Frizzi developed an underground following.

IMDB Twitter Instagram

***Cadabra Releases:***

The Picture in the House

The Black Cat

The Beyond: Composer's Cut (2019)

The Beyond: Composer's Cut (2020)

The Beyond: Composer's Cut Alternative mixes

I Notturni Di Yuggoth

The Festival (2020)

Castle Freak

Dark Chamber

The Festival (2021)

The Eyes of the Cat

Lucio Fulci's Zombie: Composer's Cut
At The Fork Of The Roads

CADABR-88 2022

7"

From the first issue of *The Equinox*: The Review of Scientific Illuminism, in 1909, Aleister Crowley's *At the Fork of the Roads* is less a straightforward narrative, and more a descriptive tone poem. It's as though the English occultist, in writing this short story, is crafting a spell on which to meditate, rather than a story for entertainment.

As read by Laurence R. Harvey and scored by Chris Bozzone, Crowley's story is both meditative lyric and something of an allegory for those who dabble in the dark arts. *At the Fork of the Roads'* is a warning as to the possibility of being too confident in one's abilities, and how it might require desperate measures to triumph over.

It is also, obviously, a thinly-veiled accusation toward Crowley's fellow poet William Butler Yeats, and how he was a black magician attempting to destroy him. Sometimes, truth is stranger than fiction. Harvey's delivery reveals none of this, devoting his reading to reveling in the sound of the words themselves, with all the richness of intonation necessary to heighten the dramatic tension.

**Credits:**

Written, artwork by Aleister Crowley

Liner notes by Leigh Blackmore

Read by Laurence R. Harvey

Score by Chris Bozzone

 B

Pressed on 150 gram vinyl

Housed in triple-panel sleeve

**Variants:**

Subscriber (Yellow swirl)

Yellow

Red

Hand poured black and red splatter over yellow (xx copies)

Wax mage (25 numbered copies)

Test pressing (25 numbered copies)
Yves Tourigny

Yves Tourigny is a French-Canadian father, husband, and game designer.

He lives in a house with his wife, his two children, two dogs, three cats, and the occasional foster squirrel. Driven by a poorly-understood compulsion, he surrounds himself with bookshelves, drawers, and containers of all types and dimensions. In these he collects books, music, games, and the bric-a-brac necessary to make sense of (and protect himself from) life.

Website Instagram Twitter

***Cadabra Releases:***

20 Simple Steps to Ventriloquism

The Tee

Cadabra Illustrated 4: Infectious Agents
Castle Freak

CADABR-84 2021

2 LP

While the score for 2018's *Puppet Master: The Littlest Reich* marked composer Fabio Frizzi's full-blown return to scoring horror films after a brief resurgence in the middle of the decade, his work for director Tate Steinsiek on the reboot of Charles Band's *Castle Freak* shows that the mature and well-seasoned Frizzi has new ideas to share with listeners.

Certain aspects of the *Castle Freak* score might be familiar to the composer's fans, such as the use of the emblematic plucked guitar on "Back In the Vision," the Mellotron chorus on "Mirror on the Wall," or the rising synthesizer chords of "The Gang Arrives" calling back to The Beyond. However, here the former is overlaid with a fuzzed-out electric bass and sweeping electronic alarms and the latter is followed by "Shelly Slinks Into the Tub" and its percussive electronics melded with the sound design of water swirling down a drain.

Also of particular interest is "R&J, Spied Love, which is a swirling mass of moans, electric guitar, and pounding drums by the time it reaches its end, a hallucinatory and erotic piece of music whose liquid tones disorient the listener as they pan from left to right and back again. This particular piece of score sees Frizzi going far afield from what one might expect.

This is to say: Fabio Frizzi is doing something one might not expect, and it is glorious. The composer's score for *Castle Freak* leans hard into the fact that the film is set in the Whateley castle estate in Albania, creating music which is at once courtly and folk-inspired with absundant use of violin and acoustic guitar. However, it's the manner in which Frizzi uses the synthesizers and other instruments to create something new to his oeuvre which makes the score for *Castle Freak* stand out so thoroughly.

Take, for example, "Towards the Accident," which has the leisurely Western lope of a John Carpenter score or the Link Wray-esque, surf-guitar sustain of "Shelly & John." The way the electric guitar of the latter blends with beautiful electronic strings and that iconic finger picking on the acoustic before the twanging of a wire overlays it all results in a piece which is fascinatingly complex in the interaction between all of the individual elements. Yet, even within the complexity of the piece, the loveliness still comes through resoundingly strong.

**Credits:**

Music, Liner Notes by Fabio Frizzi

Layout by Eric Adrian Lee

Photography by Aimee Kuge

Film by Tate Steinsiek

This is a release from Cadabra Records in collaboration with Lakeshore Records.

Pressed in 150 gram vinyl

Printed on a deluxe triple gatefold sleeve

Variants:

Standard (transparent red)

Hand poured red and black splatter over natural white (40 copies)

Wax mage (25 numbered copies)

Test pressing???
NecronomiCon Providence

The **NecronomiCon Providence**, also known as the **NecronomiCon Providence: The International Conference and Festival of Weird Fiction, Art, and Academia**, is a biennial convention and academic conference held in Providence, Rhode Island. It explores the life and works of H. P. Lovecraft and other creators of weird fiction of the past and the present, and is billed as "the largest celebration ever of [Lovecraft's] work and influence". The event is typically held on the weekend closest to Lovecraft's birthday of August 20th.

Event programming is held primarily at the Biltmore Hotel Providence and Omni Hotels, with additional events held in downtown Providence, the John Hay Library, and adjacent College Hill sites. The event is organized by the Lovecraft Arts & Sciences Council, which also runs the store Lovecraft Arts & Sciences.

Website
Dave Felton

Bio

Instagram Comic Instagram

***Cadabra Releases:***

Selections from H.P. Lovecraft: A Short Biography

Origami Dreams

20 Simple Steps to Ventriloquism

Chris Bozzone: Selected Themes Inspired by Thomas Ligotti (Gas Station Carnivals)

The Mindfulness of Horror Practice

Cadabra Illustrated 3: The Haunter of the Dark

Cadabra Illustrated 6: A History of the Necronomicon
Mr. White Noise 2

CADABR-46 2022

LP

After four years, author Matthew M. Bartlett has once again teamed up with Black Mountain Transmitter to craft a collection of his terrifying and baffling short fiction in auditory form. *Mr. White Noise 2* sees the author reading his work over J.R. Moore's electronic soundscapes, expanding the original collection to nearly double its original number of pieces. Tales from the first release like “Generally Accepted Accounting Principles,” “The Highway Procession,” and “The End of the Family Line” are augmented with the addition of “Cul-De-Sacrilige,” “The Skull Thief,” and “Stuffed Animals,” among others.

*Mr. White Noise 2* collects tales of unknowable terror set within a suburban landscape, wherein sunlit cul-de-sacs and children's bedrooms are made as frightening as any dark country lane or hidden abattoir. The sounds of radio or television stations just out of range, whistling in the ether while echoing voices speak at the edge of hearing, might bring you to the precipice of madness, had you not already fallen into its depths with Bartlett's direct declamation of his words.

As befits the mysterious titular character who makes an appearance or bears mention in many of Bartlett's tales, the music finds strange beauty in the sonic wash which occurs when music flirts with dissonace. However, the music equally works within in a milieu wherein its melodicism is at the forefront, though no less foreboding for the apparent beauty. In the reading, the author's voice distorts and echoes, turning words into sounds as distressing as the sound design which surrounds them.

When the music and voice combine and begin to degrade into static, the horror comes from the fact that you feel as though you're being pulled into this world which you thought you were only visiting. In point of fact, by dropping the needle on this collection, you've chosen to enter the world ruled by Mr. White Noise's dark whims, and only by holding onto your sanity will you make it out unscathed.

**Credits:**

Written, read, liner notes by Matthew M. Bartlett

Artwork by Nathan Reidt

Score by Black Mountain Transmitter

Limited pressing on 150 gram vinyl

Printed on a deluxe heavy weight gatefold tip-on jacket

Includes an 18" x 24" promotional poster

**Variants:**

Standard pink and red swirl

Psilowave exclusive (transparent red)

Hand poured pink and black splatter over clear (xx copies)

Wax mage (25 numbered copies)

Test pressing (15 numbered copies)
Authors

Aleister Crowley

Ambrose Bierce

Arthur Machen

Bram Stoker

Charles Dickens

Clark Ashton Smith

C.M. Eddy Jr.

Edgar Allan Poe

Edogawa Rampo

H.P. Lovecraft

Joe Keinberger

Jon Padgett

Lee Brown Coye

Mark Samuels

Matthew M. Bartlett

M.R. James

Oscar Wilde

Robert W. Chambers

Roland Topor

Ryūnosuke Akutagawa

Sir Arthur Conan Doyle

S.T. Joshi

Thomas De Quincey

Thomas Ligotti

Tod Robbins
Live In Auburn, The Elder Tapes (2016)

CADABR-03 2016

LP

Recorded in the late 1950's by Robert B. Elder, the only known voice recording of Clark Ashton Smith. Mr Elder picked at random, 11 poems from the books The Dark Chateau and Spells and Philtres for Smith to read. Audio has been newly enhanced for clarity, and mastered for vinyl. Although the recording quality of Smiths readings are primitive, consider this as a glimpse into another time and place, into the world of Clark Ashton Smith.

**Credits:**

Written, read by Clark Ashton Smith

Art by Joe Keinberger

180 gram audiophile black vinyl.

Two sided, hand screen printed, fold over jacket. Sliver ink on thick black French paper.

16 page booklet of poems read in this volume.

**Variants:**

Retail (black)(107 numbered copies, 90 for sale)

Test pressing (10 numbered copies)
The Terrible Old Man

CADABR-11 2016

7"

"The Terrible Old Man" is a short story of fewer than 1200 words by American writer H. P. Lovecraft. It was written on January 28, 1920, and first published in the *Tryout*, an amateur press publication, in July 1921. It is notable as the first story to make use of Lovecraft's imaginary New England setting, introducing the fictional town of Kingsport. The story is about the fate of three would-be robbers of the titular old man's house.

**Credits:**

Written by H.P. Lovecraft

Read by Andrew Leman

   Artwork by Grady Gordon

Sounds & score by Daniel Suffering

Sounds & score by Theologian

Initially available to year 2 subbers and at live events. Later offered for sale online described as a Necronomicon exclusive leftover.

**Variants:**

Random color (200 copies)

Test pressing (12 numbered copies)
Adam Burke/Nightjar

I was born in Oregon and have lived in the Pacific Northwest for most of my life and have been working as a professional illustrator since 2010. Curiosity and escape defined my childhood, and continues to define me now. The natural world satisfies my needs around both of these things. We are of nature and must remember our place.

I want the viewer of my works to appreciate nature on a deeper level. I want to explore the incredible complexity of the simplest moments. I want to tear down human ideas of hierarchy and beauty and remove barriers that keep us from holding the natural world as dear. In doing so, I hope to redefine beauty in my own way, expressed through the infinite exploration of painting.

The seeming chaos in natural forms creates many challenges in painting and drawing, providing inspiration for me. I enjoy the puzzle inherent in depicting these three dimensional forms in two dimensional space, and combining them with the control and happenstance found in the practice of painting.

I want to express aspects of the world that are less noticed, stigmatized, or considered strange or grotesque. I want to be able to express the beauty, or at least the fascination that I find in these things. I try to keep my works free of exploitation and gimmicks, informed by intense observation with the purpose of expressing honesty and connection.

I hope to elicit awe (if I’m lucky) or at least curiosity in the viewer. Curiosity keeps me motivated, and tends to be what draws me to a particular piece of art. I enjoy the combination of feeling intimidated and inspired by an artist’s imagination. I want to do this in my own work. I have my own standards of aesthetics and boundaries around what I find beautiful, and I hope to connect with others who share compatible ideas.

Website Instagram

***Cadabra Releases:***

The Hound of the Baskervilles

Casting the Runes

The Pit and the Pendulum

The Death of Halpin Frayser
The Hound of the Baskervilles

CADABR0-15 2017

LP

The Hound of the Baskervilles is the third of the four crime novels written by Sir Arthur Conan Doyle featuring the detective Sherlock Holmes. Originally serialised in *The Strand Magazine* from August 1901 to April 1902, it is set largely on Dartmoor in Devon in England's West Country and tells the story of an attempted murder inspired by the legend of a fearsome, diabolical hound of supernatural origin. Sherlock Holmes and his companion Dr. Watson investigate the case. This was the first appearance of Holmes since his apparent death in "The Final Problem", and the success of *The Hound of the Baskervilles* led to the character's eventual revival.

**Credits:**

Written by Sir Arthur Conan Doyle

Artwork by Adam Burke

Adapted, liner notes by Anthony D.P. Mann

Music & read by Brent Holland

Read by The Bleak December Players

**Variants:**

Retail (Transparent green with black swirl, 200 copies)

Subscriber (Opaque green with black streaks, 100 copies)

Test pressing (12 numbered copies)

Square lathe cut picture disc (20 numbered copies, 15 included in the box set)

Wax mage box set (15 copies) included:

-Square picture disc

-Lithograph signed by Anthony D.P. Mann and Adam Burke

-Wax mage vinyl
Fungi from Yuggoth

CADABR-14 2017

LP

*Fungi from Yuggoth* is a sequence of 36 sonnets by cosmic horror writer H. P. Lovecraft. Most of the sonnets were written between 27 December 1929 – 4 January 1930; thereafter individual sonnets appeared in *Weird Tales* and other genre magazines. The sequence was published complete in *Beyond the Wall of Sleep* (Arkham House, 1943, 395–407) and *The Ancient Track: The Complete Poetical Works of H. P. Lovecraft* (Night Shade Books, 2001, 64–79). Ballantine Books’ mass paperback edition, *Fungi From Yuggoth & Other Poems* (1971) included other poetic works.

*Fungi from Yuggoth* represents a marked departure from the mannered poems Lovecraft had been writing up to this point. Sending a copy of "Recapture" (which just predates the sequence but was later incorporated into it) the poet remarks that it is 'illustrative of my efforts to practice what I preach regarding direct and unaffected diction'.

**Credits:**

Written by H.P. Lovecraft

Artwork & liner notes by Jason Barnett

Liner notes by Lee Bartow

Calligraphy by Josh Yelle

Read by Andrew Leman

Score by Theologian

First pressing of 500

Housed in deluxe heavy weight gatefold tip-on jacket

11" x 22" fold out poster with liner notes

24" x 36" poster included with direct orders.

**Variants:**

Light blue/white opaque mix (190 copies)

Metallic silver (190 copies)

Subscriber (Clear & black swirl)

Test pressing (14 numbered copies)

Wax mage box set (20 copies) included:

-Square lathe cut picture disc (20 numbered copies)

-Wax mage variant

Square lathe cut picture disc with alternate art (NecronomiCon exclusive, 25 numbered copies)
The Outsider

CADABR-38 2019

LP

Cadabra Records brings to life H. P. Lovecraft’s “The Outsider”, written in 1921 and first published in Weird Tales, April 1926.

“Most daemoniacal of all shocks is that of the abysmally unexpected and grotesquely unbelievable.” -Tongues of Azathoth Magazine 1928

Cadabra Records brings to life one of H. P. Lovecraft’s most beloved tales, “The Outsider”, written in 1921 and was first published in Weird Tales, April 1926. H. P. Lovecraft himself said that, of all his tales, this particular story most closely resembled the style of his idol Edgar Allan Poe. Lovecraft wrote in a letter that it “represents my literal though unconscious imitation of Poe at its very height.” The Outsider remains one of Lovecraft’s most popular tales.

   Theologian provides an atmospheric, synth driven soundscape creating a world of gothic nightmare and the feel of worm eaten isolation. Voice, stage and screen actor Andrew Leman unleashes a masterful performance invoking the desolation and despair of a monstrosity time has forgotten.

**Credits:**

Written by H.P. Lovecraft

Artwork by Karmazid

Liner notes by S.T. Joshi

Calligraphy by Josh Yelle

Read by Andrew Leman

Score by Theologian

Includes poster

Replaced The Wendigo for sub 4

    **Variants:**

Grey & black marble

Subscriber (Coke bottle green with green swirl)

Ghouls of the Night Wind (clear & black swirl, 70 copies)

Wax mage (xx numbered copies)

Test pressing (xx numbered copies)
Brent Holland

Brent Holland is a Canadian multi-instrumentalist composer. In the 1980s he composed and performed as part of the band Holland & Kyne. He has since become a film composer.

IMDB

***Cadabra Releases:***

Dracula

Dracula (2022)

The Hound of the Baskervilles

The Cask of Amontillado

A Christmas Carol (2018)

A Christmas Carol (2019)

The Dunwich Horror (2018)

Casting the Runes

The Signalman

Number 13
Lucio Fulci's Zombie: Composer's Cut

CADABR-100 2023

LP

For those who enjoyed the release of Fabio Frizzi's first Composer's Cut, in which he expanded and re-envisioned his score for Lucio Fulci's 1981 film, *The Beyond*, his sophomore outing will bring levels of delight and excitement previously thought unimaginable. In tackling *Zombie* (also known as *Zombi 2* or *Zombie Flesh Eaters*), composer Frizzi has crafted something which feels familiar and new simultaneously.

The story of how it came to be is truly necessary to really grasp just what Frizzi – as well as the members of his Frizzi 2 Fulci band, drummer Federico Tacchia, bassist Roberto Fasciani, guitarists Riccardo Rocchi and Francesco Saguto, and keyboardist Alessio Contorni – has done here. Whereas the Composer's Cut of *The Beyond* was crafted to be part of a version of the film wherein the original score had been completely removed, for *Zombie*, there was no such version. Thus, as the composer writes in his liners notes, he would have to “work over the old music by writing new themes that would be, so to speak, superimposed upon the old musical commentary, in effect creating something totally new, something almost unimaginable.”

Thus, the tracks which make up the *Zombie* Composer's Cut are both reinterpretations of old themes – the title track, the percussion that tells of the immanent voodoo, the sequencer theme, and the harmonic rock sequence which accompanies the movie's goriest moments – while also crafting new music, such as “Afraid of Voodoo,” a completely new work which features the expert and haunting work of cellist Gennaro Della Monica.

Not for nothing does the maestro himself add a classical guitar solo to the film's classic main title theme, adding just enough flourish to connect the droning Mellotron choir to the island themes which act as a counterpoint. It's details such as these which elevate the new music to something special, with the result being. a score which leaps out of the speakers, robust and full. The electric guitars are bigger, the drums hit harder, the bass smacks you in the chest, and the synthesizers feel as though they've had their signal boosted with a lightning strike's worth of power.

**Credits:**

Artwork by Jeremy Hush

Liner notes by Stephen Thrower, J. Blake Fichera, & Fabio Frizzi

Guitar by Riccardo Rocchi & Francesco Saguto

Bass by Roberto Fasciani

Cello by Gennaro Della Monica

Drums by Federico Tacchia

Keyboards by Alessio Contorni & Fabio Frizzi

The complete uncut score By Fabio Frizzi

150 and 180 gram vinyl

Deluxe heavy weight tip-on gatefold Jacket

24" x 36" promotional poster

**Variants:**

Audiophile black

Red swirl (also available through Psilowave)

Paula's Eye (Pigmented red swirl over clear)

Red and black (Transparent red with black swirl)

Red and black swirl over natural white (subscriber)

Yellow with black swirl (Mondo exclusive, 500 copies)

Black and red splatter over white (xx copies)

Wax mage (25 numbered copies)(Came with 12" x 12" giclee print of the cover art signed by Fabio Frizzi)

Test pressing (25 numbered copies)
Cadabra Illustrated 7: The Call of Cthulhu

2021

Written by H.P. Lovecraft

Artwork by Matthew R. Jaffe

Offset printed on Mohawk Superfine Softwhite Eggshell archival paper.

Hardcover bound in black cloth with gold foil stamping.

Text has been faithfully restored to Lovecraft's original manuscripts by S. T. Joshi.

Signed by Matthew Jaffe and hand numbered

Bookmark included

Variants:

Black softcover (140 copies)

Green softcover (40 copies)

Black hardcover (40 copies)

Green hardcover (5 copies) ???

Where to listen:

The Call of Cthulhu (2018)

The Call of Cthulhu (2021)
Dylan Garrett Smith

Dylan Garrett Smith is an artist/printmaker whose work is a product of his views regarding humanity’s relationships with - and the continually growing distance from - the natural world.  Combining concepts of occultism, ecology, and memento mori, Smith stresses the importance of the cycle of birth-bloom-decay and the necessity of solitude in nature.  Ashes, chalk-lead and ink on black cotton rag paper serve as the primary media to make his images, while reinforcing the natural process of life, death, and rebirth.

Smith earned his Bachelor’s Degree in Fine Arts from Pratt Institute of Art in Brooklyn, NY and currently lives and creates in the Lehigh Valley of Pennsylvania.

Website Instagram

***Cadabra Releases:***

The Blood-Lotus

The Call of Cthulhu (2018)

Dracula

Dracula (2022)
Dagon/The Cats of Ulthar/The Music of Erich Zann

CADABR-33 2019

LP

Vinyl spoken arts label Cadabra Records presents an audio adaption H. P. Lovecraft’s classics Dagon, The Cats of Ulthar & The Music of Erich Zann, with an original score by cinematic instrumentalists Anima Morte.

Told from the perspective of a drug-addled mariner, Dagon is H.P. Lovecraft at his scaly and slimy best. First published in 1919, the short story has become one of Lovecraft’s most well known and adapted works, notably by horror director Stuart Gordon and referenced by many other games and novels. With a synth-driven score by Anima Morte, Dagon moves at an unrelenting pace, challenging you to question everything you think you know about our place in the natural world.

The Cats of Ulthar finishes Side 1, giving Anima Morte a wonderful tale to grow their haunting and melodic score. With Cats, the music takes a decidedly European tone, filled with gentle acoustic guitar offset by bells, chimes, and droning strings. Side 2 contains The Music of Erich Zann, where the score becomes much more immediate and paranoid; the dripping synth sounds and effects. As a thrilling bonus, accomplished cellist Leo Svensson Sander gives life to Zann’s mythical instrument, providing a tangible fury you won’t soon forget.

**Credits:**

Written by H.P. Lovecraft

Read by Andrew Leman

Score by Anima Morte

Artwork by Karmazid

Liner notes by Fredrik Klingwall

   Liner notes by S.T. Joshi

Issued in a deluxe heavyweight gatefold tip-on sleeve.

Insert with liner notes.

Includes a 24" x 36" promotional poster.

**Variants:**

Retail (Clear with black swirl)

Mondo (Clear)

Random color (208 numbered copies)

Subscriber (White with black swirl)

Clear with black/white splatter (50 numbered copies)

Wax mage box set (26 numbered copies)(Includes 2 giclee prints)

Test pressing (xx numbered copies)

    Where to read:
Cadabra Illustrated 5: Dagon
The Return of the Sorcerer

CADABR-24 2018

LP

From Hilger’s notes:

““The Return of the Sorcerer” was written in early 1931, and went through several revisions and title changes, such as “A Rendering from the Arabic” and “The Return of Helman Carnby.” After being rejected by both Ghost Stories and Weird Tales, the story was finally published in the September 1931 issue of Strange Tales.

It was Lovecraft’s suggestion that both the murderer and the victim be practitioners in the Black Arts, an idea which Smith quickly incorporated and subsequently introduced the text from the Necronomicon (Lovecraft’s notorious book of forbidden demonic lore written by the mad Arab Abdul Alhazred) into the tale, this firmly established it as a contribution to the emerging Cthulhu Mythos. Lovecraft also pointed out that the ending might be more effective if the grisly dismemberment was somehow more veiled and hidden from actual sight; leading Smith to change the original ending that had Ogden actually witnessing the event into the final version, which has him only hearing the struggles and terrible screams of John Carnby before observing the shadow of the headless sorcerer and finally its awful disintegration into its various portions.

Smith thought so highly of this story that he included it in his very first hardcover anthology Out of Space and Time, which was the third book produced by the legendary Arkham House publishers in 1942. Apparently Rod Serling agreed, as he utilized this story in his classic Night Gallery series in 1972. Employing the talents of Vincent Price as the sorcerer, Bill Bixby as the hired translator, and introducing to the plot a beautiful assistant played by Tisha Sterling, whose alluring presence keeps Bixby from a nearly immediate departure from this bizarre house of horrors. This somewhat loosely adapted rendition features a black goat (supposedly an incarnation of Carnby’s father) eating at the dinner table, as well as some toad smooching by sexy assistant Fern. Nevertheless, this episode is still quite a fun show to watch, if only for the classic over-acting and mugging by Vincent Price. It is said that the royalties paid to the estate for the television rights to “The Return of the Sorcerer” was worth more than Clark Ashton Smith himself earned during his entire literary career.”

   **Credits:**

Written by Clark Ashton Smith

Artwork by Skinner

Liner notes by Ron Hilger

Read by Anthony D.P. Mann

Score by Seizon

Deluxe heavy weight gatefold tip-on jacket.

Includes insert with liner notes

Includes an 18" x 24" poster.

Originally intended for sub 2 with art by Jeremy Hush.

**Variants:**

Retail (White, 200 copies)

Subscriber (Pink translucent swirl, 158 copies)

Wax mage (25 numbered copies)

Test pressing (20 numbered copies)
Kwaidan

CADABR-51 2019

LP

Inspired by the short stories of writer Lafcadio Hearn, Alone in the Woods' music on *Kwaidan* is much like the author's writings, in that the musicians pull inspiration from worldwide sources. The result is something akin to a crucible, wherein the myriad influences of the creators combine, resulting in something brightly new, yet robust with the strength of its elemental parts.

The duo behind Alone in the Woods have worked together for years, yet the sound of this particular project is born out of the instrumental music constantly playing as Jon Dobyns works on releases for his anime soundtrack label, Tiger Lab Vinyl, combined with the hip-hop production work of Lonn Bologna. Using those styles as a filter for the stories of the man known in Japan as Yakumo Koizumi – who was himself raised in Ireland and shaped into adulthood in New Orleans before ultimately coming to Japan – adds another layer of depth to the centuries-old, word-of-mouth folktales.

It's very appropriate that the first of the “stories and studies of strange things” which inspired the music of Kwaidan is itself musical in nature. “The Story of Mimi-Nashi-Hoichi” is the tale of a biwa player forced to play for a ghostly audience. The sound of the biwa – a lute-like instrument – is echoed repeatedly throughout Alone in Woods' compositions on this recording, tying music to story.

That is, however, not the only international influence on display here, as Alone in the Woods travels the world's musical genres in search of sounds which are ominous, yet melodic – again, not unlike the stories themselves. “Snowy Vows of Lust to Dust” is the pinnacle of these international cut-ups, evoking everything from early '80s New Wave to the low, rolling sounds of Jamaican dub riddims before it fades out in a rolling set of chiming bells.

Throughout the record, the sound of the flute is intimated, but rarely actualized, leaving the listener the to wonder what might be just out of earshot. Less circumspect is the handclaps and drumming on “Impossible Wind,” which are boldly presented, but nothing is quite so brash as the taiko work on “ Mouthless Tongue,” demanding the listener stand up and take note.

By the time *Kwaidan* has reached the sounds of nature replete with chirping birds paired with piano on the concluding “Butterflies in a Kingdom of Ants,” the footsteps on gravel which begin the piece might as well be those of the listener, so thoroughly has Alone in the Woods transported them to another time and place.

**Credits:**

Performed, music by Alone In The Woods

Artwork by Zakuro Aoyama

Liner notes by Marc Walkow

Printed on a deluxe heavy weight gatefold tip-on jacket

Includes insert liner notes by Japanese cinema scholar Marc Walkow

Includes a 18" x 24" poster

Includes digital download code

**Variants:**

Retail / Yukki-Onna (Transparent blue)

Subscriber (Transparent red)

Clear with red/blue splatter (30 copies)

Wax mage (xx numbered copies)

Test pressing (25 numbered copies)
The Blood-Lotus

CADABR-60 2020

LP

Chris Bozzone’s musical accompaniments to Lawrence R. Harvey’s reading of these selections from Aleister Crowley’s 1898 collection of poems, White Stains, are as subtle and unobtrusive as the reader’s voice. The poems are delivered as if in confidence, a handful of quietly-spoken confessions delivered directly into the ears of a close confidant, building from reserved intimations to undisciplined clamoring by album’s end.

The first poem, “Hymn to Lucifer,” leans heavily into the sibilant sounds of the serpent. Bozzone’s score is equally sinuous, slithering behind Harvey’s reading of lines such as “With noble passion, sun-souled Lucifer/ Swept through the dawn colossal, swift aslant/ On Eden’s imbecile perimeter” with such adroit skill that one can almost feel the scales sliding across their body.

Its compliment immediately follows in the sotto voce reading of “The Blood-Lotus,” with long, ringing chimes slowly drawn out as accompaniment. It’s a subtle effect, as if singing bowls were being used to hypnotize the listener.

   As the recordings progress, however, one becomes aware that there is a certain sort of seduction being made. It’s especially clear as “All Night” plays out. The use of piano and flute are beautiful, yet haunting. Bozzone’s work on the keys sounds as if it’s an introduction to a piece which will inevitably bring about release. The music keeps the listener on tenterhooks as it gently – yet insistently – cycles through its run. The music becomes the aural equivalent of foreplay, and “Heavy within the womb, we wait the morn/ Of its fulfillment,” and Harvey delivers words like “thrust” and “lust” with obvious delight, leaning heavily into the sweaty sin of it all.

Things become much more decadent, verging on depraved, once the record is flipped. As Harvey and Bozzone take on “Necrophilia,” wordless choirs contrast Crowley’s enjoyment of “obscenities” and “things shameful.” The exultation of the singers diverts the unabashed glorification of decay from distasteful and odious to liberating and celebratory, letting the listener find a path “To revel with the worms in Hell’s Delight in such obscenities.”

**Credits:**

   Written by Aleister Crowley

Read by Laurence R. Harvey

Score by Chris Bozzone

Artwork by Dylan Garrett Smith

Calligraphy by Josh Yelle

Liner notes by Paul Roland

Printed on a deluxe heavy weight gatefold tip-on jacket

Includes 18" x 24" poster

**Variants:**

Retail (Purple/black swirl, 100 copies)

Subscriber (Grey/black swirl)

Clear with black/purple splatter (40 copies)

Wax mage (25 numbered copies)

Test pressing (30 numbered copies)
The Tell Tale Heart

CADABR-31 2018

LP

"The Tell-Tale Heart" is a short story by American writer Edgar Allan Poe, first published in 1843. It is related by an unnamed narrator who endeavors to convince the reader of the narrator’s sanity while simultaneously describing a murder the narrator committed. The victim was an old man with a filmy "vulture-eye", as the narrator calls it. The narrator emphasizes the careful calculation of the murder, attempting the perfect crime, complete with dismembering and hiding the body under the floorboards. Ultimately, the narrator's feelings result in hearing a thumping sound, which the narrator interprets as the dead man's beating heart.

The story was first published in James Russell Lowell's *The Pioneer* in January 1843. "The Tell-Tale Heart" is often considered a classic of the Gothic fiction genre and is one of Poe's best known short stories.

   **Credits:**

Written by Edgar Allan Poe

Score by Chris Bozzone

Read by Anthony D.P. Mann

Artwork by Sam Heimer

Subscription exclusive pressing of 200 copies

Includes insert with a photo of Poe, cover art, and credits

**Variants:**

Red (200 numbered copies)

Test pressing (20 numbered copies)
Alone in the Woods

Jon Dobyns and Lonn Bologna make up Alone in the Woods. Their instrumental debut features downtempo beats and ambient production, taking cues from orchestral composers and hip hop producers. Alone in the Woods capture a unique sound that only a multitude of influences blended can produce. Warm 80’s synth tones are melded with modern day techniques and experimentation that Depeche Mode and Bjork would be proud of. Instant classics like “Digging Holes” and “Ripples” push the listener into the stratosphere and then you are pulled back by the intimacy of tracks such as “woods funeral” and “New roots, old growth”  which will fully absorb you into the woods!

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***Cadabra Releases:***

Kwaidan

Help Is Not Coming
The Eyes of the Cat

CADABR-90 2022

LP

Though both men have been working in psychotronic cinema and the arts for well over five decades each, it's only now that multi-hyphenate Alejandro Jodorowsky and composer Fabio Frizzi have been paired together on a project. Appropriately enough for two artists known for challenging perceptions of what they're known for, this album is not the score to a film, but for a comic book, and one published nearly 45 years ago, at that. Jodorowsky's *Eyes of the Cat* also marked his first collaboration with the legendary French artist Jean “Moebius” Giraud, making this a coming-together of not just two, but three titans of genre entertainment, what Frizzi himself calls in the liner notes, “an ambitious luminaria.”

To appropriately capture the sounds he wanted, Frizzi reached back to utilize some of the very equipment he was using at the time of *Eyes of the Cat*'s original release, meaning that many of the synthesizers on which this score was recorded were also those which soundtracked the films on which he worked with director Lucio Fulci. The end result are compositions which have a familiar tone, but with 40 years' worth of skill behind them. The opening tones of "The Cat," paired as they are with acoustic guitar and that instantly-recognizable electric bass, will no doubt remind the listener of The Beyond, but the insistent drums behind it all and its sudden rise mid-song will rapidly debase any notion that this music is treading famililar ground.

"Meduz and the Crime" pairs metal guitar, violin, and a subtly percolating synth sting into something absolutely sinister. Coming at the album's midpoint, Frizzi utilizes these three very different sounds to create a piece which evokes deep sadness, as well, tugging at the listener's heartstrings while all the while hinting at what's taking place.

Frizzi, here, has crafted the perfect audio interpretation for *Eyes of the Cat*. Much as Jodorowsky and Moebius allowed the artwork to tell the story, here one can follow the tale, simply by listening. Aptly, the album comes in at just around 25 minutes, meaning one can read the comic while listening, and really immerse themselves in the experience, allowing the story, images, and music to unfold and take hold. As Aaron Lupton writes in the liner notes, “This is stuff old dreams were made of, so put the needle on the record and let them soar once more.”

**Credits:**

Composed, liner notes by Fabio Frizzzi

Artwork by Moebius

Liner notes by Aaron Lupton

 A2
 A3
 B1
 B2

Limited pressing on 150 gram vinyl

Printed on a deluxe heavy weight gatefold tip-on jacket

Includes insert with liner notes

Includes a 24" x 36" promotional poster

**Variants:**

Transparent Yellow (Meduz and the Hunt)

Red Mix (Eye of the Cat)

Transparent Teal Blue (Mondo exclusive, 100 copies)

Gold (subscriber variant)

Hand poured yellow black splatter (xx copies)

Wax mage (25 numbered copies)

Test pressing (25 numbered copies)
Oil Of Dog

CADABR-83 2021

7"

In the telling of the events in "Oil of Dog," writer Ambrose Bierce crafts a tale which is perfectly calculated to evoke in the listener a feeling of unease verging on disgust. The narrator's behavior is eye-popping in its abject criminality, and is only matched – and, truly, surpassed – by that of his parents.

As read by Anthony D.P. Mann, whose recitation of the events which led to the "so bad an end" of "these estimable persons is quite matter-of-fact, Bierce's tale will shock the listener. Mann's stentorian delivery has always felt as though his narrators are patrician madmen attempting to explain horrors beyond belief to a bewildered audience, but never more so than in "Oil of Dog." Maintaining a fine line between  childlike innocence and the ravings of one committed to an asylum, Mann's diction never slips from its commitment to delivering every horrific detail.

Composer Chris Bozzone's score utilizes a spare, plucked banjo, taking the listener back in time a century and a half to the time in which Bierce wrote. A gentle acoustic guitar also makes an appearance as the events in "Oil of Dog" take their strong left turn into the bad end. The lush moodiness of the backing track which threads throughout the entirety of the story is electronic, but reminiscent of an orchestra's worth of strings. It's only more desolate when paired with the ever-intensifying banjo, which ends by trailing off, as if exhausted by the frantic nature of the tale's final moments

**Credits:**

Back cover artwork by Eric Adrian Lee

Front cover artwork by Matt Dougherty

Written by Ambrose Bierce

Read by Anthony D.P. Mann

Score by Chris Bozzone

 B

Fold-over outer sleeve

Splatter and wax mage came bundled with Macabria 7"

**Variants:**

Standard (transparent red)

Subscriber (orange swirl)

Hand poured black and brown splatter on white (35 copies)

Wax mage (25 numbered copies)

Test pressing (25 numbered copies)
No Ordinary Fairy

CADABR-09 2017

LP

The *No Ordinary Fairy LP* brings out a slightly different side of Topor than many would guess. The vinyl contains two short stories: *No Ordinary Fairy* and *Laying the Queen*. They complement one another perfectly in their dark humor and crude nature. *No Ordinary Fairy* is a tale of an encounter with a real-life fairy, three wishes and all, going sour. *Laying the Queen*, true to its title, documents the journey of one deranged fellow with the solitary goal in his existence of having sex with a queen, any queen. In both these tales absurdity is pushed to the max making for quite a hilarious scenario. But there is still a dark shadow looming over each of these tales, especially *No Ordinary Fairy*, a tale which takes place directly following a bout of horrific domestic abuse.

**Credits:**

Written & artwork by Roland Topor

   Read by Laurence R. Harvey

Sound by Theologian

Liner notes by Heidi Lovejoy

Issued with full-color insert featuring biography of Laurence R. Harvey and credits on one side and Roland Topor notes by Heidi Lovejoy on the other. The same insert was used for both the subscriber variant and the retail variant, thus the text included "First Edition Of 300 Copies" is mistaken here.

**Variants:**

Retail (Purple, 200 copies)

Subscriber (Purple black swirl, 100 copies)

Test pressing (15 numbered copies)
Suspiria De Profundis: Levana and Our Ladies of Sorrow (LP)

CADABR-36 2020

LP

Expanded edition.

It’s only too appropriate that Laurence R. Harvey’s reading of “Levana and Our Ladies of Sorrow,” from Thomas De Quincey’s Suspiria De Profundis, begins with the tolling of bells. De Quincey’s words speak simultaneously of scholarship and worship, both things which have been long-noted for beginning with the tones of a ringing bell. How appropriate, then, that Harvey is reading of the start of life – the very ultimate of all beginnings – as well.

However, “Levana and Our Ladies of Sorrow” is not about duality, but about the tripartite relationship of worship in the Furies, the Graces, and once even the Muses. To these, De Quincey adds and Harvey reads of a new triad: “Our Ladies of Sorrow.” Mater Lachrymarum, Our Lady of Tears; Mater Suspiriorum, Our Lady of Sighs; and Mater Tenebrarum, Our Lady of Darkness.

As Harvey reads, his voice begins to be rung through with echoes. Those bells are pealing a second time, while the chiming tones of composer Chris Bozzone’s score play in the background, bringing about a musical trinity to complement the words Harvey is reading. This musical mirroring continues down to the smallest detail. When Harvey reads the words, “I upon earth had heard their mysteries oftentimes deciphered by harp and timbrel, by dulcimer and organ,” just after the last word, there is the slightest hint of a organ note played out, and it is glorious to behold.

In much the same way that writer De Quincey begins with scholarship and quickly begins to transition to that of worship, so does Chris Bozzone’s music begin by mirroring that worship and then transitions itself into a different kind of religious activity. While at the beginning, the music can be heard to be almost celestial, as the tale goes on, it begins darker and more pagan. The sensation of ethereal choirs gives way to hints of rhythmic chanting.

Though the music may come back round at the end to include church organ, the experience is less one of incense and stained glass, but more of wood smoke and darkened inner chambers. Not for nothing are De Quincey’s words full of things such as “darkness,” “scorch,” and “furnace.”

**Credits:**

Written by Thomas De Quincey

Artwork by Zakuro Aoyama

Read by Laurence R. Harvey

Score by Chris Bozzone

Liner notes by J. Blake Fichera

Printed on a deluxe heavy weight tip-on jacket

    Includes insert liner notes

Includes 18" x 24" poster

**Variants:**

Mater Lachrymarum, Our Lady of Tears (Transparent red, 100 copies)

Mater Suspiriorum, Our Lady of Sighs (Transparent yellow, 75 copies)

Black (40 copies)

Clear with yellow/black splatter (xx copies)

Wax mage (25 numbered copies)

Test pressing (15 numbered copies)