recursal/Fanatic-Fandom huggingface dataset:
Roberto Fasciani & Riccardo Rocchi

Two of Fabio Frizzi’s main players of his Frizzi 2 Fulci band, Roberto Fasciani & Riccardo Rocchi. Comprised of classical guitar and bass, the duo performs intricate and atmospheric compositions that would impress even the most finicky of listeners and musicians alike.

Roberto Fasciani (1979) started playing bass at 15 and then attended the UM Università della Musica (1998-2000) and the Percentomusica Music School (2000-2003), getting a high graduated degree. He studied with Massimo Moriconi, Gianfranco Gullotto, Luca Pirozzi, Marco Siniscalco, Mario Guarini, Andrea Avena, Carlo Zaratti, Massimo Fedeli and Stefano Fresi. He also attended clinics by bass masters Jeff Berlin, Alain Caron, Darryl Jones, Matthew Garrison, and Hadrien Feraud.

He recorded and toured with: Michael Angelo Batio, Dean Bowman, Mark Boals, Leon Hendrix, Graham Oliver, Stan Skibby, Fabio Frizzi, Pierpaolo Capovilla, Octopus Orchestra, Novembre, Marco Conidi, Ilenia Volpe, AIIR, Blue Experience, Los Bastardos, Stefania Calandra, Steel Seal, Dogmate, Dunwich, Briganti Sabini, Ahmed Fakroun, Hydra, and Orchestra Nazionale.

Fasciani writes music articles for the musicians’ website “Music Off”, and also wrote for Guitar&Bass website, in which he made album reviews and interviewed many musicians.

Fasciani currently plays with Fabio Frizzi “Frizzi 2 Fulci”, Ilenia Volpe, Los Bastardos and the “Roberto Fasciani & Riccardo Rocchi Duo”. Hundreds of concerts in Italy, Europe and North America. He also played in the festivals Beyond Festival, Mondo Con, Bloody Week-end, Rock in Roma, Gods of Metal, Etnika Rock, Abertoir International Horror Festival, Maskoon Fantastic Film Festival, Generazione XL, and Nessun Dorma.

He wrote his first bass method “Studi Ritmici per Basso Elettrico”, published by Dino Audino Editore in 2018.

He teaches bass and music labs in the following music schools in Rome: Octopus, Ladybird Project and John Coltrane. He taught in Artidee, Music Village Institute, Armonie Musicali, Accademia Romana di Musica and La Musica che gira intorno music schools. He also teaches as a private, Skype lessons available.

Born in Rome in the 1976 a versatile classical guitarist Riccardo Rocchi blends different musical forms into an eclectic palette of tonal colors. After graduating from the Giulio Briccialdi Institute of Musical Studies under the guidance of Roberto Fabbri and Carlo Carfagna, Rocchi continued studying with such legendary guitarists as Sergio & Odair Assad, Leo Brouwer, Eduardo Isaac, Eliot Fisk, Mario Jalenti and Carlos Bonell. Much in demand, Rocchi regularly performs in concerts, teaches master classes at international guitar festivals and works with a growing list of award winning film composers including Luis Bacalov, Fabio Frizzi, Franco Piersanti, Andre Matthias, Marco Werba, Andrea Guerra and many others.

***Cadabra Releases:***

Mirrors
Origami Dreams

CADABR-57 2020

LP

Here, the author’s words and narration are soundtracked by the music of Chris Bozzone and Theologian. The story and music take the concept of origami — the art of folding paper into intricate, often moveable shapes — and each transform themselves, revealing layer upon layer, building on each other. Words and voice take the frame tale and interior story from confusion to dreamlike wonder to madness to confusion again.

Padgett’s tale is one of dreams and nightmares, and whether one can truly understand which is which, and whether reality exists at all, and the music behind it all only heightens that tension. The low notes of the score for Origami Dreams are less heard by the ears, than felt within one’s sternum. It’s as if the listener is part of the story, as unsure as its narrator Jack if they’ve become part enmeshed as part of somehing terrifying, or if they’re merely dreaming.

As Jack makes realizations within the story, the musical sounds will suddenly switch, the pitch itself reflecting a change in perspective. The low drones will suddenly leap higher, remaining just shy of shrillness, leaving the listener off-kilter and confused — just as Jack is. Bozzone and Theologian’s soundscapes are never outright terrifying, as they’d never deign to offer jump scares for you, dear listener. Oh, no: instead, they offer an often moaning, sometimes keening sense of dread which permeates nearly each and every second of Origami Dreams.

Other times, the music will itself become sound effects, dopplering as a car rushes past on the interstate, or turning into a wind blustering around the teller of the tale as he sees his town — and life — changing during segments of lost time and memory. The sounds are all intertwined with the tale itself, reflecting the uncertain nature of the story being told.

By the end of Origami Dreams, you may find yourself having descended into madness, drawn there by the sounds of Chris Bozzone and Theologian’s music, and lulled into dreams of horrific things by Jon Padgett’s words. Yet, you’ll find yourself returning, again and again, wondering if you might discover the secrets of unfolding, yourself. But, as Jack says as the story ends, “there are so many.”

Was originally going to have artwork by Jonathan Dennison.

**Credits:**

Written, read by Jon Padgett

Artwork by Dave Felton

Liner notes by Matthew M. Bartlett

Score by Chris Bozzone

Score by Theologian

Deluxe Tip-On Jacket

Insert included

Side A center label is labeled Side K, Side B center label is labeled Side L

**Variants:**

Retail (Translucent red)

Subscriber (Grey swirl)

Wax mage (27 numbered copies)

Test pressing (25 numbered copies)
The Pit and the Pendulum

CADABR-39 2019

LP

Cadabra Records presents one of Edgar Allan Poe's most beloved tales The Pit and the Pendulum. Canadian voice and screen actor Anthony D. P. Mann brings to life the feeling of stillness, claustrophobia and death, making a very uneasy listening experience. Slasher Film Festival Strategy delivers an atmospheric, synth driven score that tightens as the pendulum drawn closer from your turntable, into your nightmares. A comprehensive essay behind the title brings to life the history of this timeless tale by J. Blake Fiscera, author of Scored to Death: Conversations with some of Horrors Greatest Composers.

**Credits:**

Written by Edgar Allan Poe

Read by Anthony D.P. Mann

Artwork by Adam Burke

Liner notes by Blake J. Fichera

Score by The Slasher Film Festival Strategy

Printed on gatefold jacket

**Variants:**

Random color

Subscriber (Dark yellow with black swirl)

White/black splatter (xx copies)

Wax mage (28 numbered copies)

Test pressing (20 numbered copies)
Silvia Struglia

Silvia Struglia is an award-winning Italian artist whose paintings have been extensively exhibited nationally. Her art translates sensations in moments. Rhythms, hierarchies, and plot developments follow one another in color “gestures” that remain etched in time, becoming a “snapshot of a story". Struglia translates these moments, which she likens to dances, songs, and fairy tales, as they unfold into her compositions, witnessing their manifestation.

"I have always loved to draw, but until then I only expressed myself in pencil or black bic. The encounter with painting renews and strengthens an already intense transport, offering me a new and unexpected channel of communication.

I discover the power of this expressive, almost physical form and I let myself be filled with it.

From that moment something very strong takes place that I will take the courage to admit and start sharing especially after the master's degree in Building Engineering - Architecture."

Silvia Struglia was born in Rome on 6 April 1990. After finishing high school, she enrolled in the Faculty of Building Engineering - Architecture of the University of Rome Tor Vergata and, during her Erasmus in Spain at the Polytechnic of Architecture San Pablo CEU, she met the painting. After graduating in 2016, he has the opportunity to exhibit in solo and group exhibitions in the center of Rome, participate in various events and live painting by Ignorarte, an association founded by the sculptor Salvatore Cammilleri, realizes the painted fairy tales for the book "Fables small and leaves of paint", published Bookabook, written by his brother Mario Struglia. Winner of the MArteLive 2019 National Biennial. Included in the De Agostini 2020 Atlas of Contemporary Art.

Website Instagram Instagram 2

***Cadabra Releases:***

Mirrors
The Call of Cthulhu: Selected Themes

CADABR-75 2021

LP

This record takes the main themes from Lovecraft's The Call of Cthulhu to give you a cinematic listening experience.

**Credits:**

Score by Anima Morte

Artwork by Karmazid

Calligraphy by Josh Yelle

One time pressing of 300 copies

Comes in a single sleeve tip-on jacket

**Variants:**

Black

Natural White

Wax mage (xx numbered copies)

Test pressing (xx numbered copies)
The Tanks

## Vickers Mk. D

> *External Link: **Vickers Mk D***
>
>

The team's first tank is a Vickers Mk D, restored and brought up to Sensha-do specification after Shannon persuaded the museum on the school ship to lend it to them.

## Landsverk L-60

> *External Link: **Landsverk L-60***
>
>

The team bought two Landsverk L-60 light tanks, each equipped with a 20mm Madsen automatic canon.

The Legend of Shamrock- Spoilers!
 * An A15 Crusader Mk III

**Speedster and Spymaster**- Spoilers!
 * A Valentine (Tank, Infantry, Mark III)

## **Additional vehicles**

The team has use of a **Leyland Armoured Car** and a **Standard Beaverette Armoured Car**.
The Caterpillar

File:Caterpillar1.5.jpg
CADABR-40 2019

LP

Written in 1929 by Edogawa Rampo, The Caterpillar (Imomushi) was originally banned due to it’s content and is regarded as one of the darkest and most controversial tales ever written by a Japanese author.

   “The Caterpillar” was originally published without incident by Shin Seinen magazine in 1929, although editors there originally wanted to print the story under the more prosaic title “Nightmare.” (Which could be applied to nearly all of Rampo’s stories.) But when it was proposed for re-publication in 1939, Japan was then in the midst of the Second Sino-Japanese War, which had started two years earlier. According to the publisher, wartime censorship at the time was so common that the magazine often went out with entire passages blacked out of stories; because “The Caterpillar” dealt directly with anti-war sentiments, and could also be seen to be promoting scorn of military decorations (both forbidden topics at the time), the publisher decided to cut the story from the Rampo reprint so as not to send it out into the world as mutilated as its military casualty protagonist. Rampo was furious and spent most of the subsequent wartime years, possibly under duress, concentrating his work on safer stories about boy detectives solving crimes on the homefront.
“The Caterpillar” had always been a controversial story, however. Rampo’s wife, after reading it, declared it to be “filthy” and when Rampo showed the story to several geisha friends, they all told him they couldn’t eat after finishing it. But left-wing, anti-war activists claimed Rampo as their hero after the story’s publication, even though Rampo vehemently denied that he had written the story with any particular ideology in mind. He asserted that his only objective was to depict “humanity’s ugly ego” absent any other political motive.

 File:Caterpillar4.jpg

**Credits:**

Written by Edogawa Rampo

Read by Laurence R Harvey

Score by Chris Bozzone

Artwork by Zakuro Aoyama

Liner notes by Marc Walkow

Printed on a deluxe heavy weight tip-on jacket

Includes insert with liner notes

Includes a 18" x 24" poster

**Variants:**

Subscriber (Red with black swirl)

Translucent yellow with black swirl

Wax mage (xx numbered copies)

Test pressing (25 numbered copies)
Edgar Allan Poe (Figure)

Edgar Allan Poe 8" custom hand made figure

Edition of 100x pieces

Includes: skull, raven, The Raven manuscript and quill pen.

Clothes, head, hands and extras are hand made

Figure and package design by Jonathan Dennison

Window display box

Sculpted by Steve Thompson

Painted by Martin Cage

Package art by Jeremy Hush
Shamrock School for Girls Wiki

**Welcome to the Shamrock School for Girls Wiki**

 *Shamrock School for Girls is a non-canon school designed to fit into the world of Girls und Panzer. This wiki should tell you everything you need to know (and some things you don't!) about the characters of the Sensha-dō team of Shamrock School for Girls.*

**Featured Articles**

* **The School**
* **The Sensha-do Team**
* **Main Characters**
* **Dance Club**
* **Other Characters**
* **Minor Characters**
* **The Tanks**
* **Opponents**
* **Stories**
* **Tales of Shamrock** (4-panel manga strips)

(c) Sharky 2020
The Emperor of Dreams

CADABR-34 2019

LP

A Cadabra Records release in arrangement with Darin Coelho Spring & Hippocampus Press.

Soundtrack to original motion picture The Emperor of Dreams.

Clark Ashton Smith was a poet, fantasist, sculptor, and painter. While mostly remembered today for his pioneering work in 1930s pulp magazines alongside H. P. Lovecraft, he is considered by many to be the last great Romantic poet and a unique visual artist with a large range of work in the outsider vein.

This lyrical feature-length documentary explores Smith’s work and life as a solitary artist living in Auburn, a small rural town in Northern California.It features interviews with leading scholars such as S.T. Joshi, Scott Connors, Ron Hilger, and legendary writer Harlan Ellison. Donald Sidney-Fryer is featured as a sort of tour guide to Smith's Auburn.

**Credits:**

Liner notes by Darin Coelho Spring

Produced by Charles Schneider

Recorded by John Renoir

Performed by Aaron Ross, Cody Feiler, Ryan Donnelly, and The Moore Brothers

One time pressing of 300.

**Variants:**

Random color

Subscriber (Brown marble)

Clear (125 copies)

Wax mage (20 copies)

Test pressing (xx copies)
Jeremy Pailler

Jérémy is a french watercolorist working on illustration projects: picture books, cover albums,  movie posters  and more. He is also a Fine Art PhD (Toulouse University). Jérémy has been working for clients from France, the US, the UK, Germany and as an artist in residence in Iceland and Thailand.

Jérémy works in watercolor ink on illustration projects ranging from children's books to film posters, including animated shorts. He has a doctorate in visual arts (University of Toulouse). He collaborates with French and foreign clients, and as an artist in residence in Iceland and Thailand.

Website Instagram

***Cadabra Releases:***

Number 13
Seizon

Founded in 2007 by Renato Zampieri, Seizon is a media composer, guitarist, synth player and sound artist based in Vicenza, Italy.

He divides his time between writing music for the media (role playing games, audio books, videoclips) and some personal projects.

Formerly a death metal guitarist, he also published an experimental audio novel (“The Amazing Journey”).

Discography:

- Seizon and the ghOST Orchestra (2007)

- The Dark Movements (2008)

- The Amazing Journey (2009)

- Goya Toca A Oz (2010)

- The Last Vestige Of Gaia (2011)

- The Great Old Ones (2019)

Bandcamp Threads

***Cadabra Releases:***

The Return of the Sorcerer
The Hound

CADABR-29 2018

LP

"The Hound" is a short story written by H. P. Lovecraft in September 1922 and published in the February 1924 issue of *Weird Tales*. It contains the first mention of Lovecraft's fictional text the *Necronomicon.*

The story focuses around the narrator and his friend, St. John, who have a deranged interest in robbing graves. They constantly defile crypts and often keep souvenirs of their nocturnal expeditions. Since they reside in the same house, they have the opportunity to set up a sort of morbid museum in their basement. Using the objects collected from the various graves they have robbed, the two men organize a private exhibition. The collection consists of headstones, preserved bodies, skulls, and several heads in different phases of decomposition. It also included statues, frightful paintings, and a locked portfolio bound in tanned human-skin.

**Credits:**

Written by H.P. Lovecraft

Artwork by Sam Heimer

Read by Andrew Leman

Score by Chris Bozzone

Liner notes by S.T. Joshi

Single sleeve jacket with 4 panel insert

Single sided LP with hand screen printed art on B side

**Variants:**

Translucent yellow (175 copies, 140 for sale)(originally sold as "clear")

Emerald green (100 copies, 90 for sale)

Clear with black swirl (100 copies, 90 for sale)(originally sold as "natural white")

Wax mage (27 numbered copies)

Test pressing (xx copies)
Call Me Corey (Themes from Hell 4)

CADABR-56.5 2020

LP

Those who make it through Call Me Corey will find themselves irrevocably changed by the respective words and music of Matthew M. Bartlett and Black Mountain Transmitter. Call Me Corey, the follow-up to Massachusetts author Bartlett and Belfast musician Black Mountain Transmitter’s 2018 Cadabra Records release, Mr. White Noise, continues the pairing’s duet of lysergic verse and dark, ambient electronic music. To listen to the pair’s work together is akin to opening your mind to a kind of cosmic terror of which you’re simultaneously afraid, but too fascinated by to turn away your hearing.

In these eight short pieces, Bartlett reads his work, while Black Mountain Transmitter creates the score behind them. Thematically linked as a series of short meditations on the way in which experiences can go horribly askew when examined closely, the plot of each is linear, but with a sense as if William S. Burroughs had applied his cut-up technique to the works of Edgar Allen Poe and H.P. Lovecraft. The sense of things is all wrong, as if you’ve begun listening to another dimension’s bedtime stories, read by an exceedingly-calm, mellifluously-voiced man who is completely, utterly mad.

Each story’s music is perfectly-suited to the piece which it accompanies. The music of “The Hot Blade” is just as wet and sticky as the story itself, while “Night Eyes” has music for the beach, just as ably suited to imagery of swooping sea gulls and surfers as the man with two eyes in each socket – “green eyes, pushed up against one another” – who tears off his own jaw before walking into the sea.

The musical introduction for “The Leeds School” has a music box quality not unlike Charles Bernstein’s theme to A Nightmare on Elm Street, but before too long, the music and the reading begin blending together, and by the end, they have become one, Bartlett’s voice joining with the wordless choir to become the nightmarish sounds of the story’s meddled-with radio.

The album ends with Bartlett’s titular story scored with unceasing menace. It’s as if the author and Black Mountain Transmitter’s work is in lockstep, crafting nearly 14 minutes of ever-increasing tension and fright. Again, the score does more than create just atmosphere, but responds to the story. When the words, “Something was feeding in there – or many things,” are spoken by Bartlett, Black Mountain Transmitter’s music dissolves into the sound of thousands of skittering legs and chattering mouth parts. The end result evokes a shudder which works its way from the shoulders all the way to the base of your spine, twisting your body in what might be deeply-felt terror – or possibly, joy.

**Credits:**

Artwork by Nathan Reidt

Score by Black Mountain Transmitter

Hand screen printed fold over jacket

Includes insert

**Variants:**

White transparent

Teal transparent
Thomas De Quincey

**Thomas Penson De Quincey** (15 August 1785 – 8 December 1859) was an English essayist, best known for his *Confessions of an English Opium-Eater* (1821). Many scholars suggest that in publishing this work De Quincey inaugurated the tradition of addiction literature in the West.

His immediate influence extended to Edgar Allan Poe, Fitz Hugh Ludlow, Charles Baudelaire and Nikolai Gogol, but even major 20th-century writers such as Jorge Luis Borges admired and claimed to be partly influenced by his work. Berlioz also loosely based his *Symphonie fantastique* on *Confessions of an English Opium-Eater*, drawing on the theme of the internal struggle with one's self.

Dario Argento used De Quincey's *Suspiria*, particularly "Levana and Our Ladies of Sorrow", as an inspiration for his "Three Mothers" trilogy of films, which include *Suspiria*, *Inferno* and *The Mother of Tears*. This influence carried over into Luca Guadagnino's 2018 version of the film.

***Cadabra Releases:***

Suspiria De Profundis: Levana and Our Ladies of Sorrow (7")

Suspiria De Profundis: Levana and Our Ladies of Sorrow (LP)

***Bibliography:***

## Major publications

* *Confessions of an English Opium-Eater* (1822)
* *On the Knocking at the Gate in Macbeth* (1823)
* *Walladmor* (1825)
* *On Murder Considered as one of the Fine Arts* (1827)
* *Klosterheim, or the Masque* (1832)
* *Lake Reminiscences* (1834–40)
* *Revolt of the Tartars* (1837)
* *The Logic of the Political Economy* (1844)
* *Suspiria de Profundis* (1845)
* *The English Mail-Coach* (1849)
* *Autobiographic Sketches* (1853)
The Muse of Hyperborea

CADABR-008 2017

LP

The Muse Of Hyperborea, a collection of eighteen poems by CLARK ASHTON SMITH. The passages have here been handpicked by leading horror literature scholar, S. T. Joshi, who handles the readings for the LP. Championed by the likes of George Sterling, H.P. Lovecraft, and others, CLARK ASHTON SMITH‘s fiction has demonstrably influenced the work of both his contemporaries, and successors, such as Jack Vance, Roger Zelazny, and Neil Gaiman, his fantastic works having seen publication in such venues as Weird Tales, Wonder Stories, Strange Tales, and more throughout his career. Sound for the record is provided by Theologian, and the artwork has been completed by C. M. Kosemen.

**Credits:**

   Written by Clark Ashton Smith

Read by S.T. Joshi

Sound by Theologian

Artwork by C.M. Kosemen

Comes with full-color insert featuring cover art on one side and text/credits on the other.

**Variants:**

Retail (Red, 300 copies)

Subscriber (White, 100 copies)

Test pressing (16 numbered copies)
Weirdisms

2015

"Weirdisms" is a cancelled subscription plan for a 4 x 7" box set of Lee Brown Coye's works read by Robert Coye with a 16 page booklet.

During Lee Brown Coye’s time at Weird Tales pulp magazine (1945-1952), he was commissioned to illustrate and write a series of single page spotlights of a horrific folklore legend. Lee’s “Weirdisms” became so popular, that he was later commissioned again in the 70”s by horror fiction magazine “Whispers” to create more “Weirdisms”. Lee covered Vampires, Ghosts, Witches and everything in between. Seperated into four 7” ep’s, housed in a box with a 16 page booklet, collects the complete Lee Brown Coye “Weirdisms”. This edition is will be limited to only 500 copies in this format. This release will be companied by sound.

Subscription perks will also include:

\* Exclusive color ways (only color available for Where Is Abby and Weirdisms).

\* Exclusive T-shirt

\* Exclusive 9" x 24" hand screen printed art print signed by Robert Coye.

\* First in line for other limited Coye projects including: an ultra limited vinyl toy, Shirts, and a very limited first edition hardcover of a book collecting the best of Coye's "Chips & Shavings" stories.
20 Simple Steps to Ventriloquism

CADABR-23 2018

LP

From Ligotti’s introduction:

“’20 Simple Steps to Ventriloquism’ is what might be deemed an ultimate horror vision. What makes such a piece always resides in an ambition to transcend literature itself. As purely a matter of literary taxonomy, I would place this magnificently executed short story in a class with Lovecraft’s ‘Call of Cthulhu,’ Blackwood’s ‘The Willows,’ and Jorge Luis Borges’s ‘The Lottery in Babylon.’ These are tales that lead one to say, ‘This is a revelation of how things are.’ Like them, ’20 Simple Steps to Ventriloquism’ pulls out all the stops to convey a towering perspective that encompasses and reveals the essence of existence. That is its scope. That is how it affects those exposed to the story. When it comes to a close, one’s reaction is, ‘There is nothing more to be said.’ And, of course, what has been spoken by ’20 Simple Steps to Ventriloquism’ is by necessity deftly strange and awful, like life itself once its façade has been peeled away little by little. That is how an ultimate horror vision works its wonder.”

   **Credits:**

Written, read by Jon Padgett

Artwork by Yves Tourigny

Artwork by Dave Felton

Liner notes by Thomas Ligotti

Sounds by Shawn M. Garrett

**Variants:**

Transparent yellow

Black (85 copies)

Yellow with black splatter (40 copies)

Test pressing (16 numbered copies)
Chris Bozzone

Chris Bozzone is a Philadelphia-based soundtrack composer, songwriter and filmmaker. Towards the end of 2017, he began working with Jonathan Dennison, the founder of Cadabra Records on his first soundtrack for the label, Thomas Ligotti's *The Bungalow House* (2018), a vinyl-and-cassette release.

Bozzone also co-directed and did the soundtrack for an award-winning short film, "*Mirrors*," which was selected by filmmaker David Lynch to screen in conjunction with a Pennsylvania Academy of the Fine Arts exhibit of Lynch's visual art.

He has played on live bills with musical artists such as James Blackshaw, Sir Richard Bishop, Sharron Kraus and the late Jack Rose. For about 10 years, Bozzone was a disc jockey for WPRB in Princeton, New Jersey where he co-hosted two long-running shows. Some notable guests on his last radio show included Simon Finn, Christina Carter, and Six Organs of Admittance.

Website Bandcamp

***Cadabra Releases:***

The Hound

Selections from H.P. Lovecraft: A Short Biography

The Bungalow House

The Tell Tale Heart

Suspiria De Profundis: Levana and Our Ladies of Sorrow (7")

The Colour Out of Space

Ligeia

The Caterpillar

Ora Pro Nobis: Songs For Grieving and Mourning

Origami Dreams

Ginny Greenteeth

At the Mountains of Madness

Suspiria De Profundis: Levana and Our Ladies of Sorrow (LP)

The Loved Dead

The Blood-Lotus

Spurs

Carcosa

The Red Tower

The Dunwich Horror (2020)

The Boarded Window

An Inhabitant of Carcosa

The Small People

Beyond the Wall of Sleep

In A Grove

The Shadow Over Innsmouth

Macabria (7")

Oil Of Dog

Gas Station Carnivals

The Dunwich Horror (2022)

The Great God Pan

At The Fork Of The Roads

The Tee

The Clown Puppet

The Death of Halpin Frayser

Count Magnus

The Lurking Fear (2022)

Mrs. Rinaldi's Angel

The Shadow Out of Time

The White Hands

The Ash-Tree

The Mindfulness of Horror Practice

The White People

The Terrible Old Man (2023)

The Shadow Over Innsmouth: Outtakes

The Shadow Out of Time: Selected Themes

Themes from Hell 7x7" Set

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

Chris Bozzone: Selected Themes Inspired by Thomas Ligotti (The Clown Puppet)

The Shadow Over Innsmouth (Themes from Hell 10)

The Small People (Themes from Hell 9)

The Dunwich Horror (Themes from Hell 6)

Carcosa (Themes from Hell 5)

At the Mountains of Madness (Themes from Hell 3)

The Colour Out of Space (Themes from Hell 2)

Ligeia (Themes from Hell 1)
The Call of Cthulhu (2018)

CADABR-25 2018

2 LP

“The Call of Cthulhu” is the seminal story in H. P. Lovecraft’s literary output, and perhaps the seminal story in the entire history of twentieth-century weird fiction. It of course initiated the Cthulhu Mythos (a term devised not by Lovecraft but by August Derleth), and it heralded a remarkable burst of creativity that would belatedly establish Lovecraft as one of the premier writers in the history of supernatural fiction.

**Credits:**

Written by H.P. Lovecraft

Artwork by Dylan Garrett Smith

Read by Andrew Leman

Sounds & liner notes by Theologian

Liner notes by S.T. Joshi

Printed on a deluxe triple gate-fold jacket.

Includes an 4 pg booklet with liner notes.

Includes a 24" x 36" poster.

Edition of 1000

Art was originally to be done by Alan Brown.

Cover art was originally designed to fit a gatefold or single sleeve.

**Variants:**

Cassette Box Set (60 numbered copies)

Transparent green (300 copies)

Subscriber (Marbled dark green, 200 copies)

Black (100 copies)

Clear

Black/green splatter (80 copies total, 35 numbered)

Wax mage (20 numbered copies, 15 for sale)

Test pressing (20 numbered copies)

Where to read:

Cadabra Illustrated 7: The Call of Cthulhu
The Hound & The Music of Erich Zann (2016)

CADABR-02 2016

LP

"The Hound" is a short story written by H. P. Lovecraft in September 1922 and published in the February 1924 issue of *Weird Tales*. It contains the first mention of Lovecraft's fictional text the *Necronomicon.*

The story focuses around the narrator and his friend, St. John, who have a deranged interest in robbing graves. They constantly defile crypts and often keep souvenirs of their nocturnal expeditions. Since they reside in the same house, they have the opportunity to set up a sort of morbid museum in their basement. Using the objects collected from the various graves they have robbed, the two men organize a private exhibition. The collection consists of headstones, preserved bodies, skulls, and several heads in different phases of decomposition. It also included statues, frightful paintings, and a locked portfolio bound in tanned human-skin.

   "The Music of Erich Zann" is a horror short story by American author H. P. Lovecraft. Written in December 1921, it was first published in *National Amateur*, March 1922.

The story is an account of the enigmatic Erich Zann, an elderly musician whose unique and unworldly melodies draw the curiosity of a young university student.

**Credits:**

Written by H.P. Lovecraft

Artwork by Alan Brown

Liner notes by S.T. Joshi

Read by Andrew Leman

   Music by Teratoma Sound Lab

Pressed on 150 gram vinyl and housed in a gatefold tip-on “old style” jacket. Includes 8 page booklet with new liner notes and an obi-strip. All webstore orders received a post card set containing the original art used for this record from artist Alan Brown.

    Pressing of 500 copies.

**Variants:**

Subscriber (Lovecraft in Black/Black and Boris Purple Swirl)(100 numbered copies [A small amount for contributors were not numbered])

Midnight in Leng (Boris purple and pink swirl)

Translucent Boris Purple variant

Test pressing (18 copies)
Theologian

Theologian is the brainchild of Lee Bartow (Theologian Prime) with a revolving cast of collaborators including Daniel Suffering, Dave Brenner, and Fade Kainer.

"As far as I’m concerned, genre-wise, Theologian is an industrial music project. There’s obviously a large pool of influences when it comes to that word, but I have no aversion to it whatsoever, and I have essentially dedicated my life to industrial music." -Lee Bartow

Bandcamp Website

***Cadabra Releases:***

Inferno

The Lurking Fear

Pickman's Model

Hallowe'en In a Suburb & Others (2016)

Hallowe'en In a Suburb & Others (2019)

The Call of Cthulhu (2018)

The Terrible Old Man

No Ordinary Fairy

The Muse of Hyperborea

Fungi from Yuggoth

The Outsider

The Haunter of the Dark

Origami Dreams
Sylvester McCoy

**Sylvester McCoy** (born **Percy James Patrick Kent-Smith**; 20 August 1943) is a Scottish actor and voice actor, best known for playing the seventh incarnation of the Doctor in the long-running science fiction television series *Doctor Who* from 1987 to 1989—the final Doctor of the original run—and briefly returning in a television film in 1996.

McCoy began filming for *The Hobbit*, A three-part adaptation of the book, in 2011. He portrays the wizard Radagast, alongside fellow *King Lear* actor Sir Ian McKellen who reprises his role as Gandalf.

He came to prominence as a member of the experimental theatre troupe "The Ken Campbell Roadshow". His best known act was as a stuntman character called "Sylveste McCoy" in a play entitled *An Evening with Sylveste McCoy* (the name was coined by actor Brian Murphy, part of the Roadshow at the time), where his stunts included putting a fork and nails up his nose and stuffing ferrets down his trousers, and setting his head on fire. As a joke, the programme notes listed Sylveste McCoy as played by "Sylveste McCoy" and, after a reviewer missed the joke and assumed that Sylveste McCoy was a real person, Kent-Smith adopted this as his stage name. Some years later, McCoy added an "r" to the end of "Sylveste", in part because of the actors' superstition that a stage name with thirteen letters was unlucky.

Notable television appearances before he gained the role of the Doctor included roles in *Vision On* (where he played Pepe/Epep, a character who lived in the mirror), an O-Man in *Jigsaw* and *Tiswas*. He also appeared in *Eureka*, often suffering from the inventions of Wilf Lunn and as Wart, assistant to StarStrider in the CITV series of the same name. McCoy also portrayed, in one-man shows on the stage, two famous movie comedians: Stan Laurel and Buster Keaton. He also appeared as Henry "Birdie" Bowers in the 1985 television serial about Scott's last Antarctic expedition, *The Last Place on Earth*.

McCoy also had a small role in the 1979 film *Dracula* opposite Laurence Olivier and Donald Pleasence, and has sung with the Welsh National Opera.

IMDB Twitter

The Signalman

A Christmas Carol (2018)

A Christmas Carol (2019)
Dracula

CADABR-10 2017

LP

Dracula is an 1897 Gothic horror novel by Irish author Bram Stoker. It introduced the character of Count Dracula and established many conventions of subsequent vampire fantasy. The novel tells the story of Dracula's attempt to move from Transylvania to England so that he may find new blood and spread the undead curse, and of the battle between Dracula and a small group of people led by Professor Abraham Van Helsing.

**Credits:**

Written by Bram Stoker

Artwork by Dylan Garrett Smith

   Sound by Brent Holland

Read by The Bleak December Players

Produced, Liner Notes, Adapted by Anthony D.P. Mann

Calligraphy by Josh Yelle

Housed in deluxe gatefold tip-on jacket, art printed with metallic silver ink with spot gloss over matte black.

**Variants:**

Retail (Grey marble, 340 copies)

Red & black swirl (160 copies, 60 were numbered for subscribers)

Clear with blood splatter (40 copies, 25 included in the box set)

Test pressing (30 numbered copies, 25 included in the box set)

Dracula's Coffin box set (25 copies) included:

-Clear blood splatter variant

    -Three 12" x 12" hand screen printed, framable prints, metallic silver over black French brand paper collecting the album art by Dylan Garrett Smith. Housed in folder signed by the artist, also hand screen printed.

-A copy of the original script used for the audio play, housed in a presentation binder. Signed by producer Anthony D. P. Mann.

-Test pressing housed in a hand screen printed fold over jacket, metallic silver ink over black French brand paper. Hand numbered.
Mrs. Rinaldi's Angel

CADABR-97 2022

LP

Originally published in Thomas Ligotti's 1994 collection, *Noctuary*, "Mrs. Rinaldi's Angel" is of particular interest to those who appreciate the writer's tales as it reveals the truth behind our dreams, rather than the lie behind the waking world in which so many of us move about, unaware of what lies beneath the surface or hidden around the corner.

Read here by longtime Ligotti devotee Jon Padgett, this tale is considerably more innocent in tone than many of the author's other works. The young man at the heart of "Mrs. Rinaldi's Angel" is not the usual cynical narrator of Ligotti's stories such as "The Small People" or the long-form poem, "I Have a Special Plan for This World," but instead a child plagued by dreams over which he has no control. His mother seeks help with the titular Mrs. Rinaldi, who then takes the young man aside and describes just what dreams really are: "They are parasites-maggots of the mind and soul, feeding on the mind and soul as ordinary maggots feed on the body."

It is at that point that our young man acknowledges that viewpoint as the reality which he'd always suspected as true, but it only when the struggle becomes too much that he ends up unleashing the terror which will soon leave his somnambulence one where "everything was so saturated with revels and thick with frenzy that it took on the utter blackness of the old time."

Padgett's narration is the usual matter-of-fact relation of horrendous or horrific imagery which is so emblematic of Liggoti's work, but here in "Mrs. Rinaldi's Angel," it is stripped of the usual guttural snarl or derisive smugness which typifies so many of the author's narrative stand-ins. No, here the narrator is almost implacably curious as to what's happening and ends up where is almost by happenstance, rather than having mysterious forces worked upon him.

The Chris Bozzone score leans deeply into a certain religious tone, but one which has been altered by the composer and his particular talents. It's particularly synthetic, making no effort whatsoever to attempt denying the fact that this music was crafted electronically. It's the sound of a church organ and choir, but reproduced unnaturally in a way which is, essentially, that of the mist to which our narrator makes his offering of saliva and wine: a "churning vapor which was electrical in some way, scintillating with infinitesimal flashes of sharp light, sprinkled with shattered diamonds."

**Credits:**

Written by Thomas Ligotti

Artwork by Jason Barnett

Liner notes by Michael Cisco

Read by Jon Padgett

Score, liner notes by Chris Bozzone

 B

150 gram vinyl

Deluxe heavy weight tip-on gatefold jacket.

4 page booklet with new essay my Michael Cisco

**Variants:**

Green yellow black swirl (subscriber)

Transparent yellow with black swirl

Metallic gold with black swirl

Hand poured yellow & black splatter (xx copies)

Wax mage (25 numbered copies)

Test pressing (25 numbered copies)
Scrying Stones & Dolmen

CADABR-22 2018

LP

Written in 1967 "Scrying Stones and Dolemen" marks Coye’s most powerful story based in New England and Central New York. Written through a series of correspondence letters and phone calls, dark mysteries of the occult and witchcraft unfold.

Coye's “sticks” motifs from “Scrying Stones & Doleman” became a fixture through his art and found their way in the popular film "the Blair witch project" as well as the hit HBO series "True Detective".

During the 60’s, artist Lee Brown Coye wrote a column called Chips and Shavings for a local newspaper, The Mid-York Weekly. Here Coye wrote about life, current events, strange occurrences, ghost stories, and local folklore. Our second volume collects the stories, Scrying Stones & Dolmen, Of Telephones & People, and Long Roll of the Drums. Scrying Stones & Dolmen gives the back story to Coye’s use of his “sticks” which is a reoccurring theme in his art, based on real life events leading to strange rock and stick formations, witch cults, and the occult. This fascinating story is told through a series of letters and reports leading that bring up many questions to what was found in an old farmhouse in Central New York.

The reading of this record was tracked in 2015 by Cadabra founder Jonathan Dennison in the living room of the narrater and son of Lee Brown Coye, Robert Coye. The first Coye record, Where is Abby? was a huge learning curve for Cadabra. Scrying Stones & Dolmen was practically abandoned. A mutual friend of the Coye family gave Cadabra a nudge to follow it through as the Coye family is get getting any younger and would like to see this record come to life. Unlike our usual polished productions, this record is “home grown” to say the least. That said, this is a very fascinating glimpse into a time before us, historically rich, and hauntingly close to home.

**Credits:**

Written, artwork by Lee Brown Coye

   Read, score by Robert Coye

Hand screen printed chipboard jacket & outer fold over sleeve.

Tracks numbered sequentially from 1 to 3 on release.

    Was originally planned to be CADABR-03 "Scrying Stones & Dolemen & Other Tales" with a gatefold jacket including an 8 page booklet and a CD version.

 File:Scrying5.jpg
**Variants:**

Black (127 numbered copies, 90 for sale)

Test pressing (10 copies)
Number 13

CADABR-85 2022

LP

The sound effects of a pattering rain and crackling fire which begin Bleak December's audio play of M.R. James' tale, "Number 13," immediately set the scene and place the listener within the milieu of over a century ago. Included in James' 1904 anthology, *Ghost Stories of an Antiquary*, this story is just as terrifying now as when it was first released.

As Anthony D.P. Mann's narrator commences relating the narrative to his cousin, the ghost story of what occurred many years ago in Viborg, Denmark, is replete with what he will soon refer to as “dread.” It's especially effective, as James' story begins by alternating rather pleasant elements of the narrator's research into the last days of Danish Roman Catholicism within the Rigsarkiv with his time in room number 12 of the Golden Lion. His days are bright and sunny, with numerous and interesting papers illuminating the history of the area, whereas the nights are interrupted by mysterious noises coming from the supposedly-unoccupied room next door.

The repeated midnight awakenings are soundtracked by both a violin and piano, whose sharp tones serve to heighten the sense of panic and confusion regarding the inhabitant of the neighboring room. The music feels as though, much like the story itself, it has come out of a time over a century ago, illuminated by candlelight and oil lamps. It evokes elements of Giuseppe Tartini's “Devil's Trill Sonata,” as well as that infamous violin trilling from Camille Saint-Saëns' “Danse Macabre.”

The voices from the room beside the narrator's are, as he describes, distinct but indecipherable, and existing as they do in a liminal space wherein the cackling and chanting evoke such a sense of fear that you, too, will find yourself unable to catch your breath and wishing that you had a door between yourself and the mysterious Number 13 which you could securely latch. The slight, almost animal exhalations of whomever – or whatever – might dwell behind that door will find the listener clutching at themselves, in fear of the sepulchral neighbor.

"That claustrophobic feeling" will overtake you as the thing in room number 13 comes closer to being fully revealed and – strangely – even as what lies beyond the door is brought to full description. The door opens, and knowing what has been summoned only makes one feel the cramped confines of the inn's hallway all the more.

And then? Well, you'll have to listen. Pray that your mind doesn't shatter when you discover the truth of what lies behind the door of room number 13.

**Credits:**

Written by M.R. James

Adapted, liner notes by Anthony D.P. Mann

Performed by The Bleak December Players

Artwork by Jeremy Pailler

Music by Brent Holland

 B

150 gram color vinyl

Deluxe heavy weight gatefold tip-on jacket

**Variants:**

Subscriber (Tan swirl)

Translucent yellow with black swirl (100 copies)

Hand poured yellow and brown splatter over clear (35 copies)

Wax mage (25 numbered copies)

Test pressing (25 numbered copies)
The Haunter of the Dark

CADABR-28 2018

LP

“The church that figures so prominently in the tale is—or was—real: it is St John’s Catholic Church on Atwell’s Avenue in Federal Hill (condemned in the early 1990s and now destroyed). This church was in fact situated on a raised plot of ground, as in the story, although there was (at least prior to its demolition) no metal fence around it. It was, in Lovecraft’s day, very much a going concern, being the principal Catholic church in the area. The description of the interior and belfry of the church is quite accurate. Lovecraft heard that the steeple had been destroyed by lightning in late June of 1935 (he was not there at the time, being in Florida visiting Barlow); and instead of rebuilding the steeple, the church authorities decided merely to put a rather stubby cap on it. This incident no doubt started his imagination working.

The immediate impetus for writing the story, in fact, was the unexpected sale of both At the Mountains of Madness and “The Shadow out of Time” to Astounding Stories in late 1935, a veritable financial lifeline for Lovecraft, who professed that “I was never closer to the bread-line than this year.” Acceptances of this kind always energized Lovecraft, just as rejections depressed and deflated him. Indeed, several rejections by his usual market, Weird Tales, had been so discouraging that he refused to submit any stories to the magazine for years. And he similarly didn’t trouble to submit “The Haunter of the Dark” to Weird Tales—or anywhere else—even though several colleagues praised the story when reading it in manuscript. At last, in the fall of 1936, he did send in the story to Weird Tales; it was promptly accepted and published in the December 1936 issue. He was thrilled to see a splendid illustration to the tale by his new correspondent, the brilliant weird artist Virgil Finlay.

Three months later, Lovecraft was dead.” —S. T. Joshi

**Credits:**

Written by H.P. Lovecraft

Artwork by Zakuro Aoyama

Calligraphy by Josh Yelle

Liner notes by S.T. Joshi

Read by Andrew Leman

Sound by Theologian

Housed in deluxe heavy weight gatefold tip-on jacket

11" x 11" insert included with liner notes

Includes a 18” x 24” promotional poster

**Variants:**

Yog-Sothoth (Transparent lavender mix)

Azathoth (White red swirl, 90 copies)

Subscriber (Green black swirl)(Came with sub exclusive paper sleeve)

Wax mage (xx numbered copies)

Test pressing (xx numbered copies)

Where to read:

Cadabra Illustrated 3: The Haunter of the Dark
Live at Retro City, Philadelphia 2023

Saturday 9/30/23

Voice actor Robert Lloyd Parry and composer Chris Bozzone will perform Guy De Maupassant's "The Horla" and Algernon Blackwood's "The Willows". "The Horla" is being recorded live for a future Cadabra Records production.

Sunday 10/1/23

Voice actor Anthony D. P. Mann and composer Chris Bozzone will perform Robert W. Chambers "The Mask" and selected poetry by Edgar Allan Poe". Sunday is being recorded live for a future Cadabra Records production.

This venue is where composer Chris Bozzone records does his Cadabra Records work, so you'll get a rare chance to see the process in which some of our records are recorded. Seating is very limited, so jump on these tickets while avaialble.