new release: Drone.Excursion005 AKA ‘Quiet Passage’


I am honored to have the fifth installment in this series released on the weareallghosts label.

This excursion is much quieter than the previous 4, being created with the Tibetan bowl sound that I am so fond of. The subtitle "quiet passage" came to me as I was listening to the playback and since it is a more minimal drone, the title seems to fit the listening experience.

I’d like to thank Thomas for releasing this installation of the series and I hope you enjoy the journey as a result of listening to the track.

Here’s the download link.

Drone Excursion 005


tonight’s Blind Flight


On tonight’s program, I wrap up the feature artist of the month by playing a couple of my favorite tracks by Steve Roach.

I’ll also be playing more selections from the Aural Films Shoemaker Levy Nine collection, including tracks by Lunar Navigational Systems, Playman54, Meho and a track by your host.

I hope you’ll be able to tune into the program tonight at 11 PM central time on

Thanks for listening.

new Release: Drone.Excursion004 aka ‘harmonic convergence’


I’d like to announce the newest release in my drone excursion series and to thank Thomas of Weareallghosts for continuing to release this series. Here are the notes about the album followed by the download link.

Thanks for listening.

Scott Lawlor continues on his journey into post-sixty minute soundscapes with the fourth in his drone.excursion series.

drone.excursion.004 (waag_dex004) aka ‘harmonic convergence’ is a delightful drone that builds in significance in the listener’s consciousness. There is a slow evolution in the chords used over the 72 minute duration that together feeds the mind and provides space for contemplation and flow.

drone.excursion.004 (waag_dex004) is another enjoyable longform drone from Scott and I really do hope you will enjoy it as much as I have … I found it a worthwhile journey to take.

a Steve Roach interview on tonight’s Blind Flight


On tonight’s program, I will be featuring an interview with Steve Roach that I conducted in October of 2012.

I will also be featuring tracks from a brand new release on the Aural Films label called Shoemaker Levy 9 Commemoration.

I’ll be playing tracks by such artists as Christopher Alvarado, Keith Spears, Leithal, Breaking Light, Cloudwalk, Jack Hertz, Cousin Silas, Fabio Keiner, Kinematik VKE and the feature set by Steve roach is a combination of tracks from Fever Dreams 1 and 2.

I hope you’ll tune in for a special edition of the blind flight, starting at 11 PM central time on

Please remember that this podcast will not be made available for download.

Thanks for listening.

a change to the blind flight distribution


As you know, I have been doing a new feature on the program where I play an entire cd by a specific artist each week during the month.

After it was brought to my attention that the podcasts made for download was giving the artists music away and that the artist probably wouldn’t appreciate said action, and after writing to the artist and one of the record labels associated with distribution of some of his works, I was asked that podcasts where I play music of said artist not be made available for download.

This is something I should have thought of myself when starting this feature but you can’t think of everything so as a result, there may be some weeks or even months, where, depending on the artist in question, broadcasts of that material will not be available for download.

I’m going to go on a case by case basis for this decision as I contact the artists I want to feature well in advance of playing their work so if they’re okay with the podcasts being made available for download, everything will be as normal, as will be the case with creative commons work.

I just wanted to let you guys know that if there are weeks where you don’t see a download of the podcast, that’s the reason.

thanks for your understanding regarding this matter and your continued support by listening to the program and interacting with me through the many means of social media available.

new track: g-waves on Jupiter


I have a new track called g-waves on Jupiter on a compilation just released today on the Aural Films label along with a track by Lunar Navigational Systems which consists of me and GM. Slater.

I am honored to be alongside such great musicians as Jack Hertz, Cousin Silas, Robert Scott Thompson, Red Clouds, Meho, Fabio Keiner and many other people who contributed their time and creativity to this compilation called Shoemaker Levy 9 Commemoration.

To download the collection, you can visit

Thanks for listening.

review of the Madness that Lurks Within


I’d like to thank the author of The CerebralRift for such a fantastic review of this album.

The text follows and then the link for the article.

The Madness That Lurks Within


Scott Lawlor & Rebekkah Hillgraves – The Madness That Lurks Within

Artist: Scott Lawlor & Rebekkah Hilgraves
Title / Release Page: The Madness That Lurks Within
Release Date: 2014 April 18
Genre: Ambient / Horror
License: CC BY-NC-ND
Media: MP3 / OGG / Flac
Pricing: Name Your Price
Label: Aural Films
Rating: ★★★★★★★★★★

I’ve been given an early Halloween present this year in the form of The Madness That Lurks Within. This is an audio interpretation of a story known as The Russian Sleep Experiment which was published on CreepyPasta (warning: this does link to the story itself, so if you want to enjoy the recording you might want to read it later), and is known to exist online since at least 2010 (vai Snopes).

Note: This review contains some graphic descriptions of the recording, and graphic quotations from the original story. This is not for anyone who is squeamish. You have been warned.

The Madness That Lurks Within

These days with all the scam emails that people receive with their poor grammar, shoddy word choices, and generally unbelievable concepts it’s nice to be reminded that at some point there were pieces being written that were masterful in their presentation. There are pieces like The Russian Sleep Experiment that are well written, well structured with just the right amount of detail to make them sound plausible. And, to be honest, the details are chosen so well that some of them will make you cringe at the image that you get from the writing, for example:

There were chunks of meat from the dead test subject’s thighs and chest stuffed into the drain in the center of the chamber, blocking the drain and allowing 4 inches of water to accumulate on the floor. Precisely how much of the water on the floor was actually blood was never determined.

Now, believe it or not, it gets more creepy than this. Shockingly creepy. But notice the detail about the blood mixed into the water. At once this sentence accepts as fact that there is blood there, but also makes it a point that no one bothered to measure it, which is interesting. This story is supposed to be based on a scientific experiment, so noting that such information is missing would appear to be important.

Now this attention to detail sets up a particularly interesting challenge for interpreting the piece in a different media. In most cases this piece would likely have been read like a story, or possibly produced like a radio play with sound effects, voice actors, etc. In this setting, we have a musician and a vocalist. So, it takes a bit of re-thinking in terms of how to handle this work.

So how did they do? Simply put: magnificent.

Rebekkah Hillgraves reading is that of an authoritative narrator, with injections of characterizations where it adds a touch of further authenticity to the story. She conveys the narrative in a manner that will have you spellbound, and sitting on the edge of your chair. You will get chills or cringe as all the gory details slowly unravel before your ears.

Scott Lawlor’s soundtrack is nothing short of a cinematic masterpiece. He builds textures and tones in a way that sets the mood of the piece. He weaves this magic in a manner that matches the narrative reading by Rebekkah Hillgraves flawlessly. And, to add another dimension to the piece, the narrative is supplemented with sound effects that make the whole thing even more creepy, if you can imagine that. For example, when we reach this portion of the narrative:

After nine days the first of them started screaming. He ran the length of the chamber repeatedly yelling at the top of his lungs for 3 hours straight, he continued attempting to scream but was only able to produce occasional squeaks.

We hear the subjects screams, but not just his screams — we hear them panning from side to side as if he was running through the chamber. There are a lot of effects like this, and I don’t want to give away any of the surprises. But, I will say this, the choices made for sound effects are not only effective, they are not egregious. For example, there is a passage that mentions pages being ripped from a book, and thankfully we don’t hear that.

The overall effect literally had my skin crawling. There were parts of the story I normally would have found disturbing, but in the capable hands of Lawlor and Hillgraves it becomes downright scary. They manage to provoke such as strong reaction from me that I wanted to turn the piece off, but like a car accident or other horrifying event I found myself unable to. I needed to know what was going to happen next.


So, I have a love / hate relationship with horror novels and movies. Frequently I have a problem suspending my disbelief during such movies. Although, when it does work, it can be a fun experience.

This work was not only one of those times where I had no problems suspending my disbelief, but I fell into the narrative hook, line and sinker. It didn’t even occur to me that this might not have been a real experiment until after I had listened to the whole piece and wanted to find out more about the experiment (in all honesty, I was looking for a WikiPedia reference to the experiment to use as part of this review).

Had I come to read this piece on CreepyPasta, I would have realized it was a story. But, with the authority that Rebekkah Hillgraves gives to the narrative, I could only think it was real. Scott Lawlor’s soundscape and effects seemed to me to server the role that we normally think of as adaptation, and in this case it was an adaptation of a true story. And yet it isn’t. That’s how good this telling of this story is. The need to suspend your disbelief is extremely low as the narrative is solid, and the narrator immediately commands authority.

Just a brilliant job. This is definitely going to be a major Halloween piece for me.