September 24, 2015
Wednesday 30th September: Ulm, DE – Cat Café
Thursday 1st October: Stuttgart, DE – Schocken
Friday 2nd October: St Gallen, CH – Palace
Saturday 3rd October: Ebensee, AT – Kino w/ Monochrome Set
Wednesday 7th October: Vienna, AT – Rhiz
Thursday 8th October: Budapest, HU – Durer Kert
Tuesday 13th October: Chemnitz, DE – Subway To Peter
Wednesday 14th October: Hamburg, DE – MS Stubnitz
Friday 16th October: Koln, DE – Night Of Surprise festival @ Stadtgarten w/ Holger Hiller
Buy Nightingales stuff: http://ironmanrecords.bigcartel.com/artist/nightingales
Read all about it: www.thenightingales.org.uk
September 19, 2015
Few people ask me questions these days. I’m probably deluded thinking anyone would actually want to know what I do for a living, and if I told them honestly they would probably think I’m mad. In truth, I like to be left to get on in peace so I don’t really care. I think the last time I faced 20 questions was a round of “German Traffic Police Roadside Mastermind,” but that’s another story. A few months ago, I spent some time on Skype talking to Kristian Evans and answered as many questions as I could, probably more than 20, on the subject of Independent Record Labels in the age of the Internet. We talked about releasing records through a label, and releasing records as a band without a label. We talked about many of the related issues of trying to release music independently and the many contradictions bands and record labels have to face up to. When the call finished I had to get back to work but Kristian put our discussion into writing as part of a larger case study. Have a read, this is the shorter version, you may find it interesting. If you want the full Case study you can download it in full at the end – Mark, Iron Man Records
Independent Record Labels of the Internet Era by Kristian Evans
This report is dedicated to both uncovering and defining the independent record labels during the era of the Internet (i.e. 1998 onwards). A quick look back in history reveals how important independent record labels have been to modern music of the era, helping to alter the perception of contemporary popular music. However over the past two decades, a number of major changes have happened in the marketplace shifting both the power balance and economy.
By utilising primary research (surveys, questionnaires and interviews), it has been concluded that despite large changes to the operations and methods of the music industry, to some degree the essence of what it means to be an indie label has remained constant. Advancements in technology have given musicians and artists more independence and control, however it would prove challenging to realistically compete with what a dedicated label could achieve.
Independent record labels have for decades contributed greatly to the music industry; from the rock ’n roll revolution during the 1950s to the development of other genres such as grunge, alternative rock and countless others. [Cosper, A.2012] Some of the most notable companies to date include Rough Trade, Pinnacle, Mute, Factory and 4AD. Rough Trade and Pinnacle alone stood for almost 30% of the music market during their peak; and throughout the 1980s, independent labels would continuously compete with the majors in the top 20 album charts. [King, R., 2012]
Tim Berners-Lee’s invention of the World Wide Web in 1989 hit the music industry like a comet. Over the past twenty six years the world has seen a dramatic change in how we consume, distribute, discover and create music; or any form of media for that matter. [World Wide Web Foundation 2015] The introduction of the Internet resulted in a bleak outlook for the music industry. The introduction of digital audio files such as mp3 in 1995 caused hard-copy sales to plummet and the industry to suffer financially. [Fraunhofer-Gesellschaft, 2015]. Illegal file-sharing websites such as Napster and Mp3.com would wreak havoc until their shutdown in 2001.
It was only then that record labels started to integrate into the digital domain. [Cosper, A.2012] [The Napster Controversy, 2015][Kusek, D., 2008.] Record labels (independent or not) seemed unable to keep up with the constant changes that technology brought us. Illegal file-sharing exploded, services such as Piratebay emerged, devastating physical sales. It wasn’t until 2013 that the music had actually seen any form of market growth since 1999. [Neumeister. L., 2015][Admin.,, 2013] [uSwitch., 2015] [Batterbee, A., 2008, p. 82, 83].
With fewer major record labels today, as a result of companies such as EMI being absorbed into Sony and UMG; there has been a reduction in the amount of current market competition. This information also highlights the struggles of the modern music industry as it has attempted to adapt to the changes in technology. [The Nielsen Company & Billboards, 2011] [Pelzie, 2014]
The Nielsen Company & Billboards, 2011
The figure above demonstrates dominance of the four major record labels before EMI’s demise, and to some degree reflects how the independent section relates to them. Although times have changed, the overall picture remains the same as independents are currently a minority.
With regards to the musician’s point of view and the advancement of technology, research indicates that internet based technology and other technological advancements have resulted in more independent control than ever before, from musicians being able to produce high quality albums in their bedroom to even being able to distribute music without the need for a label, alternatively creating their own. [Reevers C., 2011] [Thomson, K., 2015][ Case, C., 2015]
So following the aforementioned changes in the marketplace, where does the independent record label stand? Interviews, questionnaires and surveys have been used to accumulate information from both the client and business end of the marketplace; this will provide the most accurate and unbiased results.
As previously mentioned, first hand research has been conducted in three fashions. The first being a survey (created via SurveyMonkey), aimed towards the consumer and artists, to determine their overall knowledge about the industry, and also how they have adapted to it. [SurveyMonkey, 2015] The questionnaire was created as an alternative to the interview. The questions were aimed at the recording labels, and aim to uncover how the businesses are coping.
If the label contacted preferred telephone, a time was agreed to have a recorded interview, where the basis would be the questions used in the questionnaire; interviews were used to get the interviewee to elaborate more in-depth about the inner workings of the indie world.
Record labels were contacted by finding the bands’ homepage on Google, for the interest of aiming it towards the British market place, only British labels were contacted, contact was either conducted via the labels’ online contact form, e-mail or by phoning the company directly.
Social media networking was the primary way of delivering the musicians questionnaire, posting it on social groups dedicated to performing musicians and artists. Due to the nature of the groups and the style of questionnaire, it was not limited to being answered by British based artists, but was aimed at anybody who produced a product for release. (Copies of correspondents, questionnaires and survey results can be found in Appendix 1 – 3).
The intention with this research report, is not to prove that record labels are necessary, but rather if they are necessary, and to some degree decipher the future of record labels.
Musicians can completely bypass recording companies to release their music; some even create personal recording labels for their own release. But can this new found control replace what a recording company does for their musicians?
What do modern music services mean for the industry?
Given all this new technology, how have artists adapted to it?
Do musicians today feel confident with the tools they have been given or how does it influence their decision.
As the market developed for 14 years without any real growth, many companies must have felt the pinch.
How has the indie section adapted to the recent changes, and has it affected operations?
How do the remaining major labels relate to the indie market of today, is there any resemblance to how things were before?
The overall research shows that the drive behind running independent labels hasn’t changed much since the before the Internet’s conception; fuelled by the love of DIY, releasing creative and quality records, independent from major label influence. Although the desire to run one hasn’t changed, the entire marketplace has shifted after the introduction of the internet. Amongst other things, independents were no longer restricted by getting distribution deals in order to get music out there. But on the other side of the coin, the internet caused havoc on physical sales maiming a major source of income; albeit, a recent rise in LP sales has occurred over recent years. As a result both bands and record labels have had “to adapt or die”. [Badger, M. (Iron Man Records) (2015). Interviewed by Kristian Evans for Case Study,21:24] [Rushton, K., 2013] [Lewis, L., 2015]
Starting an indie label is relatively easy, with a majority of musicians aware that distribution is possible without a label, more than 50% of the survey’s respondents claim they would consider creating their own label for an upcoming release. DIY in itself is not difficult, but doing it right is a different kettle of fish. Especially as there is no true definition to what is right, what is “right” depends on the surrounding parameters. The benefit of using an established record label is that they can potentially provide understanding, knowledge, experience and resources needed to help the product stand out among the masses; “working with a label that is as old as your band is suicide”. [Badger, M. (2015). Interviewed by Kristian Evans for Case Study, 11:34]
There is some debate as to the existence of the quality filter provided by labels, it is apparent that some labels do specialise in styles, genres or similar and have fan bases that benefit all artists released on that album. With Spotify having 4 million songs that have never been played and countless more struggling due to lack of experience, knowledge or making the wrong decisions. [Rochell, 2013] It is more important now than ever that labels keep up-to date and well informed on current events, in order to provide their artists with optimal results.
Although the introduction of streaming services has driven some money back into the industry’s economy, research reveals that it is only the labels with large amount of copyrights that really benefit, in other words the majors, in contrast iTunes is a highly regarded source due to its design and operation. In recent years 50% of artist’s income has been from live performances; it is therefore important to spread music effectively, market strategically, to reach a wide demographic in order to raise ticket sales. This is an area where an established record label is more likely to see satisfactory results; especially in regards to knowing the market and knowing how to proceed.
D, Passman suggests that the next generation of marketing for bands will rely on direct relationships between the band and its fan base. Research shows that more than 80% of the overall respondents claimed to be comfortable using internet based technology for promotion, 72% of the overall respondents use it actively to connect with the fan base. Having personal relationships and interacting with customers and fans at a personal level can raise the overall success of tours, album releases and so forth, and is actively being used at all stages of the industry, though some of this control can be lost in major label deals. [Passman, D., 2013. 69]
With regards to the major labels, it shows that they have little influence over the independent market, and have somewhat less influence than previously in history; at least what we regard as major labels today. Since the introduction of the internet and later online music services, “new” record labels are emerging under the names such as Apple, Amazon, Youtube and other internet based major corporations; causing competition and a shift in power. In addition to this recent changes and coming changes to the internet and how it operates, such as new laws regarding VAT can make it potentially more difficult to truly be independent.
The findings provide an up-to-date insight into how the industry currently looks, and a brief outlook on how companies are adapting to their new surroundings. The findings in the report are of significant value as they answer all of the aims and questions posed at the beginning of the report, while additionally giving information into what the current events are. These findings also give an insight into the possible future of the industry.
The report reveals interesting facts such as the diminishing influence of the major record labels (Universal, Sony, Warner Bros) which have previously dominated the market, in favour of an increase in the popularity and trading power of major online corporations that deal in a range of commodities (Amazon, Apple, Ebay) and offer a more convenient and efficient service to those customers buying online.
Companies such as these may become the major labels of tomorrow as they regularly cause havoc in the industry; causing major changes in how the internet functions and how customers make use of the various services available. The days of the Internet providing freedom may be limited with newly established laws and the music industry finally adapting to the monstrous invention that once made the outlook seem grave, though this seems likely to make running an indie label or any indie company more difficult, research has shown how many of these companies are quick to adapt and vigilant in keeping updated about how to deal with coming issues. The overall findings are important as they ascertain the importance of indie record labels in modern society, showing that they are as important as they ever have been. Despite many artists being comfortable with their new technological surroundings, and being aware of the options available, the majority still see record labels as a necessity.
All of the aims set for this assignment were successfully met, although not all answers are as comprehensive or as useful as initially thought. The research assignment’s main weakness is the lack of responses from labels, the entire research period being dominated by lack of replies or not answering the telephone at arranged time and date. In order for the report to have more credibility and accuracy, more time would be needed to collect responses, where the student would avoid limiting the search to labels within the United Kingdom. The questionnaire in itself requested information that would have been useful to the assignment, but some revisions would be made to it, correcting some phrasing issues and combining questions to make the overall amount less; this might help getting a higher response ratio from participating labels.
The assignment was an attempt to ascertain the importance and market position of indie labels after the introduction of the World Wide Web in 1998. It was also to see how companies have adapted to the recent changes and how this has changed operations and the overall definition of “indie”. To answer questions about their market position and also the clients’ view on the industry, both record labels and musicians were contacted with relevant questions to achieve comprehensive answers.
The research shows that over recent years there has been little change to the core elements of being an indie record label, but the internet has caused for drastic changes in what it means to be a record label. Now often not being required for the recording of the actual album, indie labels function as bands PR agents, providing signed artists with resources, knowledge and experience, arming them to their best ability to survive in an industry that no longer thrives on physical sales, but more live performances and strategically supplying music via the various tools available.
Although from the musicians’ or the markets’ point of view there is no immediate danger, society’s adaptation to the internet and other changes in the market place might cause a raised eyebrow.
In many ways this is an impossible question to answer as there is no set definition of indie, it is instead a combination of past actions and mind-set that have evolved over time. To some indie means a seal of approval while to others it is purely a mind-set. What is counted as indie varies much from person to person, with music from all segments of the industry receiving the tag despite its origin.
What it means to be independent also has its grey areas as even self-releasing music one is constricted to major internet based corporations for distribution, and with the new VAT laws being introduced, releasing music for free might be the only remaining way to be truly independent.
Here it is in full as a word doc Case study – Kristian Evans 2015
September 8, 2015
OVER135CD : 689492142025 & OVER134LP : 689492142018 (Green vinyl w/CD)
Release date: 31st March 2014
“They were the band who bridged the gaps between The Sex Pistols, X Ray Spex, and Crass.” Tyler Vile Punk Globe Dec 2014.
Rubella Ballet formed in 1979, with the nucleus of the band coming from a gig where Crass invited the audience to use their equipment and finish the gig. The band toured with Crass and the Poison Girls before touring with punk and goth bands around the world. Rubella Ballet hail from the Anarcho punk scene but are equally at home playing the Goth scene as they were also part of it’s early conception as newly formed goth bands supported Rubella ballet.
The band became infamous for creating the Day-glo Death Rock punk scene with their different and innovative style of music and the shock value of wearing ultraviolet day-glo clothes. Louise Gray our hottest British designer, has credited Zillah Minx as an influence on her designs.” Zillah Minx of Rubella Ballet – she was one of the originators of punk in London. She wore colours and used UV paint to make her clothes and sets for gigs so everything was illuminated! I LOVE HER” Louise Gray, Elle Magazine May 2013.
Rubella Ballet released their first single ‘Ballet Dance’ in 1982 and also in the same year released their debut album, ‘Ballet Bag’, a creatively packaged cassette only album. They released a further two studio albums and four singles as well as various compilations. This will be their first album of new material since 1986’s ‘If’.
Sid and Zillah were inspired to start writing this album containing highly motivated and political songs about a variety of subjects such as: government brainwashing, the creation of new strains of flu virus to reduce human population, the police cover up of Hillsborough stadium disaster as well as a chance meeting with two whistle-blowing MI5/6 agents who had been monitoring their political activities in the 80s and were now working with William Rodriguez, a caretaker at the twin towers who had dedicated his life to telling the world what he believed really happened during 9/11.
Sid explains “The overriding message of the album is to not to believe every thing you hear on the news or read in the newspapers, as the very same people we are protesting against are those compiling the news.
“Thank Christ for Rubella Ballet! Punk went from being this fun colourful place to be, to all these miserable bastards wearing black! I knew what I’d see there (Crass Gigs) I knew what I’d hear played there…. and bands like rubella ballet where a breath of fresh air “ Steve Ignorant, Crass. The Day The Country Died
Planet Punk/ All Potential Terrorists/ Run Run/ Killuminati/ Pandora’s Box/ Anonymous/ Hellbilly Heroin/ Bio Hazard/ Silver Or Lead/ Wonderful Life/ You’ll Be Sorry/ Sedition/ Victory For The Victims/ Vampire Wedding/ Starship Transporter
Overground Records – www.overgroundrecords.co.uk
September 5, 2015
POLICE BASTARD – Dead To The World
Digital Release on Iron Man Records, 23rd November, 2015
(Available to pre-order with 6 advance tracks from 23rd September 2015)
1 Thug Nation
2 Mental Slave
3 Sweatin’ Green
4 Mandatory Suicide
5 Death To The Unbelievers
7 No Security
9 Second Skin
10 A Lesson In Human Control
11 Gulf War Syndrome
12 I Crush Worlds
13 Death Of Meaning
14 Dead To The World
15 Second Skin (Remix)
Members of Police Bastard on these recordings:
John – Guitar/Vocals
Pid – Vocals on tracks 9 to 12
Dan – Guitar
Dee – Bass
Clive – Drums
Cover Art by Lee Dowling
All songs by Police Bastard except track 4 lyrics by Araya, music by Hanneman and King
Tracks 1 to 5, 9 to 12 recorded at Jigsaw, Peterborough by Tom Savage
Tracks 6 to 8 recorded at Fantom Brothers studio, Tempere, Finland.
Tracks 13 to 15 recorded at Rich Bitch, Birmingham by Greg Chandler.
Tracks 1 to 5 originally released as the Cursed Earth EP on Twisted Chords in 2001.
Tracks 6 to 8 originally released on the Split EP with Unkind on Fight Records in 1999.
Tracks 9 to 12 originally released as the Gulf War Syndrome EP on Ruptured Ambitions in 1998.
Track 13 originally released on the Action Speaks Louder…Than Words compilation LP on Twisted Chords in 2001.
Tracks 14 and 15 are previously unreleased.
Track 16 originally released on the Brum Scum compilation CD in 1998.
September 4, 2015
Made up of two long standing members of space rock pioneers Spiritualized (Doggen, Bales) and named after the radical archaeologist turned occultist T.C. Lethbridge, the band return with three re-issues of their self-released albums recorded in the early nineties: Moon Equipped, Mina and 2000 TC – released November 23rd 2014 via Iron Man Records.
T.C Lethbridge is Kevin Bales, Tony Doggen Foster and Flinton Chalk.
The re-issues promoted their first public performance in 23 years last November at Liverpool’s Cosmic Trigger Festival, a theatrical production and continuation of the Illuminatus Trilogy – a satirical story of drugs, sex, magic and conspiracy theories – which was originally adapted to stage by legendary English writer and director Ken Campbell.
T.C. Lethbridge’s performance at Cosmic Trigger was a tribute to the late-great psychedelic evangelist Brian Barritt (cohort of LSD advocate Timothy Leary) who appears in the Cosmic Trigger book and had recorded with the band at Avebury stone circle during the making of 2000TC. Barritt also features on the track “Bou Saada” on the album and Flinton Chalk had previously collaborated with Barritt exploring the trance-inducing frequencies of Neolithic burial tombs – a main theme that runs throughout their music. In Brian Barritt’s words the group are exploring “Automatic writing on a sacred landscape.”
You can explore their music by listening to 2000TC here:
“Spending a few months writing a biography of a band who have yet to show their faces in public was not the most career-minded way to spend my time, but it had to be done. This is a story about people who’ve had some form of visionary or incomprehensible experience, and about how they can only move on and process what happened to them through a creative act. It is about the impact an uncompleted artistic project can have on a life. It also functions as a jigsaw piece, connecting the story in my Timothy Leary book to the one I tell in The KLF. So, yeah, it had to be written.”
‘2000TC’ was recorded 1994 John Stewart Hall, Melbourne House, The Henge Shop, Avebury, 4 Track cassette, digitally remastered by John Davies 2014. You can buy 2000TC here
All re-issued TC Lethbridge albums can be found here
T.C. Lethbridge website: http://www.tclethbridge.com
– written by Guy Hirst 2015
September 4, 2015
THIS TRACK CONTAINS 111 HERTZ WHICH MAY INDUCE A STATE OF TRANCE PLEASE LISTEN RESPONSIBLY.
The soundtrack to the Cairn T film and art installation composed and produced by Flinton Chalk (also of the band TC Lethbridge), performed by The Barrittones choir in the prehistoric chamber of Cairn T, Loughcrew, County Meath, Ireland. 111 Hertz is the average resonant frequency of the Neolithic monuments archaeoacoustically tested by Cambridge University. Medical pilot trials to date have established that this frequency increases activity in the right prefrontal cortex of the human brain whist reducing activity in the left prefrontal cortex.
In 1996, Cambridge University and Princeton University USA published the results of acoustic testing on a selection of man made European Stone Age chambers dating from the 4th millennium BC, the majority of which are in Ireland. The aim was to discover the resonant frequency of each chamber. The results fell within a very narrow band of acoustic wavelengths, between 95 Hertz and 120 Hertz, with the main proliferation between 110Hertz and 112Hertz. The average resonant frequency of the acoustically tested chambers was found to be 111Hertz. Once this frequency is emitted in the chamber, the effect is to immerse the listener in sound, in this instance the sole frequency of 111Hertz is amplified by the architecture, as it filters out other frequencies, creating an acoustic standing wave.
Many of us have experienced the effect of a standing wave whilst singing in a tiled bathroom. When a frequency is accidentally sung which correlates with the dimensions of a tiled bathroom, that tone will create a momentary standing wave causing a booming or ‘immediate echo’ sensation. This is a demonstration of how the brain experiences this immersive standing wave. We are able to recreate this immersive experience electronically in our installations. 111Hertz is lower male baritone in the human vocal range and can be comfortably hummed, sung or spoken.
Research by Flinton Chalk with Brian Barritt has resulted in a film featuring an archaeoacoustic 111Hertz sound track. This film and soundtrack is then played back through a surround-sound system, which emulates the effects of listening to the sung frequency as it resonates around the original stone chamber that inspired it. The soundtrack was performed and recorded at 111Hertz within the ancient chamber of Cairn T, a monument dating from the 4th millennium BC in County Meath near Dublin.
The 10 minute film to which the soundtrack is set is the first known footage of the rising sun entering the man made resonating stone chamber to be shown in public. This archaeological phenomenon, only confirmed in 1985, occurs just twice a year, at dawn around the Equinoxes, 21st March and 21st September, when the days and nights are of equal length.
Subsequent research has established the potential beneficial medical attributes of the frequency of 111Hertz. This audible frequency is reputed to be processed by and therefore directly stimulates the right-hand prefrontal cortex of the brain, a problem area for autism and other emotional and development disorders such as anxiety and Obsessive Compulsive Disorder. This specific frequency is also associated with endorphin release, a potential non-addictive panacea for pain relief.
It has been observed that within a few minutes of exposure to 111Hertz, Alpha state trance is induced in the listener, as neuronal activity moves within the brain from the left hand frontal lobe to the right. At that point the language centers are ‘quietened’ along with increased Theta wave activity normally associated with sleep and cell regeneration, produced solely in the right hand prefrontal cortex. The overall effect is a subtle, altered state of consciousness, with the potential to train the brain to stimulate longer-term neuronal activity in the right hand hemisphere of the brain.
Enough evidence has now been gathered to compel further research and discussions are underway with Cambridge University to instigate clinical trials.
Barritt and Chalk have completed a lecture tour of UK art galleries, institutions and hospitals sponsored by The Arts Council titled ‘The Future of Sound’. This included two lectures at The Royal Institution of Science in London describing the positive physiological effects of the 111Hertz frequency, outlining the history of the recent discovery of this frequency from prehistoric buildings, whist demonstrating the interactive effects of the frequency to an audience via the surround-sound installation.
Brian Barritt UK 1934 – 2011
Beat artist, composer, author and researcher specialising in philosophy and mythology ‘Whisper’ novel 1969
Co-wrote ‘Confessions of a Hope Fiend’ with Dr. Timothy Leary defining levels of expanded consciousness made accessible by psychedelics 1971
Producer, Kosmische Musik records, Germany, regarded as the birth of electronic ambient music 1972
‘The Road of Excess’ autobiography 1999
‘The Road to Tir na n’Og’ extracts from journals regarding the art and acoustics of prehistoric Ireland 2004
Unity Stone prototype, sound stone sculpture 2010
‘The Nebob of Bombasta’ novel and collaboration with musician Youth 2010
Flinton Chalk b. UK 1963
Artist, musician, curator and researcher specialising in alternative archaeology and archaeoacoustics
Avebury stone circle Wiltshire – official guide 1993
Photographer and PA to Julian Cope during the writing of ‘The Modern Antiquarian’ 1994-96
Proprietor of the Tomtom gallery in Soho, London, 1998-2013
DJ for the 2004 Brit Awards and after show party
Unity Stone prototype, sound stone sculpture 2010
‘T.C.Lethbridge’ collaboration with rock group ‘Spiritualized’ 2013
Gneiss – Photography exhibitions of prehistoric sites from personal archive
Cairn T – film and 111hz sound installations introducing the science of archaeoacoustics
GNEISS The Architectural Association, Bedford Square, London October 2001
GNEISS London Art Fair 2002, Business Design Centre, Islington January 2002
GNEISS Commonwealth Institute, London March 2002
CAIRN T Megalithamania, Conway Hall, London October 2002
CAIRN T Glastonbury Assembly Rooms, Somerset September 2004
CAIRN T Royal Institution of Science, London October 2004
CAIRN T Corsica Arts Club, London April 2005
CAIRN T BAFTA Headquarters, London May 2005
CAIRN T Royal Institution of Science, London September 2005
CAIRN T F.A.C.T . Liverpool December 2006
CAIRN T Millennium Galleries, Sheffield January 2007
CAIRN T The Sage, Gateshead January 2007
CAIRN T Norwich Arts Centre February 2007
CAIRN T Goldsmiths College, University of London March 2007
CAIRN T Royal College of Art, London March 2007
CAIRN T Queen Mary Hospital, University of London April 2007
UNITY STONE The October Gallery, London May 2011 – Present day
Here’s the link to New Scientist soundcloud: https://soundcloud.com/new-scientist/111-hertz-chant-recorded-inside-a-prehistoric-monument-in-ireland The soundtrack to the Cairn T film and art installation composed and produced by Flinton Chalk, performed by The Barrittones choir in the prehistoric chamber of Cairn T, Loughcrew, County Meath, Ireland. Read more via New Scientist here: bit.ly/NSmusictherapy