Eremition is back in sacred space to finish the debut & album art reveal...

I often find myself wondering whether these posts are truly read, or whether they simply drift quietly into the ether. If you've found something meaningful in them, feel free to leave a comment. I'd be grateful to know.

This week and next, I've returned to the studio to complete the final, minimal guitar passages for the debut Eremition album. My hope is to have Echoes of Eremition finished by Solstice weekend, allowing my attention to fully turn toward opening the store and preparing the releases that remain for the year ahead. Among them is a particularly meaningful project, an album I have been invited to produce, while also contributing compositional work. More will be revealed when the moment feels right.

Recently, I shared a private demo of the Eremition album with a handful of people in the hope of seeing its eventual release find a home beyond the confines of GTR. The responses have been sparse. Some deeply encouraging and heartfelt, others absent altogether. Such is the nature of these things. Time will determine their course. Above all, I hope to see this collection realized on vinyl, where I feel it truly belongs.

Today, I wanted to unveil the album cover.

The photograph is of my mother, taken in 1979, standing in a place I have long imagined spending my own twilight years. It felt only natural that she be among the first to hear the work, given the profound personal connection woven throughout its creation. I included her in the private listening link so she could experience that thread for herself.

What she shared in response moved me deeply.

I leave her words with you.  

 

Took some nerd shots from the Eremition sessions. Feeling I've finally achieved the tones, spatial depth and warmth I've been seeking for years!

-Chet W. Scott

A clandestine artifact shop opening in June...

I’m pleased to share that I am continuing to move forward with a small Glass Throat Recordings artifact shop and adjacent performance space. Located in West Seattle and open by appointment only, I am aiming to welcome visitors around the Summer Solstice on June 21st.

A substantial portion of the Glass Throat Recordings discography will be available, much of it consisting of original pressings spanning the past three decades. Many of these editions are exceptionally limited, handcrafted releases. In addition, I will be offering vinyl titles and merchandise from my personal archive, including mint-condition records that have never been played.

I’m also excited to announce the following artists and creators are currently among those with whom I am collaborating. Given the intimate scale of the space, both inventory and featured works will remain carefully curated and continually evolving. Parting with these personal artifacts creates room for the works, ideas, and individuals that genuinely resonate with me and receive my deepest enthusiasm and support.

The shop will carry a select range of vinyl, cassette, CD, and book titles. Each image below will provide a direct link to these remarkable creative individuals and their respective digital platforms. I encourage you to explore and support their work, and I look forward to welcoming you into the world of Glass Throat Recordings for what I hope will be a uniquely intimate and meaningful experience.

At present, I have only a limited selection of Aural Hypnox titles available, largely due to ongoing international postal complications. However, I’m very pleased to share that, once these issues have been resolved, this small and humble space will become an exclusive destination in the Pacific Northwest for all things Aural Hypnox (Finland).

Aural Hypnox represents a deeply kindred artistic spirit to both myself and the numinous ethos of Glass Throat Recordings. I greatly look forward to working alongside Antti H. also of Halo Manash / Arktau Eos / Unfyros in bringing these extraordinary releases to the region, as well as exploring the future availability of the Glass Throat Recordings discography in Finland.

Further information will be shared as developments continue.

I’m very pleased to announce that I am once again collaborating with Cold Spring in the United Kingdom. In the near future, they will be carrying a selection of Glass Throat Recordings titles through their distribution network and shop. For many of you who have inquired about obtaining G.T.R. releases within the UK, there will now be a dedicated and reliable source.

In return, I will also be offering a carefully curated selection of releases from the Cold Spring catalog here in the shop, several of which I believe many of you will find particularly compelling and intriguing.

It is my hope that this relationship will continue to deepen and evolve, ultimately allowing those in the UK broader access to the full range of available Glass Throat Recordings releases. If you are unable to locate a specific title, I encourage you to reach out to Cold Spring directly regarding availability.

Time will reveal what this collaboration may ultimately become.

What can truly be said about brother Scott E. Candey? He remains one of the most overlooked and enduring pioneers of the United States underground dark electronic and soundscape movement since the mid-1990s. Beyond his remarkable body of work, he is also someone with whom I had the privilege of creating music with during the formative early years of my own artistic journey.

Scott E. Candey a.k.a. Gruntsplatter and The Corvidae Cabal, has supported Glass Throat Recordings since its very inception, and the artifact shop will now serve as a direct destination for all things Crionic Mind.

I am genuinely excited and deeply grateful to once again be working alongside Scott.

Please support the releases of Crionic Mind.

I am truly honored to be carrying the works of visionary artist David V. D'Andrea, including his recently published book In the Garden, alongside a selection of musical releases from Samaritan Press.

Among these offerings is a release featuring my own Blood of the Black Owl endeavor, Spirit Canoe: Soaring the Shadow Spiral. I currently have a limited number of copies available in the shop, each edition featuring a 12-inch letterpress print, cassette, booklet, and accompanying sticker. An exclusive t-shirt incorporating the Spirit Canoe artwork is also available in conjunction with the release.

The following testimonial captures the spirit and vision of brother David V. D'Andrea remarkably well…

“The somatic meets the transcendental in D’Andrea’s painstakingly constructed visual works. Vascular continuity flows between organic and spiritual forms by way of capillaries carrying ink, sap and blood. From the hard, saturnine clay of raw matter awaken phantasms cloaked in the otherworld. In this kinetic paradigm, the viewer embarks on a dynamic journey into the primordial wellspring that pours into the boundless seas. The traveler is nourished and imperiled in equal measure, following the glittering ocular current from the underworld to the heavens, through myriad lush intricacies, guided by gossamer elementals. D’Andrea is in this sense, both magician and navigator, evoking visions, charting the path to Gnosis with a deftly wielded pen.”

~ B. Vierling, artist

I feel deeply grateful to be carrying two albums by the late composer and friend Garek J. Druss. Through the generosity of Debacle Records and Sam’s support, I was able to obtain these profoundly beautiful and essential works following brother Garek J. Druss’s passage into the great mystery.

I am genuinely and deeply excited to begin working with Hologram Opera. There is a palpable sense of intention and care in what they are building, and it feels like the emergence of a label with authentic artistic vision and heart.

Through this collaboration, I will be looking to keep the works of Garek J. Druss available across all formats, alongside the music of my current favorite ensemble, Holy Sun Opera House. Both feel deeply aligned with the spirit and sensibility this new imprint is cultivating.

I look forward to seeing what unfolds with Hologram Opera as it continues to grow and take shape.

There is so much I would like to share regarding this important and profoundly vital publishing collective. At present, I find myself hesitant to define too much in advance, as I await what may organically unfold between Severed Branches Press and Glass Throat Recordings. In many ways, I trust that this dialogue will reveal its shape in time.

I am deeply honored to be working with brother Heron of sacral musical soundscapes Flight of a Green Heron and Returning. Through this collaboration, S.B.P. are now carrying my Cycle of the Raven Talons ceremonial work, A Medicinal Musical, as well as the live cassette release from Flight of a Green Heron. Both works are now available through their distribution and vending network. In time, I am hopeful this may expand into additional releases, or perhaps a more integrated collaboration within their broader vending structure.

I encourage those who are interested to seek out their work, connect directly, and engage deeply with what they are offering into the world.

It has also recently come to my attention that Severed Branches Press will be featuring Glass Throat Recordings, as well as aspects of my own musical work in an upcoming volume of Defending the World Tree, a publication I understand to be both expansive and deeply considered. After 30 years, to my knowledge there has never been a printed feature dedicated to Glass Throat Recordings, let alone within a book. I am sincerely moved and tremendously grateful to receive such authentic recognition and support from these dedicated individuals.

I will also be carrying this forthcoming volume, along with other selected publications from Severed Branches Press, within the shop.

Their collective statement follows below:

~ Severed Branches Press

Juan Pablo Martínez Ramos, known as stillme., has long remained one of my most beloved ritual soundscape composers. His 2014 release, My Funeral Was At the Mountains, created alongside Álvaro Casas, left a deeply embedded mark on my being, the kind of resonance that has become increasingly rare for me to encounter within contemporary music.

I’ve always hoped to work with stillme., and perhaps carrying his releases is a meaningful place to begin. I’ll continue dreaming about a future follow-up to My Funeral Was At the Mountains by these two composers released here through G.T.R.

I’m deeply grateful to be on his radar, just as he has remained on mine. I’ll be carrying as much of his available discography as possible exclusively within the Pacific Northwest. Nearly his entire catalog is beautifully handcrafted and produced in extremely limited editions, so if something is available in stock, I strongly suggest not waiting too long.

Beyond the moon to be carrying vinyl from Wah Wah Records - Super Sonic Sounds in Barcelona. I’ve been able to obtain exceptionally rare reissues from Popol Vuh, the one group that has informed nearly everything I compose myself. I’ve also stocked a small quantity of I Am One With the Earth on LP by Florian Fricke, an album I’ve long dreamed of releasing myself on both CD and cassette and am currently exploring the licensing to make possible. To my knowledge, this extraordinarily rare work has never been officially issued on either format. More to come...

Well, to everyone who took the time to read all of this, I’m deeply grateful for you all and hope to see you soon here at the shop, or perhaps at one of the intimate performances I’ll be working toward curating over the coming years. I'll save that for another blog.

~Currently in stock vinyl releases from friends~

AE Machinas - Hallowell, ME

Árnica - Spain

Fogweaver - Portland, OR

Fungal Abyss - Seattle, WA

Heiress - Seattle, WA

Kaverna - Spain

novemthree - Eau Claire, WI

Returning - Olympia, WA

Siiilk - France

Please subscribe to this blog and the YouTube channel, and follow the Bandcamp store, as there is much more forthcoming regarding new releases from G.T.R., future collaborations, and new musical endeavors still taking shape. Not to mention more stock from Cold Spring and a few others...

WARmth,

— Chet W. Scott

Debut of Eremition releases today...

 Eremition deliberately eschews narrative frameworks in favor of an ontological restoration of being articulated through somatic soundscapes and solivagant spiralic trajectories. It constitutes an ongoing personal investigation into worldly isolophilia, examining & exploring ritual as an interiorized and phenomenological practice. Through echoing soundscapes, the work traces forms of trauma held within the body, carried silently through interior life and passed unknowingly from one person to another.

Crafting with a resonant harmonic framework such as mellotron, fretless bass, sympathetic acoustic drone instrumentation, organic ritual implements, restrained rhythm, and gentle composition, the project evokes the presence of an unseen fire, one that burns as a silent votive flame, offering illumination without spectacle.

Eremition feels forever held within the Asiatic traditions of tranquil ritual music and worldly fusion, rooted deeply in stillness, breath, and ceremony while quietly honoring the Kosmische visionaries of the late 1960s, ’70s, and ’80s. Its lineage can be felt in the devotional atmospheres of Popol Vuh and the solitary works of Florian Fricke, drifting alongside the currents of Wu Ziying, Jacques Roman (Pulsar), Yatha Sidhra, Bo Hansson, Tony Scott, Bruce Langhorne, Klaus Schulze, Between, Dead Can Dance and Henryk Mikolaj Górecki.

_______

A limited edition of 50 cassettes handmade, numbered and packaged within full color obscure gold leaf stock sleeves. The cassette shell is an antique gold and hand lettered.

This cassette edition features a single twenty-minute bonus track, 'Echoes VII,' drawn from the forthcoming full-length LP, 'Echoes of Eremition'. The cassette will be available exclusively through the Glass Throat Recordings storefront and within the Bandcamp online artifact shop.

PLEASE NOTE - 'Echoes VII' will release again within a subtly reimagined state and be included as a digital bonus track to the full length album 'Echoes of Eremition'. There is also the possibility of its inclusion within a double LP edition, should the project find the appropriate support to bring such an expansion into being. Until then, this analogue cassette and coinciding digital recording stands as something singular, an edition confined to just fifty cassette tapes, and thus a quietly rare artifact.

Eremition is:

~Chet W. Scott~

Mellotron M4000D, fretless bass, acoustic sympathetic drone instruments, electric guitar, bone trumpet & flute, moose & deer ceremonial frame drums, various percussion, vocals & effects.

~Rachel Boaz Scott~

Mellotron M4000D (Live performance)

'Echoes VII' - a bonus track taken from the forthcoming debut 'Echoes of Eremition' full length album was performed, recorded, mixed and produced digitally and on tape throughout 2025 & into 2026 at Glass Throat Recordings by Chet W. Scott using an actual sound console and vintage gear. No AI-software simulation or trickery.

This cassette / digital EP version has not been mastered for either format.

Cover photography by Chet W. Scott.

Light falls gently upon one of Richard Kirsten-Daiensai’s spiraled works, resting against the wall like a quiet breath. Taken during a medicinal visit with my natural path, the image became a place of reflection & one that spoke without words each time I returned to it. The spiralic movement whispers still, circling inward, calling me softly into this very moment.

Glass Throat Recordings is located upon the unceded ancestral lands of the first people of the Dkhw Duw’Absh (Duwamish Tribe), past and present!

I raise up with honor and gratitude the Coast Salish land itself and the Dkhw Duw’Absh.

Warmth,

-Chet W. Scott

Ruhr Hunter "Moss and Memory" and Alethes articles courtesy of Manifold House (Manifold Records)

Leading up to the 20th anniversary on June, 21st, 2026, of both Ruhr Hunter's "Moss & Memory" and Alethes "Aletheia" I feel incredibly grateful and thankful author V.M. Harrigan has taken the time to include thoughts regarding some of the early releases of GTR. Manifold Records was once an avid supporter and distributor of all things Glass Throat Recordings back in the 90's and early 2000's. Here are some recent thoughts regarding both of these earlier titles you may find interesting.

Note both original deluxe gatefold foil stamped CD editions are still available in the Bandcamp store:

https://glassthroatrecordings.bandcamp.com/

-Images link to articles-

The WASP FACTORY!

Yes, this may seem like an entirely random inclusion in the Glass Throat Recordings archive. However, it stands as a humble document of a brief but formative period in my life, one that proved meaningful for many reasons. What follows is a concise account, as everything took place within the span of roughly a year. I also encourage any former members to contribute or clarify details so this record can be as accurate and complete as possible. Some of you may be hearing this music for the first time - enjoy.

In 1996, while living in Williamsburg, Brooklyn (NYC), I started a band with Eric Cooper (guitar/vocals) shortly after his brief stint with Kiss It Goodbye. Eric and I were heavily inspired by many of our early to mid 1990s contemporaries, including Craw, Dazzling Killmen, Glazed Baby, Iceburn, Today Is the Day, and Zeni Geva, as well as labels such as Amphetamine Reptile Records and Skin Graft.

We began as a three-piece and recorded a rough demo with this original lineup. That demo was never publicly released. We rehearsed in Brooklyn at Coyote Studios, which is also where the demo was recorded. It’s worth noting that during this period, three of the four songs in our live set were newly written and did not yet have lyrics; consequently, they were not included on the demo. To my knowledge, many of these songs were also untitled, and I have no recollection of their lyrical content otherwise, I would have included that information here. Perhaps Eric may be able to provide further insight. Eventually, we lost our original drummer, Matt, who went on to join the percussive theater group STOMP!. He was replaced by Jim Paradise from Go! / Hell No, and we later added a second guitarist, Greg.

As for the band’s name, nothing was ever definitively agreed upon. The name remained a point of discussion between Eric and me, and if memory serves, we may have performed our only show without an official name. “Sons of Light” and “Belial” were both considered at various points. For the purposes of this document, however, I will refer to the band as The Wasp Factory, as it was initially proposed by Eric and feels most fitting given the sound.

Our sole performance took place as part of a large holiday matinee lineup that included:

ASSTROLAND

DISTRAUGHT

MOSES

PRY

SWEET DIESEL

There may have been additional acts, though I can’t recall them with certainty. The show was held at Z-Bar in NYC, located on Avenue A, on December 22, 1996.

In the end, it was an incredibly informative and meaningful year for me, and I’m deeply grateful that this moment in time was captured. I’ve often wondered how the band might have evolved and what we could have accomplished. Now, 30 years later, it’s remarkable to reflect on the many projects these members have been part of since, as well as those that came before. These include: Bad Powers, Blood of the Black Owl, Die 116, Go!, Hell No, Human Impact, Made Out of Babies, Moon Mourning Earth, Moses, Pigs, Pushman, STOMP!, The J.J. Paradise Players Club, The Kill Van Kull, and Unsane.

I’ve uploaded our only live performance to the Glass Throat Recordings YouTube channel here:

https://www.youtube.com/watch?v=Q_fx2nXPYnY

The final Blood of the Black Owl release directly supports...

A reminder post that all sales of this final release: The Sound of Flowers Dying Carry Messages Through the Wind from Blood of the Black Owl directly supports the following vital organization:

https://boardingschoolhealing.org/

(All images provide direct links for more information)

"I've been listening to Blood of the Black Owl (BotBO) since around 2013 or so, starting when I stumbled upon the BotBO Celestial Split at a record store in Oakland that year. Chet’s side of the record, Contemplating the Death of An Old Friend,  instantly moved me. I would spend hours wandering both the dingy urban environs of West Oakland and the young redwood forest tucked away in the hills, listening to Ruhr Hunter, BotBO and Rain (Fearthainne), enraptured in cathartic states of connection to place and dream. All of Chet’s work is of a spiritual quality–prayerful and alive–and so when he sent me his newest record, I knew that it would contain messages deeper than one could catch from a casual listen. 

The Sound of Flowers Dying…

The first track from Blood of the Black Owl’s newest album The Sound of Flowers Dying Carry Messages Through the Wind sets the tone of possibly the darkest recording that I’ve yet heard from Chet, not in atmosphere, but in the heart wrenching and prayerful song crafted to honor the young ones who left this world too early…

To be in this world alone…

Útburður: a child left in the wilderness to die. A child to a ghost. A ghost to the place it was forgotten… For those who have searched deeper into the vast well of Chet’s offerings, you might have found that he has an undying gratitude towards our Indigenous communities in prayer, and in embodied action. 

Across Turtle Island, our Indigenous communities continue to reel from the echoes of America's earlier genocidal practices such as that of the Indian Boarding School era, where children were taken from their homes and forced to assimilate to Christian/Catholic/American ideologies. Children were tortured for practicing their language, their culture, their identity. Many children were left to die due to conditions of neglect, and outright violence. Every Indigenous person I know, here on Turtle Island, has a story about a relative who has been victim to this era of genocidal violence. I preface with these words because Chet’s offerings are not simply songs, they are carefully and emotionally crafted prayers. The Sound of Flowers Dying is a stunning tribute to the young ones left behind, carried skyward through dulcimer, flute, voice, guitar and bass instrumentations. This song moves in emotional segmentations–timed with space for reflection and attunement to stillness. This song feels to me like a child's song. A song for the lost children to follow on their journey home. 

…Carry Messages Through the Wind

This final song starts with a well placed quote from Robin Wall Kimmerer, where she invokes that to become part of this living world again (one we may not be Indigenous to) we must practice the “grammar of animacy”, which is a practice long central to Chet’s medicinal (and in my humble opinion, cultural) work through Glass Throat Recordings and his associated projects.

The lyrical watershed of this song alone contains tributaries of wrathful grief and spiraling prayer. They also speak to the horrors upon the living world–one that aches for us to return again. 

This song holds all the elements that one might expect to hear in a BotBO record. Yet this time, Carry Messages Through the Wind, brings the listener from slow trickling streams and mournful movements into a widening cascade of psychedelic melodies. Emerging all at once primal and ethereal and creating a unique sound to his offering. I encounter, again, an awe of how well placed Chet’s dulcimer and sacred wind instruments are, catalysing transition and sounds’ capacity for animate conversation. This album marks a new era that his work has entered musically. The song’s dreamlike conclusion features keys from Glass Throat Record’s Rachel Scott, which throws those of us familiar, into an alternate reality where BotBO were a band in the 70s. A true climactic end to another unique offering from my most cherished label in the Pacific Northwest, Glass Throat Recordings."

-Heron

_____________

I also strongly encourage you all to take interest and support these other indigenous links provided. All of which hold direct inspiration towards the curation of The Sound of Flowers Dying Carry Messages Through the Wind.

The curation of this collection is inspired by the poetry and spoken word of Uncle John Trudell, as well as the Kuper Island Podcast (an eight part series).

Please watch and support this series here:

Please view this film here:

Please read this book and seek out the very hard to find documentary that coincides.

A very special thank you to my indigenous family, Aunties, Uncles, Sisters and Brothers I've personally had the profound and emotional experience of speaking directly with regarding their personal battles with spiritual cancer at the hands of Christian Nationalists and the tribal traumas deeply endured through cultural genocide and religious colonialism! I am unconditionally grateful and truly thankful for their medicinal teachings, trust, strength, understanding and respect confided within me.

Glass Throat Recordings stands in solidarity!

I raise up with honor and gratitude the Coast Salish land itself and the Dkhw Duw’Absh.

I dedicate my final album under the moniker of Blood of the Black Owl, to all my relatives of this great Turtle Island, and to all whom continue to suffer under Christian Nationalist rule and colonial suppression!

Mitakuye Oyasin

-Cante’ Waste’ ObMani’ Wicasa / Chet W. Scott