Various Artists
Spectra Ex Machina: A Sound Anthology of Occult Phenomena 1920-2017 Vol. 1
Sub Rosa
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1Various – Arthur Conan Doyle On Spiritualism 1:34
2Various – Gladys Osborne Leonard And The Spirit Of Feda, In The Presence Of Reverend W.S. Irving And T. Besterman 1:09
3Various – Rudi Schneider's Trance 0:58
4Various – Harry Houdini's Final Séance 2:31
5Various – Ivy Carter Beaumont aka Rosemary_ The Speech Of Ancient Egypt, Eighteenth Dynasty 2:09
6Various – Einer Nielsen And The Spectral Voices Of Astrid And Bischof Liljeblad 1:16
7Various – Leslie Flint And The Voice Of Oscar Wilde 2:06
8Various – A Spiritism Séance Broadcast On The Radio 5:23
9Various – The Rosenheim Case 1:05
10Various – The Th. Case 1:25
11Various – The S. case 2:04
12Various – The P. Case 0:37
13Various – Knocking Phenomena 1:17
14Various – Émile Tizané About Little Hauntings 4:19
15Various – Voice Produced By Janet Hodgson During A Trance 1:07
16Various – Dominique And The Talking Wall 4:12
17Various – Anneliese Michel's Exorcism Ritual By Father Arnold Renz 1:37
18Various – Denys Renaudin's Investigation Of A Haunting Case 5:31
19Various – Jack Sutton And The Haunted Airfield 2:07
20Various – Paranormal Explosion 0:19

»Spectra Ex Machina« brings together rare documents pertaining to so-called occult phenomena, most of them taken from little-known archives. In the course of three volumes, this series traces an audio history of parapsychology through the exploration of spiritualism and haunted houses (Vol. 1); musician mediums (Vol. 2); experiences of extrasensory perceptions (clairvoyance, psychokinesis, etc.) and electronic voice phenomena (Vol. 3).

The documents gathered here are, by their extravagance and far-fetched aspects, more than the mere objects of belief one would be tempted to reduce them to. They are vestiges of aberrant phenomena, fossils of an unknown civilization buried in the depths of the unconscious that are revived, in a way, when we listen to them. They can be understood as "works" in the full artistic sense of the word, and constitute a kind of "cabinet of sound curiosities" that is worthy of aesthetic interest. Sometimes imbued with a disconcerting dramatic intensity, these documents bear the features of an authentic time machine, placing the listener in the position of a witness of the time immersed in the dim darkness of the experimental hall. And it is at that precise moment that the aesthetic power of these archives takes precedence over their probative value. Their somewhat old-fashioned charm, maintained by the surface noise of magnetic tapes and old wax disks, gets stronger with each listen.