Aisles Releases Live Video At Abbey Road Studio 3 Through Instagram Live With Jo Kendall This Wednesday

Jo Kendall (Prog / Classic Rock) interviews Aisles on Instagram live ahead of the YouTube premiere of Blue Skies (live at Abbey Road) this Wednesday at 6pm UK

A powerful live performance filmed inside Studio 3 at Abbey Road Studios — a milestone moment ahead of the band’s next studio album.

Filmed during the band’s recent UK tour — which included a highly successful appearance at HRH Prog — the session documents a defining moment in Aisles’ international trajectory. On 17 November 2025, four songs were recorded fully live at Abbey Road, to be released individually throughout the year on YouTube, culminating in a full live EP available on CD and digital platforms later this year.

Jo Kendall, music journalist from Prog Magazine and Classic Rock, was there to witness the session, and she will join Aisles again on Instagram Live this Wednesday 4th of March at 6 pm UK, to discuss the video and performance.

The performance features the band’s current lineup consisting of Boris Seeder (lead vocals), Germán Vergara (guitars, vocals), Juan Pablo Gaete (keyboards), Daniel Alejandro Concha Baird-Kerr (bass) and Alvaro Poblete (drums). The band were accompanied by their long-time sound engineer and recording engineer, Fernando Cubillos, who engineered, mixed and mastered the session, ensuring the performance retained both its raw energy and sonic depth.

The first release, Blue Skies, is particularly significant. Originally the first single from the band’s upcoming studio album, the song now re-emerges in a raw and emotionally charged live setting. The performance not only showcases the band’s precision, chemistry and sonic power, but also captures them performing inside the very room where artists such as The Beatles and Pink Floyd shaped modern music history and both very influential to Aisles’ emotional and at the same time expansive sound.

Studio 3 provides an intimate yet historic backdrop. The video offers more than a live rendition; it delivers a visual and sonic statement about where Aisles stand today: confident, cohesive, and operating at a new level of intensity ahead of the unveiling of their upcoming long-awaited sixth studio album.

Recorded entirely live, without overdubs, Blue Skies (Live at Abbey Road) highlights the band’s tight musicianship and dynamic interplay. The session stands as both a symbolic and artistic milestone — reflecting Aisles’ expanding international presence and serving as a powerful preview of what lies ahead with their next studio album.

With this release, Aisles invite listeners to witness the band at a pivotal moment: refined, ambitious, and fully alive inside one of the world’s most iconic recording spaces.

ON MARCH 4TH 6 PM UK TIME THE BAND WILL BE INTERVIEWED ON INSTAGRAM LIVE BY MUSIC JOURNALIST AND CRITIC JO KENDALL AHEAD OF THE OFFICIAL VIDEO PREMIERE AT 6:20 UK ON THEIR OFFICIAL YOUTUBE CHANNEL.

AISLES ON YOUTUBE: https://www.youtube.com/channel/UC3m_ezhicmtfbhcejWDSy5A

THERE WILL BE Q&A WITH THE BAND DURING THE BROADCAST.

VIDEO CREDITS

Recorded and Filmed Live at Abbey Road Studios
17 November 2025
Engineered, Mixed and Mastered by Fernando Cubillos
Filmed by Manuela Langotsch and Nick Davaris
Edited and Online by Diego Carrasco
Color Grading by Sergio Bejárez

THE VIDEO IS AVAILABLE RIGHT NOW TO ALL AISLES' PATREON MEMBERS AS PART OF THEIR EXCLUSIVE CONTENT: https://www.patreon.com/posts/blue-skies-live-150956417

For more information:
https://www.patreon.com/c/aislesproject
https://www.instagram.com/aislesproject
https://aisles.bandcamp.com/
https://open.spotify.com/artist/1aHj1tpKsDAUDDOMZXcjQg
https://www.facebook.com/presagiorecords

AISLES ON BURNING SHED: https://burningshed.com/artists/aisles_artist

PRESAGIO RECORDS

Press inquiries: Keith James, Glass Onyon PR, PH: 828-350-8158 (USA), glassonyonpr@gmail.com

Progressive Ambient Rock Review: Craig Padilla & Marvin Allen-Unfolding Skies

 Release Date: February 20, 2026

Label: Spotted Peccary Music

Website

Spotted Peccary Music artists Craig Padilla and Marvin Allen reunite for their fourth release, Unfolding Skies, employing a live approach to enhance spontaneity and color.

They are an international, award-winning electronic ambient rock duo from Northern California.

As you absorb the cover art, it transports you to the exact place these musicians want you to be—floating away with their ambient tones, vivid colors, and prolific guitar passages. These two men are a musical juggernaut, fully intent on grabbing and holding your attention. There are seven tracks, and not one is under five minutes.

“Framework” begins softly and gradually builds to a crescendo. Many layers of synths come together, with the guitar’s force and power shining through beautifully. You move from soft ambient textures to a full-on, Kraftwerk-like rocker with piercing, dramatic guitar lines. What an incredibly vast instrumental piece! It’s cinematic, spacious, and all-encompassing. The combination of synths and guitar playing is amazing!

In “Undercurrents of Change,” a multitude of synths merge quickly as the next journey begins. The momentum continues as the synth takes the spotlight. There is an underlying current, as the title suggests, like a river of sound, while the guitar notes gently complement the other elements. Tasteful playing is evident, yet it never loses its power and impact.

“Sun Portal” takes on a more mellow approach as the synths weave a tapestry of tones and colors; the guitar embellishes gently, then shifts to a more prominent inflection. The synths strengthen to match the guitar’s intensity. The drums and bass also stand out, mixing nicely into the layered build. This music is about layering upon layer, quickly forming powerful, effective soundscapes. Toward the end, you hear the synth emit a few piercing, laser-like sounds as it begins to quiet down and slowly fade out.

Who wouldn’t want to be “Jammin’ with Buddha”? You can only imagine what that might be like. Here, it’s time to let the music pull you away on its own magic carpet ride into existence beyond the present. The synths build as the guitar places its notes strategically within this bubble of musical brilliance. The blend here is significant due to the tempo and the guitar’s restrained playing. This is a beautifully done piece with a relaxing ambiance. I think the Buddha would have loved it!

“Cosmic Blueprint” maintains the softer ambiance of the previous track. The keyboard sounds are reminiscent of some of my favorite Tangerine Dream music. The track carries a dual effect—calmness, with just enough color to add excitement. It’s a definitive blend that these two gentlemen have mastered on this recording, and this track exemplifies that approach and sound.

The level of intensity rises about three-quarters of the way through. The sounds carry you away with purpose, as the guitar ascends to another level, working toward the finish line while the synths respond with more volume and power.

“Architects of Time” starts in an entirely different way than the previous tracks. The sounds gently draw you in, making you feel as if they could change at any moment. As the title suggests, the music acts as a clock ticking off the minutes, then the guitar arrives for the anticipated change as the synths shift in sound and tempo, adding yet another layer to the mix. The production and instrument separation throughout are simply outstanding. The tempo and volume rise across the board, creating drama and a soundtrack for a fast-developing scene in your mind. The guitar wails as the synths bubble over with exuberance. I got chills from this one—wow.

“Unfolding Skies” is their magnum opus, wrapping up this amazing musical journey and filling 13:20 of your time on this earth, ensuring you remember this recording and the two men who created it. It begins with the keys leading you down a path and a gradual build of sounds. This is exactly what you are expecting, and that’s what makes it so exciting and anticipatory.

The title track is crucial, and I appreciate when a recording either opens with it or uses it to close the album. Momentum builds near the halfway point as the synths amplify and the guitar’s sharp licks cut through with emphasis. The music keeps growing and gathering intensity. What a great way to end this magical mystery tour of engaging sounds.

Craig Padilla and Marvin Allen have created a masterpiece of ambient progressive rock you won’t soon forget. I can only imagine what this would sound like in Dolby Atmos or on vinyl!

Keith “MuzikMan” Hannaleck-MuzikMan.net Founder

February 23, 2026

Tracks:

1. Framework 12:03

2. Undercurrents of Change 5:29

3. Sun Portal 5:59

4. Jammin’ with Buddha 5:15

5. Cosmic Blueprint 8:39

6. Architects of Time 5:38

7. Unfolding Skies 13:20

CROSSBONE SKULLY HEADED UP BY TOMMY HENRIKSEN (ALICE COOPER, HOLLYWOOD VAMPIRES) RETURN WITH THE POWERFUL NEW ANTHEM “WE’RE L.O.S.T.“ THROUGH DEKO ENTERTAINMENT.

Stockton, NJ - Crossbone Skully are back with the final blow to their Evil World Machine era, releasing their eagerly awaited new single "We're L.O.S.T" today (February 27). It's a raw reflection of Hollywood, otherwise known as the City of Angels, where dreams are broken by the abuse of power.

With a message that mirrors the grit and madness of the world today, frontman Tommy Henriksen describes the anthem as "surviving a ruthless city by becoming tougher and finding your fire to stand unbroken in the face of evil doers". Guitarist Anna Cara continues, “As soon as Tommy showed me this song, I had to listen on repeat! An incredible song with so much meaning in today’s world.” The video follows Tommy as he prowls through the City of Angels picking up misfits, saints and survivors along the way in search of the Gonzo, with the help of his guide, Sem, and seeing the signs sent by the Bringer of Light and The Sorcerer to overcome the entity Nomastae.

Listen here: https://push.fm/ps/tpkzpj92

Crossbone Skully are a hard rock band led by Tommy Henriksen (Alice Cooper, Hollywood Vampires) and features talented up-and-coming guitarist Anna "Blackthorn" Cara, whose distinctive style adds to their powerful sound. Alongside wicked guitar player Sam "Barn" Koltun, Hollywood Vampires bassist extraordinaire Chris Wyse and rock-solid drummer Tuesdai.

Their critically acclaimed debut album Evil World Machine makes a bold statement, featuring hit singles “High On You”, “The Boom Went The Boom” and “Everyone's on Dope”, “I’m Unbreakable”. But now it's time for the Evil World Machine to be destroyed.

Stream "We're L.O.S.T" now across digital platforms and join the Misfits of the Universe for the global music video premiere on Crossbone Skully's YouTube channel at 12pm ET (9am PT} on Friday, February 27.

Watch here: https://www.youtube.com/watch?v=e9kGdGcb2yI

For more information, visit
www.crossboneskully.com
www.dekoentertainment.com
Deko Entertainment–Art Has Value

Press inquiries: Keith James, Glass Onyon PR, PH: 828-350-8158 (USA), glassonyonpr@gmail.com

Contemporary Ambient Progressive Instrumental Review and Interview: Chris Russell-Lumen

Release Date: January 23, 2026

Label: Spotted Peccary

Website

Inspired by natural light and spiritual illumination, Chris Russell’s fourth proper release, Lumen, will engage listeners and offer an atmospheric, moving experience. This is a progressive ambient, contemporary instrumental blend that creates its own sound.

The tracks are full-bodied compositions with many elements that blend into moments of intensity, light, color, and vision, conveyed through keyboards, synths, and other synthesized sounds.

“Particles of Light” begins the recording with a lengthy stretch of ambient layers and colors. The first three minutes plus feature a heavier synth sound, then it transitions into a more spacey sequence, taking a softer turn, before building back up to the heavier sounds on top of that. The many transitions fill the space evenly, and the nearly eight and a half minutes have you in an anticipatory state, wondering what could come next. Many of the genre’s classic artists may come to mind for some listeners. I often reference Tangerine Dream when comparing these types of compositions.

“Autumn Skyline” takes a more mellow approach, painting a serene, colorful picture of the season. A whooshing air sound is heard along with a slow tempo on the keys, and you can imagine the leaves flying off the trees and whirling in the air as you gaze at the skies above. My immediate thought is of my favorite season in the Northeast, and what a relief from the heat that time of year brings, with crisp, cool air brushing against you. You appreciate the pause to reflect on the beauty of your vision.

“Candle Power” lights the way to the door to another dimension with a merging of several sounds and effects. Some of the sounds resonate and echo as the steady undercurrent flows like a river, carrying you downstream, following the light. The light casts no shadows; it’s a clear path set by the audio frequencies and the artist’s beautiful touch on the keys. This is a purposeful and contemplative piece. There is a short flourish of what sounds like vinyl record static towards the end, fading into the next track seamlessly.

”Vortexon” would be indicative of a more aggressive science fiction theme, and it does begin that way. As the synth layers enter the mix, it juxtaposes the higher-level sounds. It feels like a give-and-take process: valleys of lower frequencies rise to meet higher frequencies, then they all blend. I thought of ambient space music caught in a vortex, exploding like a supernova; then the process repeats.

“Luminescence” has you looking at the crack of light on the cover art. It looks like a fissure just beginning to break through; however, behind it is life, the flora and fauna are there, so do you go into that scenario or leave it with the light? The sounds gather momentum as you imagine the music as your invitation to jump in, letting it take the lead to get you to your destination. Once again, the higher tones are over the top of lower bass tones, and at times a piercing finite tone comes through, emphasizing the power and brightness of the light.

“Spectral Vision” is a logical extension of the previous tracks’ concept: from light to seeing it break through and move into another dimension or plane of existence.  Music carries the vision you are experiencing. The layering of the synths is like an orchestra of moving parts pushing the particles of light and molecules further to create another life force. What you see is yours alone. It feels like traveling through space and time, far removed from the physical planet we all know and move through every day. As the end approaches, the whooshing of air emerges as the piano replaces the whirling-dervish synths, leading into a mellow transition to yet another mood and atmosphere.

“Light Without Heat” is an interesting title. Just thinking about what that means, it gets those brainwaves working a bit more, in different ways than in the previous tracks. There can be light without heat, but it’s still light, not dark, so within that lies optimism and hope. As with many of these tracks, there are parts that can be meditative or relaxing, and others that are more reflective and thought-provoking because of the ever-changing textures and frequencies that synths and computer-generated sounds can create. There can be light without heat or heat without light, which are opposite forces in the spectrum sounds at the artist’s disposal.

“Whisper Moon” is the grand finale, clocking in at a vast 10:31. It is like the final flourish of sound and colors, giving you a sendoff. Spacey textures are layered and synced, and as you listen, you realize all the activity that is unfolding. Each part of the composition blooms with the moon’s light as it whispers in the night air, inviting you to join. The sounds soothe and call to you, inviting moments of solace and introspection as it changes in tempo and intensity.

With Lumen, Chris Russell has reemerged as a force in ambient instrumental music, crafting soundscapes that transcend mere listening to become transformative experiences. His compositions serve as gentle yet profound reminders that light persists even in our darkest moments, and that within the vast corridors of imagination lie infinite potentials, inviting us not simply to hear, but to journey, to expand, and to discover worlds waiting just beyond the threshold of sound.

Keith “MuzikMan” Hannaleck-New Age Music Reviews Founder

February 5, 2026

Tracks:

1. Particles of Light 8:29

2. Autumn Skyline 3:32

3. Candle Power 7:05

4. Vortexon 5:57

5. Luminescence 5:53

6. Spectral Vision 7:29

7. Light Without Heat 7:39

8. Whisper Moon 10:31

Contemporary Ambient-Jazz-New Age Instrumental Review and Interview: NTHNL (Jacob Rudin)-What Kind of World Is This (COSMIS FLUTE MUSIC)

 Release Date: February 4, 2026

Label: Youngbloods

Website

NTHNL (Jacob Rudin) has created a fantastic musical omnibus of sound, color, and thoughts on What Kind of World Is This. He jumps around the musical map, covering new age, ambient, progressive, and jazz, among others. Get ready for a musical coloring book, and you hold the crayons; the artist provides the book.

“Awakenings pt 1” is an ambient piece running nearly five minutes, and it’s a beautiful way to start off this musical journey. Layers of synths and flourishes of gorgeous flute playing permeate the ambient atmospheres created.

“Awakenings pt 2” continues this spiritual awakening through sounds. The tempo is decidedly more upbeat, with percussion driving the synths as they flutter in rhythmic bursts. As the energy shifts, it brings light into your consciousness; however, this time it’s a bit over two minutes.

“Tiresias Rock” has a funky intro, then the flute comes in in a ’70s jazz style. Then a saxophone enters the mix, giving it a more defined jazz texture as the synth continues in the background, adding more essential elements. When the flute and sax meld, it gets even better, sounding like a cool modern-day jazz ensemble. This track is a full step ahead of the previous tracks. It reminded me of some of the great jazz fusion I discovered back in the ’80s.

“(re)possession” starts off spacey, gradually adding a beat and transitions, moving the sound toward a more fluid direction as the instrumentation builds. Behind an upfront beat and heavy synth, the flute is there, making its mark but subtly.

“Descent” sounds exactly as it should. Picture some sort of aircraft landing gradually on the surface of an unknown planet in an older sci-fi movie.

“Realization” sounds like a logical follow-up to the previous track, with its tempo and synth use. Now that you have landed, all the realizations have hit home.

“Hate Creator” has the most aggressive title so far, and you would expect the music to reflect that. It eventually gathers some momentum, sounding like a prog rocker with the heavy keyboards. The steady backbeat adds a sense of balance, but the point is made.

“Torture Temptation” is the magnum opus, clocking in at 6:36. The more aggressive concept flows with the implications of the title. There is a lot of time to work on transitions, and it works. The flute tempers the instrumentation and massages the tempos with mellow bursts of energy, while the keys add their ambiance, and the steady backbeat sounds almost tribal as the energy continually shifts. This is a very complex track with a lot going on simultaneously, but it works well.

“Coverting the infidels” is an interesting title. When I first looked at it, I thought it was “Converting,” an optical illusion, and if you are dyslexic, well, enough said. So, right off the bat, I have many thoughts. Then the music begins with an air of mystery, and as the composition builds, it sounds like a soundtrack to a Middle Eastern espionage movie. What a great song with some very cool atmospheres and effects. One of my favorites.

“Destruction of the institutes” makes me think this is turning into a dystopian novel. Or is the artist suggesting that this is what is currently going on? There is a logical progression of the track titles, and it’s coming together and starting to make sense, which happens further back in the tracks. The tempo picks up, with another great backbeat, as the synths, with their various sounds, emerge and propel the music like a musical train of thought.

“face up, twilight (feat Nakama)” brings things full circle back to the mellow, spiritual sounds of the flute, with jazz overtones floating through the air. Your senses are taking an immediate off-ramp to the tranquil place. And for the first time, you get vocals, and it’s a rap. This is a total paradigm shift in song structure with the addition of the lyrics, but the music holds true. Then, for yet another change, the vocals change in timbre to be less rap-like. Wow, what a masterful display of virtuosity.

“A Tyrant’s Mercy” features a narrative in which a futuristic deep-enhanced voice tells a person they have been cured of the demons that possessed them. Which you might think is the end of the story, but…

“Return to Earth” makes sense as you have the bowels of some hell and are sent on your way, cured of the demons, as you set foot back onto earth once again. The music has an upbeat, positive feeling with a very different sound. The flute is there; however, the rhythms are ever changing, and the cool breeze of that instrument adds a nice ambiance, as do the synths. A bluesy harmonica runs throughout, making this one of the most distinctive tracks yet, while the birds chirping at the end give a sense of balance and peace.

The title track, “What kind of world is this,” finishes out the novel set to music. The funky backbeat is the driving force as the flute, synths, and strings come together for a lovely ending. You feel relaxed and renewed now after taking one of the most diverse and interesting musical trips you have had in some time.

What Kind of World Is This gives many moments to pause and reflect on how to answer that question. This is a world created by music, and the track titles give you a good lead into what each may be about. Your job as the listener is to put it all together, like a puzzle. Like any music, you are the interpreter. What you hear and how it translates is your choice; however, I certainly can see a message in this music: an artist letting you know that he sees many things wrong in this world, and it gives a proper frame of reference as you move through the story.

NTHNL (Jacob Rudin) has crafted an audaciously eclectic, predominantly instrumental album that weaves together new age serenity, ambient atmospheres, jazz sophistication, and progressive complexity. This sonic tapestry captivates listeners from first note to last, inviting contemplation while refusing to settle into predictable patterns.

Keith “MuzikMan” Hannaleck-New Age Music Reviews Founder

February 2, 2026

Tracks:

01. Awakenings pt 1  4:46

02. Awakenings pt 2  2:22

03. Tiresias Rock 3:48

04. (re)possession 3:01

05. Descent 1:27

06. Realization 1:55

07. Hate Creator 3:20

08. Torture Temptation 6:36

09. Coverting the infidels 4:11

10. Destruction of the institutes 4:00

11. face up, twilight (feat Nakama)

12. A Tyrant's Mercy 2:11

13. Return to Earth 4:57

14. What kind of world is this 2:47