Michael Esposito

Real Name:
Michael Andrew Esposito
Michael Esposito was born 1964 in Gary, Indiana. He is an industrial musician, experimental artist and researcher in Electronic Voice Phenomena (EVP). An ancestor of Alfred Vail, who invented the Morse Code and several early telegraph devices with his partner Samuel Morse. Another ancestor, Jonathan Harned Vail was office manager and assistant to Thomas Edison in his later years when Edison was attempting to develop a device to communicate with the dead. Michael studied communication theory at Purdue University, University of Notre Dame, American University in Cairo, Egypt and Governor's State University.

Over the years, under the Phantom Airwaves institution, Michael has participated in hundreds of paranormal investigations all over the world. He has conducted extensive research at many active locations and has developed a great deal of unique theory and devised many unique experiments within the field of EVP. Focusing primarily on EVP research, he has collected tens of thousands EVPs and video. He is featured in the films:

Dead Whisper (DVDr) (2006),

Paranormal Labs: Ghosts - Dead Whisper (DVDr) (reissue) (2008),

Ghost Asylum (DVDr) (2009),

The Sallie House - Gateway to the Paranormal (DVDr) (2009),

Dead Whisper: In Search of Ghosts and the Supernatural (DVD) (UFOTV Special Edition) (2009),

Paranormal Labs Presents: Ghost Asylum (DVDr) (reissue) (2009),

The Sallie House - Gateway to the Paranormal (DVD) (reissue) (UFOTV Special Edition) (2010)

2011 Ash 8.3 #3 presented to Michael Esposito by Ash International.

Michael has appeared in numerous television, radio and newspaper features.
Working extensively with EVP's relationship to experimental music, Michael combines EVP with field recording and related frequency tones of research sites to provide an audio-archeological picture of both sides of the veil.
Michael is currently published by Touch Music[MCPS] UK.

Esposito is label boss for Lost Patrol Records (with Jan Warnke),
Spectral Electric (USB memory Stick label).
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none Michael Esposito - Fried Fish album art Michael Esposito & Michael Westergreen Michael Esposito & Michael Westergreen - Fried Fish(Cass, S/Sided, Album, Lim) Not On Label none US 1981 Sell This Version
none Michael Esposito - Bathtub Sleeper album art Michael Esposito Bathtub Sleeper(Cass, S/Sided, Album, Lim) Not On Label none US 1982 Sell This Version
none Michael Esposito - Sex album art Michael Esposito Sex(Cass, Album, Ltd) Not On Label none US 1982 Sell This Version
none Michael Esposito - Untitiled Work Volume 2 album art Michael Esposito Untitiled Work Volume 2(Cass, Album, Ltd) Not On Label none US 1982 Sell This Version
none Michael Esposito & Jef Sarver Michael Esposito & Jef Sarver - Coffee House(Cass, Album, Ltd) Not On Label none US 1982 Sell This Version
HVCD006 Michael Esposito - Phonographic Hiss: Reproduced Mechanical Sibilance album art Michael Esposito Phonographic Hiss: Reproduced Mechanical Sibilance(CDr, Ltd) Haunted Voices HVCD006 US 2005 Sell This Version
HVCD003 Michael Esposito - White Noise: All Audible Frequencies Of Vibration album art Michael Esposito & Todd Bates Michael Esposito & Todd Bates - White Noise: All Audible Frequencies Of Vibration(CDr, Ltd) Haunted Voices HVCD003 US 2005 Sell This Version
HVCD005 Michael Esposito - Chrome Noise: White Noise With Metallic Filters album art Michael Esposito Chrome Noise: White Noise With Metallic Filters(CDr, Ltd) Haunted Voices HVCD005 US 2005 Sell This Version
HVCD004 Michael Esposito - Pink Noise: Random White Noise With Equal Energy Per Octave album art Michael Esposito & Todd Bates Michael Esposito & Todd Bates - Pink Noise: Random White Noise With Equal Energy Per Octave(CDr, Ltd) Haunted Voices HVCD004 US 2005 Sell This Version
HVCD013 Michael Esposito - Antique Radio: Vintage Audio Frequency album art Michael Esposito & Christine Jenkins Michael Esposito & Christine Jenkins - Antique Radio: Vintage Audio Frequency(CDr, Ltd) Haunted Voices HVCD013 US 2006 Sell This Version
HVCD014 Michael Esposito - Grey Noise: Noise Subjected To Psychoacoustic Loudness Curve album art Michael Esposito & Reggie Roark Michael Esposito & Reggie Roark - Grey Noise: Noise Subjected To Psychoacoustic Loudness Curve(CDr, Ltd) Haunted Voices HVCD014 US 2006 Sell This Version
HVCD010 Michael Esposito - Intemptesta Nox: Mechanical Equalization Induced By Resistance To Air album art Michael Esposito & Jennifer Smith (2) Michael Esposito & Jennifer Smith (2) - Intemptesta Nox: Mechanical Equalization Induced By Resistance To Air(CDr, Ltd) Haunted Voices HVCD010 US 2006 Sell This Version
HVCD009 Michael Esposito - Rolling Noise: White And Pink Noise Combined - No Energy Filters album art Michael Esposito & Jeremy Pippen Michael Esposito & Jeremy Pippen - Rolling Noise: White And Pink Noise Combined - No Energy Filters(CDr, Ltd) Haunted Voices HVCD009 US 2006 Sell This Version
HVCD012 Michael Esposito - Black Light: Radiated Dissonance album art Michael Esposito & Summer Allen Michael Esposito & Summer Allen - Black Light: Radiated Dissonance(CDr, Ltd) Haunted Voices HVCD012 US 2006 Sell This Version
HVCD008 Michael Esposito & Todd Bates Michael Esposito & Todd Bates - Haunted Voices EVP Training And Evidence CD(CDr, Album, Lim) Haunted Voices HVCD008 US 2006 Sell This Version
PAWCD005 Michael Esposito - Radio Mortis:  Infused Frequencies - Abrupt Termination album art Phantom Air Waves & Michael Esposito Phantom Air Waves & Michael Esposito - Radio Mortis: Infused Frequencies - Abrupt Termination(CDr, Ltd) Phantom Airwaves PAWCD005 US 2006 Sell This Version
HVCD011 Michael Esposito - Cat Scratching: Felis Domesticus album art Michael Esposito & Debbie Mercier Michael Esposito & Debbie Mercier - Cat Scratching: Felis Domesticus(CDr, Ltd) Haunted Voices HVCD011 US 2006 Sell This Version
FER1066 Michael Esposito - The Summerhouse (Stockholm) album art Leif Elggren, Michael Esposito, Emanuel Swedenborg Leif Elggren, Michael Esposito, Emanuel Swedenborg - The Summerhouse (Stockholm)(CD, Album) Firework Edition Records FER1066 Sweden 2007 Sell This Version
FER1074 Michael Esposito - Fire Station 6 album art Michael Esposito & Leif Elggren Michael Esposito & Leif Elggren - Fire Station 6 Firework Edition Records FER1074 Sweden 2008 Sell This Version
FER1069 Michael Esposito - The Sallie House album art Michael Esposito, FM Einheit* Michael Esposito, FM Einheit* - The Sallie House(CD, Album, Ltd) Firework Edition Records FER1069 Sweden 2008 Sell This Version
BS199 Michael Esposito - The John Mouat Lumbermill Tests album art Phantom Airwaves ~ Michael Esposito Phantom Airwaves ~ Michael Esposito - The John Mouat Lumbermill Tests(File, MP3, 320) Belsona Strategic BS199 US 2009
FER1080 Michael Esposito - The Old Vicarage album art Michael Esposito & CM Von Hausswolff* Michael Esposito & CM Von Hausswolff* - The Old Vicarage(CD, Album, Ltd) Firework Edition Records FER1080 Sweden 2009 Sell This Version
FER1077 Michael Esposito - Enemy album art Brent Gutzeit, Michael Esposito Brent Gutzeit, Michael Esposito - Enemy(CD, Album, Ltd) Firework Edition Records FER1077 Sweden 2009 Sell This Version
FER1084 Michael Esposito - Messerschmitt album art Phantom Airwaves - Michael Esposito & David John Oates Phantom Airwaves - Michael Esposito & David John Oates - Messerschmitt(CD, Album, Ltd) Firework Edition Records FER1084 Sweden 2010 Sell This Version
SHMF - 019+45 Michael Esposito - Der Geist Meiner Mutter album art Phantom Aiwaves* ~ Michael Esposito & Kommissar Hjuler Und Frau Phantom Aiwaves* ~ Michael Esposito & Kommissar Hjuler Und Frau - Der Geist Meiner Mutter(CDr, Album, Ltd, Num) Der Schöne Hjuler-Memorial-Fond SHMF - 019+45 Germany 2010 Sell This Version

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May 13, 2013

English Translation of above linked article:
It records only as the Phantom Airwaves Project or exchange with Michael Muennich, Leif Elggren Jana Winderen, Kevin Drumm ... Michael Esposito asked instead to the voice missing in the field of experimental music - that it is concrete, abstract, ambient, noise ... What?

... My very first memories of music back to my childhood ... This is the first sound of screaming semi-trailers on Interstate 20 at the end of my street. Lying on my bed, I listened to happen anywhere, from the darkness to the east. I imagined their drivers, alone in their cabin, his face illuminated by red lights dashboard. I have often dreamed to chase, at night ... Another memory is the thud that made the furnace was happening across the floor. It was a very slow and long sound. I imagined that each of his shots marked not my grandfather died, en route from Portage to our Effingham farm. I'm not really afraid of him, but I felt that something bad happen when he finally happen there. To reassure myself, I imagined that every time we go through this farm, he had to start from scratch. In terms of songs, I expected the age of seven to put me: my favorite was Uncle Albert / Admiral Halset Paul and Linda McCartney. I loved its irregular composition and its changes. I heard for the first time in a candy store in Chicago, played by a jukebox. My father then bought me forty five laps in the record store next door. Once back home, I gently deposited on the plate. It was my first record.

You can hear a storm of this song ... Maybe the first in a long series of field recordings? Yes, indeed! When I was young - that said, it happens again - I left my bedroom window open enough to hear the wind whistling. At the time, I used to watch Mutual of Omaha's Wild Kingdom and I closed my eyes to concentrate on the sounds. I have a rather extensive collection of field recordings and I still collect them, in fact, mostly historical records. You can still find nice things, like YouTube for example the bugle sounded the charge of the Light Brigade, kept on phonograph cylinders. Today, I listen to some Chris Watson and Jana Winderen. I also recorded once with Jana in the depths of a frozen lake in search of lake monsters.

When did you start making music, and in what context? I learned to play bass, guitar and mandolin. My grandmother bought me for Christmas three discs: Apostrophe Frank Zappa, Relay of Yes and Jethro Tull Aqualung. My hope then was to become Chris Squire! (Laughs) Yes masterpieces were experimental astonishment. On the way home studio Squire, Jon Andreson and Patrick Moraz stopped to glean from the scrap pieces of metal on which they would beat while recording Relay. My first favorite band was Pink Floyd ... I had a few pieces of tape. I remember Ummagumma and Atom Heart Mother, my favorite records, and records Syd Barrett course. I had the reissue of The Apples and Oranges my high school entrance. This is where I started to experimental art, in the furrow dug by Duchamp. Musically, I liked John Lennon and Yoko Ono, Pink Floyd, Yes, Kraftwerk, Focus, what kind of weird stuff. With my brother, we even camped for Animals Pink Floyd cassette on the same day of its release. On the occasion of my first solo exhibition, still in high school, some friends and I recorded tapes in this genre. And after high school, I turned to industrial music and disks label Wax Trax! Among the first concerts I attended, there was Einstürzende Neubauten and Ministry. I was quite fortunate to work with some of my childhood idols ...

Including FM Einheit and Chris Connelly ... Yes ... I spent my late teens to listen to Chris and Mufti, and others with whom I recorded since.

You still play the guitar? Yes. On The Icy Echoer, everyone thinks it's Kevin Drumm who plays the guitar, it seems obvious ... but in fact, it's me! (Laughs)

Which discs have influenced your work? I still listen to Relayer Yes. Then there Olias of Sunhillow Jon Anderson, an album really undervalued. There is also the Neubaten Halber Mench and Autobahn Kraftwerk discs Revolting Cocks and Clock DVA are also fantastic ... And the Second Annual Report of Throbbing Gristle, I bought the same year as Zoot Allures Zappa. I must also mention the musicians and explorers with whom I worked as Leif Elggren Michael Muennich, John Duncan, GX-Jupitter Larsen ... I really regret that Farmers Manual stopped playing. They were fantastic!

What were the beginnings of Phantom Airwaves Project? Phantom Airwaves was actually a kind of cover for my work TEUs. I always imagined a kind of institutional organization, hidden in a bunker in wartime, would collect documents for posterity (laughs). Protected by this cover, my wonderful army of explorers could get to work ... To be honest, I worked in the military section of civil affairs and psychological operations. Well, I was not a madman, but I liked the structure of the organization and how free thought could influence a bit of a rigid organization. It was an interesting contradiction. People do not realize the beauty of the thing ... I think it's a bit like thinking that governs industrial music!

How did your interest then the EVP? Should we necessarily believe in ghosts to give birth this kind of interest? Here it is: I built computers from scratch - you know, this kind of modified devices ... I was made to build a studio thirty-two tracks with a midi tower connected to a cassette deck and I was working on the possibility of expand frequencies when I discovered the EVP and the work of Konstantin Raudive. Following him, I tried to capture some voice and since I have never won. With regard to believe, no, it is not necessary: ​​the ghosts talk to everyone! But it is true that being skeptical can affect the opinion that you can talk about their ...

You studied communication. Your practice of EVP has also to do with this area? Absolutely. The EVP is communication. In fact, it is more of necromancy. Communication methods are very useful for the identification TEUs. I studied speech and voice identification forensics, and, at one time or another, these specialties have been helpful to me both.

How the ghosts that seek to give voice could they consider your business, that is to say, these attempts to transform communication in music? I like to think that my work gives voice to just ghosts or disembodied energy. I consider my work not only as documents but as a bridge to help the understanding between living and dead, and vice versa.

Sometimes, listening to musicians like Keiji Haino, Merzbow, to take just two examples, one can have the impression of hearing "voices" of ghosts, as part of the musical about - even if the idea that each is a "ghostly voice" is different, if it was not for much shaped by the cinema. Do you believe in the power of these traces of artificial ghosts? As a tool, yes of course! One of the main things that connects music and experimental research in EVP are ranges of frequencies with which we work. I have several times used the experimental music in order to infuse a room in which I was going to record. I use to make this a very special disc, created by Achim Monche. Experimental music is sister EVP Research.

What kind of object is this hard Monche Achim? It is vinyl, which grooves are "empty". I have, I believe, one of the three copies that exist in the world. This record will change depending on the location in which it is played, as dust and particulate matter there is and it integrates into its groove ...

The musicians with whom you have recently registered (Meirino Francisco, Kommissar Hjuler John Duncan Z'ev ...) they have the same interest as you in this kind of research? How did you meet? I met some of them during concerts or festivals. Others have contacted me directly, when it is not I who contacted. The light bulb went on when I was doing my initial research and I could not get hold of a copy of The Ghost Orchid, then I called Mike Harding. I eventually became the producer of the third edition of this anthology in order to finally get their hands on one of his prints! (Laughs) From there, he introduced me Leif Leif Elggren and introduced me to Micky von Hausswolff, and my work could then begin. It was like coming home after years of absence.


Register in a similar vein, whether you are alone or with disk? Yes, I think so. The voices are there. They have always been there. Some people have found (the oldest of them being Bogoras Waldemar, 1902), others are skeptical or just not aware of it. This is both interesting and wonderful is to consider the interpretation that others have of these voices, both literally and musically or as a sound object. As to the interpretation that I make myself, I could not say much, it would quickly redundant. In terms of my collaborations, it is not that validate my work, but I feel that I grew up with each of them. They not only expand my field of research, but all act as catalysts for change my own and help me grow as a researcher and artist. I firmly believe that true art is also a science and true science is also an art. I would not be half of what I am today if I had not worked with all these wonderful people who have agreed to explore with me.

Do you do a difference between saving the "atmosphere" and use these recordings during these collaborations? Registration atmospheres is an exciting activity in itself. There, I'm looking for interesting sounds and sound anomalies that we would not normally hear or even just handing out the ear. I often keep such documents in order to use them as I do with EVP. What we should not hear is always great.

How the places you signup you choose? Some even promising to reveal they disappointing? Sometimes I have a personal connection to these places, other times I discovered randomly and other times I seek when I do work on a specific theme. I always set these places in my documents: a scientific point of view, I think it is important not to make any mystery about the place where one comes TEUs. Everything must be considered as a document, and take the road as well as a document that as a musical composition. I consider myself lucky enough to have only very rarely recorded any place without capturing EVP. Disturbing, is not it?

Michael Esposito, interviewed in April and May 2013.
William Belhomme © The sound of Grisli



February 12, 2013
A million years ago, I heard CM von Hausswolff for the first time via Phauss. That in turn lead to discovering the work of Leif Elggren. Well, if you collect recordings by those two, you're bound to run into name Michael Esposito, and if you've come to his work recently, there's a fairly large back-catalog to explore, albeit many of the limited edition titles are no longer available and that's a shame because what he does is a major contribution to sound art.

Michael Esposito's work can be taken on more than one level. On the one hand, there's a documentarian feel to his EVPs... more than just sounds created from various synthesizers or other equipment or sources, much of his material are recordings from a place I do not pretend to understand and cannot explain. As I am coming to learn, EVPs represent a very complex area of study... voices "from the other side" which seem to thrive in a white noise environment.

But what to do with these EVPs? They can be presented just as they are, as was the case with Ghost Orchid. While it is an excellent CD, it is also dry and will not find itself on anybody's playlist on a regular basis (unless you are strictly researching the different qualities and nature of EVPs). This is where the magick of Michael Esposito comes in. He strategically inserts the EVPs, be it into his own noise or via collaborations with other sound artists. These are sometimes up front and obvious, while at other times, they are more subtle, buried in the mix and requiring careful listens to hear all that is there. As a result, recordings with his name on them represent more than just EVP documentaries... he makes EVPs aesthetic... a musical experience. This is a rare combination that as far as I know has never been done before. As a result, his CDs will find a place on the regular playlist because there is so much to hear. In fact, each listen reveals more details and keeps you coming back for more.

I have recently acquired some of his earlier works, the limited editions of 30, which strictly present various forms of white noise. These are remarkable "sound conditioners" which recreate whatever room they are played in accordance to their own matrices, and while radically different from his more recent collaborative works, represent the diverse talents Michael Esposito possesses. Put one on, push the automatic repeat button, and let it be the "soundtrack" for the day. The only problem with that is turning it off at day's end. There's a sense of loss.

Overall, Michael Esposito is one of the most important, yet unrecognized sound artists (Yo! Amazon! Not even so much as one title?!).

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