Instant Karma ! (John Lennon Instrumental Cover)

“Atlantic to Adriatic” is an album built on connection — across distance, time, and sound. A collaboration spanning oceans, the record transforms each track into a shared space where field recordings, classical instrumentation, and synthesizers intertwine to evoke memory, place, and movement. Every piece emerges from the intersection of our two worlds — Venice and Boston — bridging geography and time to create something timeless.

▶️ Buy High-Quality Digital Album: https://edoardogastaldi-music.bandcamp.com/album/atlantic-to-adriatic
▶️ Listen on other Platforms: https://sirilrecords.ffm.to/atlantictoadriatic

🔗 Connect with Jay Brewer: ‪www.sirilrecords.com/jay-brewer
🔗 Connect with Edoardo Gastaldi: ‪www.sirilrecords.com/edoardo-gastaldi

Credits below.

Artists: Edoardo Gastaldi, Jay Brewer
Genres: Ambient, Drone, Soundtrack, Space Ambient, Guitar and Piano Instrumental
Original Picture: Edoardo Gastaldi
Cover Art: Edoardo Gastaldi, Davide Fasiello
Mastering: Jay Brewer
Record Label: Siril Records
Release Date: 14/03/2025

© 2025 Siril Records
℗ 2025 Siril Records

Atlantic to Adriatic

Restless City (Prologue)

The Renaissance

"Hey Joe" [02.24.25]
J Dulva and Counting Coup
(c) 2025 Cenote Music

Hey Joe [02.24.25]

PHOENIX KEVBEAT.mp3

Dethrone

Disappearing Storm

Oh, it’s based on a true story. Back in ’87, I got lost in Idaho and stumbled upon a hidden civilization that worshiped a giant pile of potatoes. They called me the “Chosen One” because I could juggle three spuds at once. Long story short, I barely made it out, but I promised to spread their message. This song is my way of honoring that sacred vow.

spud=wimp=despicable

all of it

The Bottom Witholds Nary a Thing

ELECTRO LIGHT

I make music because it is where I let go of the have-to’s, and become part of something larger than myself. The language I speak on the keyboard when I improvise expresses a part of me that only comes out there at the moment of creation - when I’m fully connected and in the flow. In those moments when I disappear in the music, those are where I’m most fully alive. The musical question I pose to myself when I play is largely this: how can I release my inhibitions and let go of patterns sufficient to bring something entirely new, unexpected, and enlightening into the world, with structure, precision, clarity, and depth of expression. These pieces are meditations that are of me, but more precisely, they come through me. When I’m in the flow, I’m channeling the energy and only moderately directing it. The challenge is to be open to take risks while maintaining a structure, melody, and tempo that makes it interesting and satisfying enough to keep listening. I keep doing this nightly because it’s a language, because it’s a connection to something greater than myself, and because it’s very very relaxing.

all of it

Chris Bright

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