1. Triassic Persuasion

2. Daedalean Escapades

3. The Sirius Passet

4. The Stethacanthus / Skin Walkers

5. Tabernacles Abandoned

6. Sigillaria Spacecrofts

7. Incantations of the Aethyr Macgovanias

8. Archways of Lepidodendron / The Yawning Zone

9. Orkneyan Skerries, 2078

guest starring:

F. Crocco: synthesizer on track 03

M. Bornditt: synthesizer on track 05

A. Palacios: Trumpet on track 07

Xylography by José Calman

Silkscreened by Grant Corum

Mastered by Timothy Stollenwerk

"Hydrorion Remnants is the articulation of a set of compositions and improvisations recorded between 2014 and 2016. With minuscule and ambiguous samples and melodic and ethereal keyboards, Embassador Dulgoon sets a humid progression of nine tracks that hatch in a chain to form a constellation of audioworlds.


It is all knitted in a timeless carpet of folklore, ambient, science fiction and delirium. Recomposing an accident of impulses as rhythmic as melodic, breathes an atmosphere as close as anachronistic, constructing something like a futurism of prehistoric reminiscence.

Dinosaurs and extinct trees, buildings and historical sites, the ruin of the tabernacle and the reconstruction of an ethereal ceremony, corridors and spacrafts, are translated into a sonorous plasma of concentric pulsations. A whirlpool that leads us towards a bottom populated with extinct species and gentle humming.


Percutaneous vertebrae and expansive bellows gently filter a recurrent and distant whistle. Towards the end it is evident the intrauterine bubbling that breeds a kind of consanguineous chimera, the call to resurrect a musical spawn called Hydrorion."

– J. Badía

Limited edition of 270 copies LP

 silkscreened covers hand~glued on black jackets

with polylined inner sleeve

co-produced with Psychic Sounds recordings


"With Hydrorion Remnants Carcavilla has created something that could be both the soundtrack to a stroll through the dinosaur park at Crystal Palace in South East London and a low-budget film about chupacabras; by mixing his animal noise below the level of percussion and instrumental tumult he renders it as mysterious (and unidentifiable) granular half-truth, like photographs of loch monsters or the footprints of wild men. And, crucially, Carcavilla presents his pieces without a pencil laid beside them for scale: this inability to spot exactly what it is that growls in the foliage is, like the field of cryptozoology itself, the source of its allure."

Spencer Tomson ~ The Wire Magazine