A LABEL & RESOURCE FOR THE AMBIENT LISTENER
LATEST RELEASES
'Anon 2'
by [Anonymous]
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Anon 2
by
[Anonymous]
Limited LP / Digital
03/05/2021
ANONYMOUS_//ARTISTS
ANON2_//TITLE
PAST_INSIDE_THE_PRESENT_//LABEL
PITP-V035_//CAT. NO.
MARCH_5_2021_//DATE
RAFAEL_ANTON_IRISARRI_//MASTER
GGR_CLEVELAND_US_//PRESSED
WMM_CLEVELAND_US_//LACQUER
300_//EDITION
PITP_US_//SOURCE
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Two artists that have previously released works on Past Inside the Present come together for this anonymous split album.
With this record we want listeners to go in blind, without ego or expectation, with the sole focus on what truly matters: the music. The artists and titles will remain anonymous until the vinyl sells out and then we will reveal all.
Tracks 1-3 written and produced by ____________
Tracks 4-8 written and produced by ____________
Mastered at Black Knoll Studio (NY) by Rafael Anton Irisarri
Design, layout and assemblage by zakè
--
© Past Inside the Present
This is PITP-V035 MMXXI
PITP.bandcamp.com
pastinsidethepresent.com
by
[Anonymous]
Limited LP / Digital
03/05/2021
ANONYMOUS_//ARTISTS
ANON2_//TITLE
PAST_INSIDE_THE_PRESENT_//LABEL
PITP-V035_//CAT. NO.
MARCH_5_2021_//DATE
RAFAEL_ANTON_IRISARRI_//MASTER
GGR_CLEVELAND_US_//PRESSED
WMM_CLEVELAND_US_//LACQUER
300_//EDITION
PITP_US_//SOURCE
--
Two artists that have previously released works on Past Inside the Present come together for this anonymous split album.
With this record we want listeners to go in blind, without ego or expectation, with the sole focus on what truly matters: the music. The artists and titles will remain anonymous until the vinyl sells out and then we will reveal all.
Tracks 1-3 written and produced by ____________
Tracks 4-8 written and produced by ____________
Mastered at Black Knoll Studio (NY) by Rafael Anton Irisarri
Design, layout and assemblage by zakè
--
© Past Inside the Present
This is PITP-V035 MMXXI
PITP.bandcamp.com
pastinsidethepresent.com
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'The Other Side of Darkness'
by 36 & awakened souls
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The Other Side Of Darkness
by
36 & awakened souls
2xLP / 2xCD / 3xDigital Album
02/15/2021
‘The Other Side of Darkness’ is a collaborative album from 36 and awakened souls. The project began with James (awakened souls) sending Dennis (36) a few bass loops he made and quickly evolved into a collaborative project with Cynthia (awakened souls) as well. TOSOD is a contemplation on how holding space for hard emotions is ultimately what leads us towards the light. Amongst a year filled with uncertainty and a landscape none of us have ever lived in, the lyrics and feelings captured in the songs act as mantras reminding us of our common humanity. All of the songs on the album were written in the Summer of 2020.
In addition to the main album, the artists also wrote their own accompanying versions of the entire The Other Side of Darkness album, essentially turning the main album into three unique interpretations. All tracks are collected into one extended long-play for the digital version.
The 'After Dark" versions by 36 revisions The Other Side of Darkness into a rain-drenched neo-noir, reflecting on the bleak backdrop of a difficult year. It is a highly emotional, deeply personal work, which was written to be played continuously from beginning to end.
The ‘Other’ versions by awakened souls uncover the numerous sides of Gemini husband/wife duo, James and Cynthia. Ranging from deep drone, dub and acid to compositional ambient and shoegaze, this album traverses many moods. James revives his late 90’s electronic moniker, Influx for two dance-floor focused versions while Cynthia debuts her solo project, 'marine eyes' for three lush and emotionally raw versions.
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“Owning our story can be hard but not nearly as difficult as spending our lives running from it. Embracing our vulnerabilities is risky but not nearly as dangerous as giving up on love and belonging and joy—the experiences that make us the most vulnerable. Only when we are brave enough to explore the darkness will we discover the infinite power of our light.” -Brene Brown
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36 & awakened souls are:
James Bernard - Bass Guitar, Rhodes
Cynthia Bernard - Vocals, Vocal Textures, Guitar
Dennis Huddleston - Synthesizers, Strings, Steinway Piano
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All songs mixed by James Bernard and Dennis Huddleston
Written and performed by 36 & awakened souls
Mastered by Rafael Anton Irisarri
Artwork by John Hobbs
Design by 36
--
© Past Inside the Present
This is PITP-V039 | MMXXI
PITP.bandcamp.com
www.pastinsidethepresent.com
by
36 & awakened souls
2xLP / 2xCD / 3xDigital Album
02/15/2021
‘The Other Side of Darkness’ is a collaborative album from 36 and awakened souls. The project began with James (awakened souls) sending Dennis (36) a few bass loops he made and quickly evolved into a collaborative project with Cynthia (awakened souls) as well. TOSOD is a contemplation on how holding space for hard emotions is ultimately what leads us towards the light. Amongst a year filled with uncertainty and a landscape none of us have ever lived in, the lyrics and feelings captured in the songs act as mantras reminding us of our common humanity. All of the songs on the album were written in the Summer of 2020.
In addition to the main album, the artists also wrote their own accompanying versions of the entire The Other Side of Darkness album, essentially turning the main album into three unique interpretations. All tracks are collected into one extended long-play for the digital version.
The 'After Dark" versions by 36 revisions The Other Side of Darkness into a rain-drenched neo-noir, reflecting on the bleak backdrop of a difficult year. It is a highly emotional, deeply personal work, which was written to be played continuously from beginning to end.
The ‘Other’ versions by awakened souls uncover the numerous sides of Gemini husband/wife duo, James and Cynthia. Ranging from deep drone, dub and acid to compositional ambient and shoegaze, this album traverses many moods. James revives his late 90’s electronic moniker, Influx for two dance-floor focused versions while Cynthia debuts her solo project, 'marine eyes' for three lush and emotionally raw versions.
--
“Owning our story can be hard but not nearly as difficult as spending our lives running from it. Embracing our vulnerabilities is risky but not nearly as dangerous as giving up on love and belonging and joy—the experiences that make us the most vulnerable. Only when we are brave enough to explore the darkness will we discover the infinite power of our light.” -Brene Brown
--
36 & awakened souls are:
James Bernard - Bass Guitar, Rhodes
Cynthia Bernard - Vocals, Vocal Textures, Guitar
Dennis Huddleston - Synthesizers, Strings, Steinway Piano
--
All songs mixed by James Bernard and Dennis Huddleston
Written and performed by 36 & awakened souls
Mastered by Rafael Anton Irisarri
Artwork by John Hobbs
Design by 36
--
© Past Inside the Present
This is PITP-V039 | MMXXI
PITP.bandcamp.com
www.pastinsidethepresent.com
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'Woo'd Early' by Free Dust
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Woo'd Early
by
Free Dust
Limited LP / Digital
01/29/2021
For a year, in 2015, Matthew Sage (aka M. Sage) cataloged near-daily recordings made with a very narrow creative constraint; electric guitar and a few pedals, all recorded and mixed directly to cassette 4-track. Eschewing the often complex studio gadgetry and computer editing that he relies on for his primary project, Free Dust became a respite that offered room for technique to fall away and for pure expression to surface. He collected and released more than two-and-a-half hours of this material throughout the year as quarterly digital downloads; this body of work was then re-released as a double-CD in 2019 on his now-defunct label Patient Sounds.
Now, Past Inside the Present presents a new collection of Free Dust material, the first proper LP for this project. Woo’d Early is a succinct diurnal counter to the sprawling dusk-settling realms of Archive; these fluttering dawn-oriented guitar works, using the same constraints that originally defined the project, were recorded in the very early mornings of late Summer and early Fall 2019. Instead of cerebral evening ruminations, these are billowing guitar atmospheres as casual morning ponderings. Where Archive was a diaristic account of acclimating to a new life in a new city, Woo’d Early is mornings having adapted. Reveling in the constraints presented by restricted gear, Sage explores melody and texture with an inquisitive, sensitive, and casual curiosity. Not without their hiccups, complications, and delightful quirks, these mostly-docile reflections are a mottled silver sliver of the complicated peace that mornings and maturation present every day; the tender and gray midwestern sky, chalky and pale before the rustling of the day has shaken off the evening’s inky dust.
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Written, recorded and produced by Matthew Sage
Recorded in Chicago, Illinois in 2019
Mastered at Schwebung Mastering (Germany) by Stephan Mathieu
Photography, design and assemblage by Matthew Sage
Created using electric guitar, electronics and magnetic tape design
--
© Past Inside the Present
This is PITP-V013 | MMXXI
PITP.bandcamp.com
www.pastinsidethepresent.com
by
Free Dust
Limited LP / Digital
01/29/2021
For a year, in 2015, Matthew Sage (aka M. Sage) cataloged near-daily recordings made with a very narrow creative constraint; electric guitar and a few pedals, all recorded and mixed directly to cassette 4-track. Eschewing the often complex studio gadgetry and computer editing that he relies on for his primary project, Free Dust became a respite that offered room for technique to fall away and for pure expression to surface. He collected and released more than two-and-a-half hours of this material throughout the year as quarterly digital downloads; this body of work was then re-released as a double-CD in 2019 on his now-defunct label Patient Sounds.
Now, Past Inside the Present presents a new collection of Free Dust material, the first proper LP for this project. Woo’d Early is a succinct diurnal counter to the sprawling dusk-settling realms of Archive; these fluttering dawn-oriented guitar works, using the same constraints that originally defined the project, were recorded in the very early mornings of late Summer and early Fall 2019. Instead of cerebral evening ruminations, these are billowing guitar atmospheres as casual morning ponderings. Where Archive was a diaristic account of acclimating to a new life in a new city, Woo’d Early is mornings having adapted. Reveling in the constraints presented by restricted gear, Sage explores melody and texture with an inquisitive, sensitive, and casual curiosity. Not without their hiccups, complications, and delightful quirks, these mostly-docile reflections are a mottled silver sliver of the complicated peace that mornings and maturation present every day; the tender and gray midwestern sky, chalky and pale before the rustling of the day has shaken off the evening’s inky dust.
--
Written, recorded and produced by Matthew Sage
Recorded in Chicago, Illinois in 2019
Mastered at Schwebung Mastering (Germany) by Stephan Mathieu
Photography, design and assemblage by Matthew Sage
Created using electric guitar, electronics and magnetic tape design
--
© Past Inside the Present
This is PITP-V013 | MMXXI
PITP.bandcamp.com
www.pastinsidethepresent.com
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'Process' by Tobias Karlehag
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Process
by
Tobias Karlehag
Limited LP / Digital
01/15/2021
Tobias Karlehag is a multi-instrumentalist and sound artist from Gothenburg, Sweden. With his solo project he creates spacious ambient and drone music through algorithmic compositions and improvisation. In his debut album 'Process' he shapes a still and meditative state with modular synths, electric guitar and various electronics with underlying narratives. The music is the result of a shift where the inspiration for his work comes, partially from field recordings, chance and his own reflections on flow and break-up.
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Artistic idea, composition, recording and mixing by Tobias Karlehag
Mastering by Linus Andersson
Photography by Anton Alvin
Graphic design by Julius åsling
This release is possible through funding by KulturRadet
Vinyl pressed at Spinroad Vinyl, Gothenburg, Sweden
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© Past Inside the Present
This is PITP-V029 | MMXXI
PITP.bandcamp.com
www.pastinsidethepresent.com
by
Tobias Karlehag
Limited LP / Digital
01/15/2021
Tobias Karlehag is a multi-instrumentalist and sound artist from Gothenburg, Sweden. With his solo project he creates spacious ambient and drone music through algorithmic compositions and improvisation. In his debut album 'Process' he shapes a still and meditative state with modular synths, electric guitar and various electronics with underlying narratives. The music is the result of a shift where the inspiration for his work comes, partially from field recordings, chance and his own reflections on flow and break-up.
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Artistic idea, composition, recording and mixing by Tobias Karlehag
Mastering by Linus Andersson
Photography by Anton Alvin
Graphic design by Julius åsling
This release is possible through funding by KulturRadet
Vinyl pressed at Spinroad Vinyl, Gothenburg, Sweden
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© Past Inside the Present
This is PITP-V029 | MMXXI
PITP.bandcamp.com
www.pastinsidethepresent.com
'Repetition Hymns' by Black Swan
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Repetition Hymns
by
Black Swan
2xLP + Lithograph / Digital
01/08/2021
Past Inside The Present is pleased to announce Repetition Hymns, a double album from the enigmatic Black Swan. Comprised of 19 vignettes, the relatively short tracks impart a strong forward momentum despite the 80-minute runtime. Repetition Hymns is thus particularly well-suited to the temporal distortion of quarantine, in which each day feels like an endless repeating loop. Our bleeding hearts are in need of drone like never before.
In the decade since the release of In 8 Movements, Black Swan’s 2010 debut, the anonymous producer has built a reputation for his unique brand of tape-based symphonic drones. While the author behind the moniker remains hidden, Black Swan is still able to surprise and captivate. The dark symphonic deconstructions of those early works have slowly evolved, making space for lighter textures and tranquil meditations on sound, expanding the palette of tones while staying true to an identity in flux.
A common complaint made of drone music is that it is too unchanging, but repetition is also a form of change. So much of contemporary pop music relies on strophic forms built upon inhumanely perfect MIDI loops, repeating the same song structures and melodies. Black Swan gravitates instead towards the imperfections of tape loops, not as a nostalgic fetish but a source of artistic experimentation.
Repetition Hymns is composed of layers of handmade tape loops of varying lengths and pitches manipulated on multiple multitrack recorders. There is a raw quality to this method that conveys a looseness, and a freedom, unlike any of Black Swan’s prior work. The repetition of a loop alters its perception, drawing attention to subtle textural modulation and events resulting from interaction with other loops, before moving onto the next micro-composition. The short track times discourage stasis while allowing for larger scales of interplay throughout the album as a whole. Versions echo throughout, creating cycles within cycles, as reprised motifs disorient the listener’s sense of time.
Sweeping sustained string crescendos can’t help but evoke cinematic metaphors, but any sense of narrative remains abstract. Like a sonic equivalent of the blurred and streaked canvases of Gerhardt Richter’s abstract paintings, Black Swan’s music isolates fine detail to be drawn out over time. Slowness becomes an act of resistance, obliging the listener to live fully in the present. Music is especially well-suited to exploring the malleability of time, and Repetition Hymns is slow music for slow times.
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Written and produced by Black Swan
Mastered at Schwebung Mastering (Germany) by Stephan Mathieu
Design, layout and assemblage by Black Swan
--
© Past Inside the Present
This is PITP-V034 | MMXXI
PITP.bandcamp.com
www.pastinsidethepresent.com
by
Black Swan
2xLP + Lithograph / Digital
01/08/2021
Past Inside The Present is pleased to announce Repetition Hymns, a double album from the enigmatic Black Swan. Comprised of 19 vignettes, the relatively short tracks impart a strong forward momentum despite the 80-minute runtime. Repetition Hymns is thus particularly well-suited to the temporal distortion of quarantine, in which each day feels like an endless repeating loop. Our bleeding hearts are in need of drone like never before.
In the decade since the release of In 8 Movements, Black Swan’s 2010 debut, the anonymous producer has built a reputation for his unique brand of tape-based symphonic drones. While the author behind the moniker remains hidden, Black Swan is still able to surprise and captivate. The dark symphonic deconstructions of those early works have slowly evolved, making space for lighter textures and tranquil meditations on sound, expanding the palette of tones while staying true to an identity in flux.
A common complaint made of drone music is that it is too unchanging, but repetition is also a form of change. So much of contemporary pop music relies on strophic forms built upon inhumanely perfect MIDI loops, repeating the same song structures and melodies. Black Swan gravitates instead towards the imperfections of tape loops, not as a nostalgic fetish but a source of artistic experimentation.
Repetition Hymns is composed of layers of handmade tape loops of varying lengths and pitches manipulated on multiple multitrack recorders. There is a raw quality to this method that conveys a looseness, and a freedom, unlike any of Black Swan’s prior work. The repetition of a loop alters its perception, drawing attention to subtle textural modulation and events resulting from interaction with other loops, before moving onto the next micro-composition. The short track times discourage stasis while allowing for larger scales of interplay throughout the album as a whole. Versions echo throughout, creating cycles within cycles, as reprised motifs disorient the listener’s sense of time.
Sweeping sustained string crescendos can’t help but evoke cinematic metaphors, but any sense of narrative remains abstract. Like a sonic equivalent of the blurred and streaked canvases of Gerhardt Richter’s abstract paintings, Black Swan’s music isolates fine detail to be drawn out over time. Slowness becomes an act of resistance, obliging the listener to live fully in the present. Music is especially well-suited to exploring the malleability of time, and Repetition Hymns is slow music for slow times.
--
Written and produced by Black Swan
Mastered at Schwebung Mastering (Germany) by Stephan Mathieu
Design, layout and assemblage by Black Swan
--
© Past Inside the Present
This is PITP-V034 | MMXXI
PITP.bandcamp.com
www.pastinsidethepresent.com
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