'Alpha'
by Dawn Chorus and the Infallible Sea
Cassette // Digital
07/15/2020

'Alpha' encompasses arrangements from Dawn Chorus and the Infallible Sea's debut album. These selected tracks have been rearranged, remixed and remastered. Additional guitar, piano, and textures by newest member Damien Duque.

Alpha incorporates ethereal movements, richly layered cascades, and slow-motion soundscapes that summons the listener to a truly atmospheric state of mind. Minimal at its core, Dawn Chorus and the Infallible Sea intentionally set out to create restrained ambient compositions with a sense of impenetrable mystery.

Written & produced by Dawn Chorus and the Infallible Sea
Mastered at Kaleidoscope Tone Studio (IN) by zakè
Design, layout & assemblage by zakè
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© 2020 Past Inside the Present
This is PITP10R | MMXX
PITP.bandcamp.com
www.pastinsidethepresent.com

Past Inside The Present is pleased to announce ‘Wave Variations’ which is a new mini-album by veteran ambient producer Dennis Huddleston AKA 36.

36 has often enjoyed exploring self-imposed restrictions, as it forces him to be creative, while allowing an inherently coherent sound between the different compositions. All the arrangements on Wave Variations use a limited pallete of mostly synth-based sounds, with particular focus on keys and melodies. Each track directly influenced the next one.

Dennis has kept almost every track around three minutes in length. He states, 'I feel like a lot of ambient music (including my own) is often unnecessarily long and these small vignettes work as a nice counter to that. Don't expect long build-ups or over-extended crescendos; These are short tracks that take you straight to Elysium and then dissolve into the ether.'

He further explains the output of Wave Variations, 'Ocean tides inspired the album. I think we've all felt that sense of longing and wonder while standing at the beach, staring at the waves and gazing into the endless horizon. I think it's something that transcends all generations of people. Like the waves, these tracks leave as quickly as they arrive. I feel it's one of the most minimal records I have made, with far fewer individual sound sources at my disposal. It keeps me on my toes and forces me to deeply explore the instruments I have available to me.'

This stripped-back sound gives the album a hypnotic quality to it. Like much of Dennis' work, there is a delicate balance between melancholic melodies and rich textures, resulting in an understated yet deeply exhilarating sound. Fans of emotional, melodic ambient music should find plenty to enjoy. 

Written and produced by 36
Artwork and design by 36
Recorded between June-July 2019
--
© Past Inside the Present
This is PITP36 | MMXX
PITP.bandcamp.com
pastinsidethepresent.com

36 & Isaac Helsen
'Anon 1'
Limited Edition 12" // Digital
06/12/2020

19 minutes of lush, slow-moving ambient trails by 36 and Isaac Helsen.

“This is bittersweet and beautiful ambient music that combines the widescreen vision of bvdub with chemtrail atmospherics that nod to William Basinski.” —Bleep


© Past Inside the Present
This is PITP-WLS03 | MMXX
PITP.bandcamp.com
pastinsidethepresent.com

12" Details:
160g black vinyl 12” cut at 45rpm. Black labels with white imprint. Heavy white jacket with die-cut hole, w/hype sticker. Record placed in an anti-static, high density rice paper innersleeve for ultimate protection. The album is housed in a polybag. Strictly limited to a one-time pressing of 200 units.

Hi Austin! How are you doing today?
RB: I am well. I have about 30 things on my to-do list and the it seems like the world is falling apart, but I am well all things considered.


For people that aren't familiar with your work, tell us a bit about your background and what led you to start releasing music as r beny? Also, if you are willing to share, what is the meaning behind the name?
RB: Like many do, I grew up playing guitar in bands throughout my teens and early 20s. While I loved making music and being in bands with friends, I never felt fully comfortable with the guitar. I felt like it was difficult to express what I wanted to express with music, I think due to my own lack of skill and the limitations of the instrument itself.

I had a crossroads moment in 2014, where I was finally able to admit this to myself. All of the work put into practicing, writing songs, and playing gigs had become a source of frustration, rather than one of joy. It was a bittersweet epiphany, considering my passion for music. I ended up quitting the band I was in, sold most of my gear, and put myself into other hobbies.

About a year later, I was at a friend’s house and he showed me a synthesizer he had recently picked up, a Korg Monotribe. We played with it for a few hours and I found it insanely fun, so I decided to pick one up for myself. I ended up with a Korg Volca Keys instead, since the Monotribe had been discontinued. While I always had an affinity for electronic music and instruments, I had never really understood my way around a synth or a sampler. I had a Korg Microkorg a few years back and never figured it out beyond just switching between the presets.

As I started to properly learn about synthesis and sound design, it all just clicked into place. I found that with these instruments and tools, I was finally able to express myself musically the way I so desperately wanted to. It all kind of snowballed from there, getting into DIY electronic instruments, then modular, then starting to record and release music.

“r beny” came about as a pseudonym for my work with synthesizers and other electronic instruments. It was actually a placeholder name, I had quickly made a YouTube channel one day to do a tutorial for some people on the Korg forums. At the time, I was obsessed with the work of photographer Roloff Beny. The name “r beny” was a tribute to him, while also being what I thought was somewhat vague (in my head, I thought it sounded like a word from another language. I now get called “Beny” quite a lot). I meant to just do that one video and then make a real channel for better thought out tutorials later down the line, but the video blew up outside that circle and the name stuck.


Congratulations on the new album! We have been looking forward to working with you on a release for quite some time. How did this album come to be?
RB: Thank you! Last year Past Inside the Present reached out to me to propose a 10” vinyl release. As a fan of the label, it was an easy decision to say yes. The timing and situation was just right. I get a number of requests to release music, but I tend to work on music at my own sporadic pace and don’t really have extra material at the ready.

2/3 of the tracks on this EP (Fjorda and Golden Larch) were tracks I started working on and playing live last fall. They were inspired by my time touring in Europe, earlier that summer. They both started as sketches I made on the Novation Summit synthesizer and then later fleshed out.

I think there were some issues with pressing the 10” records, so the EP is out on 12” instead. I am pleased to be a part of the PITP family and community!


The title ‘The Dashboard Cast a Spectral Glow’ is quite powerful and fits the music perfectly. What is the meaning behind both the song titles and the music you put together for this release?
RB: The EP title is a play on a line in a book I read called Blue Highways by William Least Heat-Moon. “The early darkness came on. My headlamps cut only a forty-foot trail through the rain, and the dashboard lights cast a spectral glowing.”  

I have a journal where I write down interesting or affecting words or phrases that I read in books, hear in movies/tv, and see in everyday life. For me, this line encapsulates the feeling I try to emote with my music. Those little lost, in-between moments. That brief feeling of longing for your past you randomly feel as you drive through the forest and the sun breaks through the canopy of leaves. The vision of dashboard lights cutting through the darkness, as it starts to set in the middle of the woods on a rainy evening, felt so familiar. I knew it would inspire the name of a track or release as soon as I read it.

“Fjorda” is play on the word fjord. I had the opportunity to visit Iceland last year, right before my European tour, and I was so struck by the beautiful landscape and nature. I had wanted to visit Iceland since I was young, so it was fantastically surreal actually being there. It felt like a dream. When I got back from that tour, I wrote a song called “Fjossa”, which was a play on foss, the Icelandic word for waterfall. It was sort of a portmanteau of foss and fjord, a made-up word describing this floating feeling of waterfalls, water, and nature. “Fjorda” is a sister track to “Fjossa”, inspired by those same feelings. I was thinking about the history of the geography of fjords and waterfalls, all the events and years that have to pass for them to form. Those were things I thought a lot about while in Iceland and Europe.

I can’t quite recall where the title “Golden Larch Emerging in Spring” came from. That might have been one that just came to me. It felt like a very hopeful title. Winter is over, spring is here, it’s all okay now. There, there. I relate that to my depression. I’ll have peaks and valleys and coming out from one of those valleys feels like emerging from the cold, dead winter to the life of spring.


The songs on this record are both soothing and nostalgic, which seems to be driven by your use of tape. What was your approach to recording the songs on this release?
RB: One trick I’ve been using quite a bit over the last year or so is using 3-head tape machines to process sounds on tape in real time. These machines have separate recording and playback heads that allow you to listen to the playback of the tape as it’s being recorded to. The real magic starts when you start using worn out tape, or in my case, worn out tape loops. The effect means you get these lofi tape loop-like sounds, but you aren’t limited to the length of the loop, or even loops. The tape just cycles through endlessly and each time through, introduces different artifacts and character.

That trick is used at some point on all 3 tracks on this release. In the case of Fjorda and Golden Larch, each of these tracks started out as one take of me playing the Novation Summit through the tape machine and into a looper in this manner. Some overdubs were added later.


Field recordings are also regularly featured in your work. For this record, they especially stood out to us on 'Golden Larch Emerging in Spring.' When and where were these sounds captured? How do you approach field recording in general?
RB: That recording was taken during a rare spring Bay Area thunder storm in April 2019 from my room through an open window. The thunder was so close, it actually started clipping my Zoom recorder and shaking the whole house. There was this weird, still energy in the air. Beyond the occasional car, you could feel the ebb and flow between the dead quiet and then the rain and thunder.

In general, I don’t really go out looking to capture field recordings. I tend to happen upon the sounds I would want to record, which can make things difficult. Thankfully, we all are carrying little field recorders in our pocket, that happen to have cameras and phone capabilities. I do make it a point to bring my Zoom field recorder when I go out for things like hikes or drives out into the countryside. But the inspiration to capture something usually happens externally.

I am trying to make it more of a point to go out and listen to the quiet. Listen to the sounds of the world around me.


If you had to choose a favorite track on this release, what would it be? And why?
RB: Probably Fjorda. Just for the memories it brings from that trip to Iceland. Considering the current state of the world, there is a chance I may never have the opportunity to go back, or at least it could be a long, long time. It’s also the track that I think sounds the least like myself, in a way. It feels less linear than what I usually do, with a clear A part and a clear B part.


What inspires you to write music?
What artists do you admire and continue to be inspired by?
RB: There is so much that inspires me to make music. Nature - the history of and volatility of it. The human experience - working through emotions, depression, anxiety, expressing the nuances that cannot be expressed so easily through words. Architecture - the way materials come together to make a whole, the meaning and symbolism of buildings and structures.

Photography and art. Music, especially instrumental music, has so much in common with photography and painting. From the tools used, to the process, to the finished piece that’s put out into the world (or not) for interpretation. I often liken ambient music to abstract art. It’s about the color and texture and the shapelessness, rather than a specific subject. How it makes you, the listener, feel.

And of course, I am inspired by other music. I am inspired on some level by pretty much any artist I listen to, from a level of emotion and from a technical level. I love thinking about how an artist made a certain sound, and what inspired them. I think that’s why I am so much into the gear and technical side of music. Seeing the technical aspect all the way through into art is something that inspires me.


The world has changed pretty drastically in recent months due to Covid-19. How has the pandemic impacted you both as a person and as an artist?
RB: I live in the county where one of the first cases was found in the United States, so it has been on my mind early and often. I’m super grateful that it hasn’t really affected my day job all that much. I’m able to work remotely for the most part. I live alone, so sheltering-in-place has been a bit lonely. I miss being in the same room or hiking with friends. I try to go for a walk at least once a day, just to get some fresh air and sunlight.

As an artist, it has been an interesting experience. Like many, I have had cancelled gigs. I’m not at the point where music is my livelihood, so I don’t have to be constantly gigging/working on music normally. But I also don’t have a ton of time or energy to work on music on a typical day. Because I’ve been staying home, I have been playing more music. If there is downtime at work, I can just walk into the studio, instead of browsing the internet. And with that, I’ve been able to finish and take on other commissioned music projects. From finishing releases, to patch design and beta testing for synthesizers, to working on live streaming sets.

I hesitate to call it a positive, with all that’s going on in the world, but I appreciate the creative opportunities I’ve had in the last few months that have kept me from going stir crazy.


You recently live-streamed a performance from your studio space.
How do you feel about the medium?
What are the pros and cons of live streaming concerts?
Do you plan on doing it again?
RB: I’m very much on the fence about live streaming concerts, at least when it comes to playing them. I did have a blast doing that stream for Gray Area. For me, I think it’s circumstantial. For one, I think the sound quality is a major concern. That concert was my first time streaming on Twitch, and the quality was better than I thought it could be for a stream. It was an overall positive experience.

I’ve been doing one-take performances on my YouTube channel for years, so I feel like I need to be able to differentiate between doing something like that and live streaming. I appreciated this last stream was actually live, as opposed to a pre-recorded performance. It felt like so much could have gone wrong, so in that way it felt much like a real performance with an audience.

The other aspect of it is the audience. When I play live, I play off the feeling of the room and the audience. I think my live shows are a different experience than one I can provide over a stream or a recording. When I play live, I work with dynamic. My live sets are a bit louder and heavier, as I want the audience to not just hear the music, but to physically feel the music. In a venue, I can shake the whole room with bass and distortion. That connection and intention is lost over a stream. I can only play off my own energy and the dynamics just aren’t the same.

I appreciate things to make the streams feel more communal, like chats. Overall, I have a positive view on streams, but I don’t think they are necessarily my favorite thing to do. I will be doing at least a few more in the near-future, to see if I do end enjoy doing them more and to continue to connect to people who do want to hear me play.


Your approach to sound design and tape manipulation is really inspiring.
What advice do you have for people wanting to work with tape?
RB: Get yourself a time machine so you can buy tape machines at a reasonable price! Kidding aside, I always say go for it. You might have to be a little patient to find a good machine at a decent price, but there are a good number of options out there. I have a few Tascam machines and a few Marantz machines, in varying degrees of working states. Personally, I prefer recorders that have multi-tracking capabilities (like the Tascam machines), or recorders with 3-heads that can monitor the tape as it’s being recorded to (like the Marantz machines).

I love working with tape because it just adds a certain character to sounds that feels “lived-in”. In some ways, they can be unpredictable, especially as these machines age, but there is a certain beauty and magic to that unpredictability.

Reel-to-reel machines are also becoming more prevalent and some can be had for decent prices compared to cassette recorders.

There are a good number of tape emulators and software out there. The one that I’ve found to sound closest to my actual tape machines is Cassette by Waves Factory. I’ve already used it on some tracks in cases where my tape machines were too much of a hassle to deal with.

Thanks for taking the time to talk to us today!
Anything you want to add and say to people out there?
RB: Thank you for having me and thank you to PITP for putting this release out!

I just want to say that I hope everyone and their loved ones are staying safe and healthy out there. We will get through this together!

And as always, thank you for listening.

Polar Moon - As Above, So Below
 
Hi Jonny. We are happy to have you now in the PITP family. Could you present yourself a little?
PM: Well, hello to you! Very excited to be here. My name is Jonny Radtke, and I am an American musician, based in Los Angeles, CA.
 
About Los Angeles, I have to ask: how are things over there with the Coronavirus? Do you make more music with the social distancing and lockdown?
PM: Yes, I’m currently in LA, and for the most part, people seem to be taking this situation very seriously, and adhering to the “safer at home” rules. As far as this experience contributing to me writing more? I’m not sure. When not touring, I’m constantly writing, and working on new material, so nothing has dramatically changed. However, during the first couple weeks of isolation, there was a lot of uncertainty (still is) as to how long this situation would last, so it was important to keep myself busy and focused on music...so, yeah, I guess there have been some positive moments within all this craziness.
 
Congratulations on the new album! You played in several famous rock bands (Kill Hannah, Ashes Divide, Filter). How did you decide to start your own ambient project and release new music?
PM: Thank you!! Well, I’ve always loved instrumental/ambient music. Coming from a predominantly rock background, it’s a nice change of pace for me...allows me to shut my brain off and just absorb the sounds. Initially, this project began with me trying to break into the film scoring world; putting together short pieces that could be presented to music supervisors, licensing houses, etc, in hopes of being considered for a film. That is still a very real goal of mine for this type of material. After a while, I realized I had written so much music, and felt I needed to get it out there. My friend, Drew Sullivan (Slow Dancing Society), and I, had been sending original music back and forth to each other, and he eventually recommended sending it to PITP. So, here we are! Haha!
 
Polar Moon is such a beautiful and dreamy name. Why Polar Moon?
PM: Thank you. It’s a name I started using back in the early 2000’s. When writing demos for the various rock groups I was working with, I would sometimes use the tag name “Polar Moon”, because I liked the way it looked; it felt calming and ethereal to me. In 2008, I started writing songs for a “Polar Moon” rock album, as a side project, but over the years, the music and idea of the whole concept changed forms; what it is today, is completely different from what I had initially set out to do.

This album is really wonderful, ethereal and minimal. Can you tell us more about it?
PM: Appreciate the kind words. Yeah, it’s exactly that: ethereal and minimal. I wanted to capture what I was feeling and thinking at the time of its development, and not try to over analyze anything, but really explore textures in each song in a cohesive way.
 
I love the soft piano melodies. How did it feel to work on this album? How different is the approach from your guitar work in your bands?
PM: This album was very therapeutic for me to make. It’s so drastically different from the albums I’m known for writing, but that’s what I love about it: it showcases a whole other side of me. Almost all of these songs were written with me just sitting down at the piano and hitting record. Then I’d go back, and find little themes, and develop them, and of course, build sound textures around that. I really love that process in all the songs I write, whether it’s “Polar Moon”, or for a rock band. But, it was definitely a different process. These aren’t songs that fit any specific “song” pattern; verse, pre chorus, chorus, etc. This was me just taking what I was feeling in the moment, with no specific agenda, and developing from there.
 
I like to ask this question: do you have any personal favorite track on the album?
PM: “Snow Angels”, and “Snow Angels (quiet)”, MIGHT be my favorites. They’re basically two versions of the same song, and idea, just slightly different from each other. I feel those themes accurately sum up the vibe I was feeling when I set started this. Songs you can listen to on a rainy day (laughs).
 
The album is released on tape, Side A is your album and the Side B is made of reworks by PITP artists. Are you satisfied with this release and the result? How did it feel to hear your tracks reworked?
PM: I’m really happy with my end result, and I’m BEYOND satisfied with the reworks. It’s truly an honor to have these songs re-imagined by so many insanely talented artists, whom I also truly adore and respect. I’m such a fan of all their individual work, so it was really wonderful to hear their interpretations.
 
What are you listening to lately? What are your main sources of inspiration while working on music?
PM: I tend to gravitate towards instrumental and ambient music regardless of what mood I’m in, or what project I’m preparing for. Slow Dancing Society, Helios, Stars Of The Lid, to name a few, are always on rotation. More recently, I’ve been listening to a lot of PITP artists: Moss Covered Technology, From Overseas, Benoît Pioulard, etc. I love it all!
 
Do you plan to play this album live as Polar Moon?
PM: Good question. I’m definitely open to that. It would take a lot of planning and mapping out, to properly put together a live show for this, and it’s definitely on my mind. We’ll see!
 
Thanks for talking with us today. Congratulations again on the wonderful album. Any last word for people out there ?
PM: Thank you for having me, and thank you to everyone at PITP for this opportunity. Hope you guys enjoy this little album!

The first edition of Fallen Moon Recording's "Behind the Music" series features Patricia Wolf.   Patricia recently sat down with us to talk about the influences behind her new, long form piece "Lament" which was released on FMR on 5/15/20.  

"
1. Marcus Fischer
I first encountered Marcus' work at The Portland Art Museum in 2018. He was performing a piece he had written to honor his friend, Brian Young who had just passed away. I was deeply moved by the music and his ability to create such vivid and immersive environments. His ability to pull his audience into his world of feeling and subtle, careful sound is captivating and fully immersive. In addition to sound, there is usually a video accompaniment to his performances that pulls you more and more into his world. The way he lays out his instruments is deliberate and artful, as though he's performing a ritual. When he uses a tape loop, the way the loop is displayed is hypnotic and pulls you into your subconscious.  Watching and listening to him perform was a rare moment for me where time and place disappeared and I felt had been transported into a dream. I have witnessed this phenomenon several times with his performances and do not understand how he does this nor do I think I could replicate it. Since then he's had an influence on my work. I have slowed down, I have begun using field recordings to also build more careful and vivid environments. I think to give more room for silence to allow feeling and breath to fill in the space between. It is for this reason that I decided to share "Lament" with him. It's a deeply personal piece for me. It is a document of my grief and process for finding peace with this terrible loss. Trying to look at it with a technician's viewpoint for the final mixdown was not really something I felt capable of due to my deep emotional connection to it. There are not many people I would trust with my work especially this one, but I knew Marcus would understand how to place it in the space it deserves. I feel that now this piece is finished and has been sanctified. I hope now it can exist as an environment for others to find understanding and healing.

"
2. Bruce Munro's "Field of Light"
In the final months of my mother in law's life, we went on many joyous trips with her. One of those trips took us to Paso Robles to see Bruce Munro's "Field of Light" installation. We arrived at the site a bit before sunset and got to see the golden hour fade into a vibrantly colorful sunset and then to darkness. The darkness revealed over 58,000 colorful lights that cover 15 acres on rural hilly cite on the California Central Coast. It was a beautiful experience to have with her. I took a lot of photos at that installation and decided to use one for the album artwork for "Lament". For me, "Field of Light" has come to represent a spirit world where the energy and memories and love we feel for our dead loved ones live on. 

"
3. Novation Summit
From mid-March to May of 2019 my main artistic focus was creating presets for the new Novation Summit synthesizer. It was very good for me to have this work to do during this time of sadness. Going deep inside a sound and getting to know a new synthesizer is a very meditative practice where I could build new worlds reflecting my inner space.  On "Lament" I played Summit alongside my Make Noise 0-Coast, Red Panda Particle II, OTO Bim and Bam, and Octatrack. Summit and 0-Coast complement one another. Summit sounds heavy and emotional in this song and 0-Coast sounds more logical and encouraging of healing and strength. The interplay of sadness, despair, attachment, loss, and the search for healing and understanding could be expressed through these instruments and helped me manage my grief. 

theHi Michael. How are you today ?
TGK: Doing pretty well, all things considered.
 
 
The world has changed quite a bit these past months with the Covid-19. You live in Michigan, how are things there and how do you feel about the situation ?
TGK: Things have been bad here, but I think they are steadily improving. It's been tough, we have a few nurses in the family and they have certainly been through a lot. My wife and I have been fortunate in that we have been able to work from home and be with the family. I don't mind being stuck at home too much, I'm perfectly happy with it actually!
 
 
Congratulations on the new album! It’s a beautiful piece of art. You have been working on it for the last couple of years or so right ? Can you tell us more about this album and how it came to life?
TGK: Thank you! I'm typically working on at least a couple projects at any given time and starting new pieces when inspiration strikes or more realistically as time allows. So I basically just went back and forth between pieces and let them develop over time- adding and taking away. I guess the original intent was to make an “ambient guitar” album, though nothing I do ever ends up where it started. It’s always a combination of things that I suppose coalesces into “my sound”. It’s been done for a while and was originally meant for release in 2019, but I couldn’t be happier with it being on PITP as I’m a big fan of the label!
 
 
The title “Residence on Earth” is quite powerful and based on Pablo Neruda’s book of poetry. What can you tell us about this book and how it came to be your choice for the album title ?
TGK: I happened to revisit it while making the album. A lot of the poems evoke some otherworldly imagery which captured my imagination, and also a sense of longing and sometimes melancholy, which felt as though it fit the feel of the music. In fact, nearly all of the track titles are either titles of poems or phrases taken from them. I also unexpectedly lost my aunt while completing the album, provoking further thought around our time spent in this life and what we do with it. She was one of the kindest souls I've ever known and the album is dedicated to her memory.
 
 
The album artwork is gorgeous as well. It definitely fits the mood and color of the album. Where and when was that photo taken ?
TGK: It was taken out a plane window on a family trip to San Diego, over the Rocky Mountains I believe. It’s actually somewhat reminiscent of the cover image of the edition of the Neruda book I have, though that’s black and white.
 
 
I love the textures and swells on this album along with subtle guitar notes and arpeggios like in the track ‘Of What Endures’ or ‘Shoreless’. What was your process when recording this album ? What are your main instruments on this record ?
TGK: Thanks! I often start off with a simple looping chord progression or riff - maybe a drone - and build from there. I also record to a click track or 4/4, sometimes a beat, even if it will end up being an ambient track to ensure things are synched up when I add overdubs or rhythmic elements. The sounds on this one are mainly guitar-based, though of course there are bits of synth, some samples, etc. In terms of instruments, I leaned on the J Mascis Jazzmaster pretty heavily as usual, along with a Tele that has since been replaced, my old ‘94 Strat and the Gretsch Pro Jet on one track I believe. The Neunaber Immerse and Walrus Audio Slo reverbs are heard on most of the tracks and I record everything direct through the Neunaber Neuron- I swear this isn’t a paid endorsement, they just make awesome products that are intuitive and easy to dial in great sounds with.
 
 
I know it’s a tough question, but do you have a favorite track on the album?
TGK: Hmm, I think it would have to be Fantasma. There are usually one or two pieces on a given album where everything just comes together and the sound is what I originally heard in my head. That was definitely the case with that one.
 
 
What are your main sources of inspiration while working on music? Do you have any artists that keep you motivated and still have an influence on how you approach music ?
TGK: Yes, I’m constantly seeking out and discovering music, both new and old, almost obsessively! In terms of influences, there are so many, but I’ll throw out a few: Hendrix, Eric Johnson, Cocteau Twins, BOC, Brian Eno, Tortoise, everything on the 12k label, Hammock… I could go on forever really...
 
 
Your album is dreamy, peaceful and really calming. I feel like people need these soothing sounds more than ever right now. Did you notice more interest in ambient music lately?
TGK: A little bit, it seems like support has ramped up a bit as of late with people seeking solace in these trying times. I know I have discovered a lot of great music and also forged some new connections with other artists online myself.
 
 
Speaking of calming sounds your track on the Healing Sounds II compilation is beautiful. Anything specific you can tell us about that track and being part of this compilation ?
TGK: Only that it came together very quickly as I wanted to record something new for the compilation, which doesn't happen very often. Most of it was done in one night with some additional mixing the next day. It’s rare for me to work that quickly. It means a lot to be part of compilations like this among such talented artists that I admire, especially for a good cause. Kudos to Zach and Isaac for making this and the last one happen, they're great guys with big hearts. Love working with them!
 
 
Is it possible to see you live ? Are you planning on supporting the release with a few shows and/or a tour when we can put social distancing behind us ?
TGK: That would be nice, but I don’t necessarily do a lot of live shows (only one as TGK so far), but it might be something that I’ll do more of in the future. You never know.
 
 
Thanks for talking with us today. Congratulations again on the wonderful album. Any last word for people out there ?
TGK: No problem. Just to be kind to each other and support music and the arts!

Residence on Earth
by  The Green Kingdom
Limited Edition Cassette // Digital
04/29/2020

“The album gestated over a couple years or so, in which time a lot can happen. As one gets older, it's natural to think about the time you've spent on this planet and what you will leave behind. This was only punctuated by the unexpected loss of my aunt. At some point while crafting these pieces, I also pulled Pablo Neruda's book of poetry Residence on Earth off the shelf. The surreal imagery and emotions these works evoke felt connected to the music on many levels, and informed the course of the album until its completion. This album is dedicated to the memory of Mary V. Mannino.”
--TGK

Written and produced by Michael Cottone
Mastered by Andrew J Klimek
Design, photography & assemblage by Michael Cottone
--
© Past Inside the Present
This is PITP-C004 | MMXX
PITP.bandcamp.com
pastinsidethepresent.com

Cassette Details:
Cobalt blue shell cassette tape with white imprinting, housed in a clear / solid blue norelco box and shrink wrapped. Loaded with FerroMaster C456™ super ferric, ultra-high performance type-1 music grade analog tape. Limited to 50 units.

Healing Sounds II:
A compilation for those in need
by Various Artists
4xCD // Digital

over 4 hours of healing sounds.

Featuring:
36, r beny, Black Swan, James Bernard, The Green Kingdom, Moss Covered Technology, anthéne, Wayne Robert Thomas, Benoît Pioulard, zakè, Christina Giannone, Scott Campbell, Belly Full Of Stars, Carlos Ferreira, Mathieu Lamontagne, From Overseas, Slow Dancing Society, Polar Moon, Viul, Awakened Souls, wøunds, Marc Ertel, Syneva, Black Brunswicker, andarctica, City of Dawn , Hipnotic Earth, Sita Ostheimer, Almøst Silent, Deer Meadow, Aaron Ross Hansen, Tyresta, Two Hands | One Engine, Jörgen Kjellgren, Ai Yamamoto, AUSKLANG, Tom Vourtsis, Jordan Christoff, Rhucle, Isaac Helsen, Pepo Galán, Field Hymn, Fabian Koppri, PILLARS, dreamgazer, Ludvig Cimbrelius, Phillip Wilkerson, Etxera, Akkad the Orphic Priest, Andrew J. Klimek, Hilyard

All tracks included on this compilation are previously unreleased or new material produced specifically for Healing Sounds II: A compilation for those in need.

All donations will be donated to Feeding America. Feeding America is a nationwide organization that harnesses support from local communities to keep low-income families supplied with food. Right now, its biggest concern is children whose schools have closed, cutting off a source of healthy, free meals.

All arrangements featured on this compilation belongs to the respective copyright holders and graciously provided their arrangement in an effort to raise donations for 'Feeding America' in response to the devastating effects of COVID-19. Thank you to all artists and fans alike for the support.
--
© Past Inside the Present
This is PITP-HS02 | MMXX
PITP.bandcamp.com
pastinsidethepresent.com
 
4xCD
'Healing Sounds II: A compilation for those in need' spanning across four discs. Each disc is housed in a 4-panel cardstock eco-pack. Eco-packs protected by a clear, re-sealable eco-bag. Printed using green friendly ink. Collection housed in a white, 5" tape reel box.
Limited to 100 units.

A Thousand Harmonies in Silence
by  Bedroom
Limited Edition LP // Digital
04/08/2020

Written and recorded by Adam London
Editing and mixing by Billy Mannino / Adam London
Additional performances on 'Apart Worlds' include:
Raphael Weinroth-Browne, Cello
Laurence Schaufele, Viola
Alex Toskov,Violin
Mastered at 12K Studio (NY) by Taylor Deupree
Artwork by Irek Jania
--
© Past Inside the Present
This is PITP43 | MMXX
PITP.bandcamp.com
pastinsidethepresent.com

LP Details:
160 gram 'transparent seafoam' vinyl housed in a full color, semi-gloss jacket. Full color labels. Record is placed in white innersleeves. Shrinkwrapped.  Limited to 100.

160 gram black vinyl housed in a full color, semi-gloss jacket. Full color labels. Record is placed in white innersleeves. Shrinkwrapped.  Limited to 100.

Home
by From Overseas
Limited Edition LP // Digital
03/25/2020

Islands, volcanoes and instrumental exile stories…
From Overseas is the experimental ambient project by Kévin Séry.

Originally from the tiny French overseas department and region, Reunion Island, he routinely bounces between his home island, a small port town on the east coast of the US and continental Europe picking up fresh ideas and inspiration along the way.

With a beautiful master by Stephan Mathieu (12k, Shelter Press, …), From Overseas releases his first full length album “Home” on PITP.
“Home" is a journey through beautiful soundscapes where dark and light intertwine, where ambient tones give way to post-rock guitar craft, then segway to melodic drone, noise and back again. These soothingly powerful songs evoke emotions on a full spectrum, dreamy unplanned travels and inspire us to question the nature of the place that each of us calls home.

The fourth track, Maloya Tales, is a personal tribute to Séry's homeland 'Reunion Island' and gives the listener a glimpse of the mystical rhythms of traditional Reunionese Maloya music.

Written and produced by Kévin Séry
Mastered at Schwebung Mastering (Germany) by Stephan Mathieu
Cover Photography by Claire Séry
Layout and Assemblage by zakè
--
© Past Inside the Present
This is PITP-V020 | MMXX
PITP.bandcamp.com
pastinsidethepresent.com

LP Details:
160 gram 'transparent celadon' vinyl housed in a full color, semi-gloss jacket. Full color labels. Record is placed in white innersleeves. Shrinkwrapped.

[Overtures]
by Marc Ertel
Limited Edition LP Cassette // Digital
03/18/2020

Indianapolis-based composer, Marc Ertel (PILLARS/Dawn Chorus and The Infallible Sea), made his solo debut appearance at Post. Festival 2019, where he performed alongside with other Past Inside the Present artists on the label’s showcase stage. Since that time, PITP has been anxious to share Ertel’s brilliant guitar-laden drone arrangements to the masses.

On his first proper solo release with Past Inside the Present titled, “[Overtures]”, Ertel delivers five compositions of immersive, angelic drone that embody an organic intensity suffused with opulent guitar articulations. Multiple layers of synth lines and guitar-work flawlessly converge, producing 36 minutes of vaporous soundscapes. [Overtures] is a solemn, yet equally rapturous paean to placidity. A brilliant and eloquent addition to PITP's growing catalogue of dronescapes and healing sounds.

Written & Produced by Marc Ertel
Mastered at SDS Studio (WA) by Drew Sullivan
Design, Layout & Assemblage by zakè & Marc Ertel

--

© Past Inside the Present
This is PITP-C010 | MMXX
PITP.bandcamp.com
pastinsidethepresent.com

Cassette Details:
Black shell cassette tape with white imprinting, housed in a clear norelco box and shrink wrapped. Loaded with FerroMaster C456™ super ferric, ultra-high performance type-1 music grade analog tape. Limited to 50 units.

Long Formations +4
by anthéne
Limited Edition Cassette // Digital
03/04/2020

"At the center of 'Long Formations +4' are the two longest pieces I've recorded. Although recorded and released at different times, these pieces always felt like they were two sides of the same coin and I'd hoped to have them collected on a physical release one day. Both use layers of guitar as the source material and the pieces ebb and flow between the original guitar recordings and variations on them - manipulations in playback speed and EQ with additional textures and melodies fading into the mixes. The additional pieces were all recorded in late 2019 and are significantly shorter pieces, but feel very connected to the long formations in tone and in mood so it seemed fitting that these all be compiled together. These pieces are also predominantly guitar based with the addition of strings in "Soft Spoken" and onde magnetique in 'Street Lights'."
--anthéne

Written, recorded and produced by Brad Deschamps in Toronto, Canada
"For the First Time in Years" recorded in August 2017 and originally released as a digital single on Polar Seas Recordings to raise money for the Transgender Law Centre
"Isolation" recorded in 2018 and originally released as a digital single on 1834 Recordings
All other pieces recorded fall and winter 2019
Mastered by Ian Hawgood
Images by Ash Edwards
Layout, assemblage and design treatments by zakè

--

© Past Inside the Present
This is PITP-C011 | MMXX
PITP.bandcamp.com
pastinsidethepresent.com

Cassette Details:
Metallic silver shell cassette tape with black imprinting, housed in a clear norelco box with a three panel J-card and shrink wrapped. Loaded with FerroMaster C456™ super ferric, ultra-high performance type-1 music grade analog tape. Shrinkwrapped. Limited to 50 units.

Album Description
The world has found itself in a significant hurry. We have also found ourselves in the most distracted period of time in history; finding it tremendously difficult to remain in a moment of stillness, quietude, or allow time for self-reflection. Conversely, our vast universe continues its expansion into infinite development; a climate of deafening silence in a boundless four-dimensional continuum. It remains mesmerizing with a quiet allure that freely suspends in space-time; a true account of the beautiful unknown that sparks hope, reverence, and an awesome realization of impenetrable mystery.

“Stasis Sounds For Long-Distance Space Travel” is audibly rich in its delivery with an array of tranquil billows and patient tones. It is a journey and soundtrack that commences at Earth’s thermosphere, gently moving towards the untraveled parts of space, lushly floating on forever.

These arrangements represent a group of celestial transmissions that are delicate in nature and intended for the listener to embrace moments of stillness, quietude and reflection, of which are on a trajectory of extinction at a place we call Earth.
--

Limited Edition LP (Transparent Yellow/Red Swirl)
160 gram LP on transparent yellow/red vinyl housed in a semi-gloss jacket. Full color labels. Records are placed in a black, anti-static inner sleeve with a .75 gauge archival polypropylene lining. The album is housed in a perforated sealed polybag. 300 units worldwide.

Limited Edition LP (Transparent Cobalt)
160 gram LP on transparent cobalt vinyl housed in a semi-gloss jacket. Full color labels. Record placed in white inner sleeve. Shrink-wrapped. 200 units worldwide.

Test Launch Press (160g Black)
160 gram black vinyl LP housed in a black jacket with a 11”x3” test press sticker on front cover. Blank, white labels. Record placed in an anti-static, high density rice paper innersleeve for ultimate protection. Jacket housed in a polyethylene sleeve. 25 units worldwide.

Redemption
by Christina Giannone
Limited Edition 10" (Clear) + 10" Slipmat // Digital
01/17/2020

Redemption features three drone-based compositions, filled with depth and intrigue. Simultaneously cavernous and comforting the songs take hold and fill the listener with a sense of peaceful unease. On her PITP debut, Christina Giannone masterfully demonstrates what it means to let go in order to transcend suffering and gain infinite closure.

Written and produced by Christina Giannone
Mastered at Kaleidoscope Tone Studio (IN) by zakè
Layout & design treatments by zakè
--
© Past Inside the Present
This is PITP-LS02 | MMXX
PITP.bandcamp.com
pastinsidethepresent.com

Limited Edition 10" (Clear) + 10" Slipmat Details
-- 10" Record --
180 gram clear 10" vinyl housed in a Kraft jacket. Full color labels. Record placed in a white paper innersleeve. Album housed in a polyethylene bag. Hand-numbered. Pressed by Audio Geography on a high fidelity, stereo lathe-cut record for optimal playback, low surface noise, and extended frequency response. Limited to 25 units.

-- 10" Slipmat --
Professional grade Custom printed 10″ slipmats featuring the album artwork. 16oz glazed bottom. 100% polyester felt top. 1/16" thickness. Sublimation printing technique. Limited to 25 units.

Rushing
by Lucy Gooch
Limited Edition 10" (Clear) + 10" Slipmat // Digital
01/08/2020

Rushing is intimate collection of songs built around Lucy’s emotive and soothing vocals. Her voice acts as a grounding force in the face of longing, loss, and uncertainty. The accompanying layered synth lines unobtrusively support both Lucy and the listener as they search for a space in which they can heal and grow.

All music written by Lucy Gooch
Additional Synthesizers by Oliver Andrews on ‘Rushing’
Tracks 1 & 2 were produced by Alistair Lax
Tracks 3 & 4 were produced by Iain Lowery during Lucy’s Masters Degree in 2017
Mastered at Kaleidoscope Tone Studio (IN) by zakè
Layout & design treatments by zakè
--
© Past Inside the Present
This is PITP-LS01 | MMXX
PITP.bandcamp.com
pastinsidethepresent.com

Limited Edition 10" (Clear) + 10" Slipmat Details
-- 10" Record --
180 gram clear 10" vinyl housed in a Kraft jacket. White labels. Record placed in a white paper innersleeve. Album housed in a polyethylene bag. Hand-numbered. Pressed by Audio Geography on a high fidelity, stereo lathe-cut record for optimal playback, low surface noise, and extended frequency response. Limited to 25 units.

-- 10" Slipmat --
Professional grade Custom printed 10″ slipmats featuring the album artwork. 16oz glazed bottom. 100% polyester felt top. 1/16" thickness. Sublimation printing technique. Limited to 25 units.

'In Four Parts'
by 36 & Black Swan
Limited Edition LP / Cassette
11/20/2019

All tracks written & produced by 36 & Black Swan
Artwork by Nathan Abels / nathanabels.com
Layout & typography by 36

--

© Past Inside the Present
LP::PITPV-009 | MMXIX
CS:: PITP29 | MMXIX
PITP.bandcamp.com
pastinsidethepresent.com


LIMITED EDITION LP
155 gram 'transparent glacier' vinyl housed in a full color, matte jacket. Full color labels. Record is placed in white innersleeves.
The album is housed in a perforated sealed polybag. Limited to 300 units worldwide.

LIMITED EDITION CASSETTE
Lavender shell cassette tape with black imprinting, housed in a clear norelco box and shrink wrapped. Loaded with FerroMaster C456™ super ferric, ultra-high performance type-1 music grade analog tape. Limited to 100 units worldwide.

Moments We Spent Together | Marigold Fields
by Endless Melancholy
PITP Digital Exclusive

Making his debut appearance on PITP, Oleksiy Sakevych AKA Endless Melancholy contributes two angelic pieces to the PITP Digital Exclusive Series titled, "Moments We Spent Together" and "Marigold Fields". "Moments We Spent Together" is a grandiose introduction to this two-part release. It patiently builds and glistens in splendor, while piercing the soul that yearns for hope. "Marigold Fields" echoes and reflects the beauty found in "Moments We Spent Together". Gentle synths and distant pianos swell with restraint, cultivating a peaceful atmosphere that is transcendent and heavenly.

Written and produced by Oleksiy Sakevych
Layout & design treatments by zakè
--
© Past Inside the Present
This is PITP35 | MMXIX
PITP.bandcamp.com
pastinsidethepresent.com

'Morvan' by PGD/MV
Limited Edition Cassette / Digital

On their PITP debut, PDG/MV deliver seven, moody and cinematic improvisations that cover a wide breadth of textures and emotional landscapes.  Mechanical drones, feedback, and static build and eventually collapse into spacious and subaquatic ambiance.  Masterful transitions occur at a moments notice, keeping the listener engaged from start to finish.

All improvisations recorded and produced by Pierre Georges Desenfant & Maxime Vavasseur
July 10 - 13 2017, Chissey-en-Morvan, France
Mastered at Black Knoll Studio (NY) by Rafael Anton Irisarri.
Design & assemblage by zaké
Picture by Maxime Vavasseur

--

© Past Inside the Present
This is PITP-C007 | MMXIX
PITP.bandcamp.com
pastinsidethepresent.com

'Remnants Vol. VII' by Isaac Helsen
PITP Digital Exclusive
Two brand new angelic pieces in Helsen’s ‘Remnants Series’ which conjures the solitude of emptiness while contemplating existence.

‘Remnants’ by Isaac Helsen has taken several forms over many years: A full-length album and a double album, before it was scrapped entirely; reborn as a four-part series of EPs, and scrapped again; finally, taking form as 'Remnants', an eight-part series to be released over the course of 2019 on Past Inside the Present.

The project is both an autobiographical examination of the artist’s struggles with mental health and an attempt to deconstruct the idea of an album, creating a new series of sounds by collecting broken pieces of varying styles and in scattered stages of completion.

The individual eight volumes will be released sporadically and unpredictably throughout the remainder of 2019, noting both the sporadic and unpredictable nature of these collections of sound as well as the processes in which they were conceived.

50% of all proceeds for the ‘Remnants’ series will be donated to Active Minds, a charity focused on opening the conversation about mental health through support services and education, aimed at students aged 14-25.

Vol. VII context and setting:
solitude in emptiness, facing existence.

Written and produced by Isaac Helsen
Layout & design treatments by zakè
Photo captured in 2019 on expired Kodak Gold 200 film by Isaac Helsen

--

© Past Inside the Present
This is PITP17.7 | MMXIX
Vol. VII - Remnants Series
PITP.bandcamp.com
pastinsidethepresent.com

'Sunlight of Oneness | Very Amazing Now' by Phillip Wilkerson
PITP Digital Exclusive

Synth lines ripple and radiate throughout Phillip Wilkerson’s “Sunlight of Oneness,” the first track on his PITP debut. The song bathes the listener in a warm bath of blissful tones, momentarily connecting them with the universal plane. The transcendent “Very Amazing Now” follows, which further explores realms beyond our limited sense of self.

Written and composed by Phillip Wilkerson, BMI.
Layout & design treatments by zakè

--

© Past Inside the Present
This is PITP28 | MMXIX
PITP.bandcamp.com
www.pastinsidethepresent.com

'Streaking Light | The Lowest Tide' by Amulets
7" + Slipmat / Digital

Amulet’s music is intimately tied to the Pacific Northwest. Foggy and emotive soundscapes that perfectly encapsulate what it feels like to spend time on the Western Oregon Coast. With his PITP debut release, Randall Taylor utilizes his signature blend of tape manipulation, field recordings, and instrumentation to convey a sense of pensive hopefulness. Both “Streaking Light” and “The Lowest Tide” are brief but engaging glimpses into an environment that encourages and rewards introspection and wonder

Written and produced by Amulets
Layout & design treatments by zakè
Photography by Jacqueline Turner

--

© Past Inside the Present
This is PITP27 | MMXIX
PITP.bandcamp.com
www.pastinsidethepresent.com

SHIPPING BEGINS ON 10/31/19

-- 7" Record --
155 gram clear 7" vinyl housed in a black jacket with a die-cut center hole. Full color labels. 7" housed in a polyethylene bag. Hand-numbered. Pressed by Audio Geography on a high fidelity, stereo lathe-cut record for optimal playback, low surface noise, and extended frequency response. Limited to 25 units.

-- 7" Slipmat --
Professional grade, custom printed 7″ slipmat featuring the album artwork. 16oz glazed bottom. 100% polyester felt top. 1/16" thickness. Sublimation printing technique. Limited to 25 units.

'The Best Driving Music in the World Ever' by Sean Curtis Patrick
Cassette / Digital
10/31/2019

PITP is excited to present 'The Best Driving Music in the World Ever' by Sean Curtis Patrick. PITP has since released the album on all streaming platforms and will be releasing a very limited cassette pressing as well. Due out late October.

This album was recorded in a 48 hour period between Friday, 9/13/19 and Sunday 9/15/19. It was originally released on the evening of the 15th by SCP.

"This all came together due to a bout of loneliness and depression that swept over me that Friday evening. Being lonely sometimes can render positive results, something I am learning. On my walk home, I decided to go and make a guitar-based record and not leave the house until it was done. I succeeded and this is what was made. This is not a one-off experiment, that will disappear a few weeks from now: This is my fifth solo full-length record. It is "canon", to quote film nerds. I hope you enjoy it and appreciate the context of its creation. Context they say that's everything these days..." - SCP

Part of the proceeds will be donated to the Honnold Foundation, an honorable group trying to spread what is our solar-powered future. More about them here: www.honnoldfoundation.org

Recorded, Mixed, & Mastered in a 48hr sprint by Sean Curtis Patrick.
Vintage Fender Jazzmaster & Jaguar were the primary guitars used.
Album cover is a painting by SCP titled, "The Black & Gold Door".
Layout & assemblage by zaké
--
© Past Inside the Present
This is PITP-C003 | MMXIX
PITP.bandcamp.com
pastinsidethepresent.com