2026
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City of Dawn – Silent Portrait (PITP77)
15 APRIL 2026 / DIGIPAK CD / DIGITAL
For more than a decade, City of Dawn (aka Damien Duque) has graced us with a prolific run of experimental ambient that combines guitar with a broad range of other instruments and textures to craft consistently stunning sonic worlds. His work is guided by the enigmas of existence found not only in nature, but in the workings of the brain and body; many pieces are intended to heal through repetition with subtle variation, while others are driven by improvisation, biofeedback, and happenstance.
On Silent Portrait, Duque presents us with two extended, immersive compositions that balance rapturous intensity with placid delicacy, flowing all the while like ocean currents. “This collection is shaped by the ways my mind processes both noise and silence,” he explains, “and guided by a philosophy of existential, deep listening, I hope it will invite the listener into an unhurried space where loud and quiet can hold equal weight.” Drawn from a deep well of emotional inquiry, these compositions beautifully demonstrate the powerful effects that music and other vibrations can have on our overall well-being.
The first side, “Muted Colors Collide With Silent Screams”, begins on a bed of analog hiss and echoing tones that alternate between harmony and dissonance, conjuring images of tree shadows in heavy wind: fluid, fleeting, and transcendent. Lilting strings fill the stereo field in spacious orchestrations as the piece moves into its second movement, where deep bass appears through soft distortions and a cavernous, reverberating piano line darkens the edges. Here, we might be in the dusty corridor of an abandoned building, where shafts of light glow through cracked windows in a confluence of memory and mystery.
Duque masterfully guides us through his mind with instinctive evolutions, possessed by an adventuresome curiosity, always wanting to see around the next corner and behind each door. In its final minutes, “Muted Colors” builds to a dazzling, slow-motion swell before receding into mist and rumble, blanketed by twinkling guitars. The piece grew from a collaborative improvisation with long-time friend Marisa Grijalva in late 2024 that “felt simple and sincere, which was a feeling I wanted to keep,” he notes, “so I gradually composed around that core with all the layers of guitar drones, keyboards, and other textures that formed the final version.”
The second side, “Yet Garden’s Silence is Made of Sounds”, rises swiftly into a mammoth, dynamic drone that threatens to shred the speakers at its peak. Duque relents for a few breaths before teasing another rush, and another, mimicking the unpredictable whims of hurricane-force weather. Throughout its middle section, a white-noise hiss emerges as waves of shimmering, harmonic drone and deep-underground bass perform a remarkable balancing act. The final minutes of Silent Portrait revisit the stately strings of its beginning, creating a beautiful sense of natural cycles and symmetry; as it fades to a final stretch of choral vocals shrouded in cracking haze, the effect is sacred and eternal, as if pulled straight from the sky by deft hands.
Duque, an avowed advocate for the Autism community, elaborates, “My intention isn't to create something that simply soothes, but to build an environment that mirrors the depth and complexity of feeling, a space for introspection, presence, and the weight of being. Longform composition allows a different level of depth and nuance for the listener, and for me as a creator, so it was a joy to apply that approach to what began as a happy, inspired experiment, and let it intuitively grow into something so much bigger.”
CREDITS:
Written, recorded, and produced by City of Dawn. Bass and additional sound textures on 'Muted Colors Collide with Silent Screams' by Marisa Grijalva. Mastered at Ambient Mountain House by James Bernard. Cover design by Damien Duque. Layout and design by zakè.
FORMAT:
DISTRIBUTION:
Past Inside the Present Bandcamp (US), PITP.US (US), Norman Records (UK), Juno Records (UK), Soundohm (IT/EU), and others.
15 APRIL 2026 / DIGIPAK CD / DIGITAL
For more than a decade, City of Dawn (aka Damien Duque) has graced us with a prolific run of experimental ambient that combines guitar with a broad range of other instruments and textures to craft consistently stunning sonic worlds. His work is guided by the enigmas of existence found not only in nature, but in the workings of the brain and body; many pieces are intended to heal through repetition with subtle variation, while others are driven by improvisation, biofeedback, and happenstance.
On Silent Portrait, Duque presents us with two extended, immersive compositions that balance rapturous intensity with placid delicacy, flowing all the while like ocean currents. “This collection is shaped by the ways my mind processes both noise and silence,” he explains, “and guided by a philosophy of existential, deep listening, I hope it will invite the listener into an unhurried space where loud and quiet can hold equal weight.” Drawn from a deep well of emotional inquiry, these compositions beautifully demonstrate the powerful effects that music and other vibrations can have on our overall well-being.
The first side, “Muted Colors Collide With Silent Screams”, begins on a bed of analog hiss and echoing tones that alternate between harmony and dissonance, conjuring images of tree shadows in heavy wind: fluid, fleeting, and transcendent. Lilting strings fill the stereo field in spacious orchestrations as the piece moves into its second movement, where deep bass appears through soft distortions and a cavernous, reverberating piano line darkens the edges. Here, we might be in the dusty corridor of an abandoned building, where shafts of light glow through cracked windows in a confluence of memory and mystery.
Duque masterfully guides us through his mind with instinctive evolutions, possessed by an adventuresome curiosity, always wanting to see around the next corner and behind each door. In its final minutes, “Muted Colors” builds to a dazzling, slow-motion swell before receding into mist and rumble, blanketed by twinkling guitars. The piece grew from a collaborative improvisation with long-time friend Marisa Grijalva in late 2024 that “felt simple and sincere, which was a feeling I wanted to keep,” he notes, “so I gradually composed around that core with all the layers of guitar drones, keyboards, and other textures that formed the final version.”
The second side, “Yet Garden’s Silence is Made of Sounds”, rises swiftly into a mammoth, dynamic drone that threatens to shred the speakers at its peak. Duque relents for a few breaths before teasing another rush, and another, mimicking the unpredictable whims of hurricane-force weather. Throughout its middle section, a white-noise hiss emerges as waves of shimmering, harmonic drone and deep-underground bass perform a remarkable balancing act. The final minutes of Silent Portrait revisit the stately strings of its beginning, creating a beautiful sense of natural cycles and symmetry; as it fades to a final stretch of choral vocals shrouded in cracking haze, the effect is sacred and eternal, as if pulled straight from the sky by deft hands.
Duque, an avowed advocate for the Autism community, elaborates, “My intention isn't to create something that simply soothes, but to build an environment that mirrors the depth and complexity of feeling, a space for introspection, presence, and the weight of being. Longform composition allows a different level of depth and nuance for the listener, and for me as a creator, so it was a joy to apply that approach to what began as a happy, inspired experiment, and let it intuitively grow into something so much bigger.”
CREDITS:
Written, recorded, and produced by City of Dawn. Bass and additional sound textures on 'Muted Colors Collide with Silent Screams' by Marisa Grijalva. Mastered at Ambient Mountain House by James Bernard. Cover design by Damien Duque. Layout and design by zakè.
FORMAT:
- 4-Panel Digipak - Glass-mastered, silkscreen printed CD housed in a 4-panel, 300g satin cardstock Digipak. Clear cd tray. Includes download code insert. Shrinkwrapped. Pressed, manufactured, and assembled in Ontario, Canada. Edition of 150.
- Digital Download [at] pitp.bandcamp.com
DISTRIBUTION:
Past Inside the Present Bandcamp (US), PITP.US (US), Norman Records (UK), Juno Records (UK), Soundohm (IT/EU), and others.
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Almøst Silent – Kaizen (PITP76)
25 MARCH 2026 / DIGIPAK 2xCD / DIGITAL
Kaizen is the PITP solo début of French ambient artist and sound sculptor Almøst Silent (aka Guy Teixeira), whose deep drones, towering harmonies, and nuanced structures strike a unique emotional chord on each of the album’s fourteen pieces. Borrowed from Japanese philosophy, Kaizen denotes “change for the better”, reflecting the process of rebuilding health, confidence, and artistic identity through intuitive creation. “It is a record defined by patience and persistence,” Teixeira notes, “proving that growth doesn’t require dramatic reinvention, only the commitment to keep moving forward, one thoughtful step at a time.”
Comprised primarily of analogue and modular synthesizers, each chapter of Kaizen moves amid the shadows of imposing monoliths and the riddles of winding passageways; the tape hiss residue at the edges feels sacred and time-worn, as tremors of bass move the earth and symphonic streaks color the fading sky. “Bright Light” sinks without exposition into a granulated hum that quickly builds into dense waves of overlaid harmony, as a deep voice appears through heavy fog, evoking a sense of beautiful desolation on par with Biosphere’s classic Substrata.
“Tough Things” floats with minimal, dubby grace, the surfacing sighs of its primary chords providing a framework for a gentle, delayed melody that scatters across silken static. “Improvement” awakens under billowing curtains in dim light, summoning a clear piano line that ushers a soft howl through a lucid daydream. The midrange synth drone of “Ash” skims the surface like a pebble on a frozen river, while its companion piece, “Dust”, casts a mournful spell, adorned by glassy shimmers and textural accents. Through these arrangements, Teixeira unleashes a litany of moods with deliberate pacing, carefully guiding the listener from dark to light and back again, like clouds across a smog-choked sun.
Discussing the formation of Kaizen, Teixeira cites “a slower process built on small, consistent steps of recovery and reflection, which allowed the music to evolve naturally, instead of on a fixed timetable.” He continues, “In these works, I valued space, texture, and restraint, letting ideas mature, and allowing subtle changes to accumulate into something meaningful; in many ways, it felt like a return to the roots of my early 90s electronic influences and the sounds that shaped me.”
“Shoshin”, meaning “beginner’s mind”, conjures a clear piano theme, bolstered by a gathering storm of roiling bass and gently overdriven harmonics. For just a moment, a rich swell of strings appears and fades, nodding to the mercurial nature of relief and comfort. The mirror image is “Concrete”, where treated keys and analogue processing evoke the heady hauntology of labelmate Black Swan, but with a greater focus on contemplation and self-forgiving spurred by precarious faith. Both pieces follow in the transportive spirit of Wind Rust (2025), Teixeira’s moving, long-form collaboration with zakè.
In Kaizen’s final stretch, the murmurs of “Mindset” glide into a looping piano cycle and gusty field recordings pierced by points of light, while “Legacy” rounds out the set with a wintry hiss and ostinato string theme. As a slowly pulsing thump drifts in like a half-speed helicopter, a deconstructed exhalation of nebulous, grayscale mist leaves an impression of precious, but tenuous, peace.
RIYL: Biosphere, Deaf Center, Porn Sword Tobacco, Marcus Fjellstrom, Jasper TX, Clarice Jensen, Adam Bryanbaum Wiltzie
CREDITS:
All music written, mixed, arranged, performed, and produced by Almøst Silent (G.Teixeira) at DizzyLabFactory 64. Spoken words on 'Bright Light' by Bryan Freymuth. Mastered at Ambient Mountain House by James Bernard. Photography by Benoît Pioulard on Polaroid SX-70 film. Additional photography by G.Teixeira. Layout and design by zakè.
FORMAT:
DISTRIBUTION:
Past Inside the Present Bandcamp (US), PITP.US (US), Norman Records (UK), Juno Records (UK), Soundohm (IT/EU), and others.
25 MARCH 2026 / DIGIPAK 2xCD / DIGITAL
Kaizen is the PITP solo début of French ambient artist and sound sculptor Almøst Silent (aka Guy Teixeira), whose deep drones, towering harmonies, and nuanced structures strike a unique emotional chord on each of the album’s fourteen pieces. Borrowed from Japanese philosophy, Kaizen denotes “change for the better”, reflecting the process of rebuilding health, confidence, and artistic identity through intuitive creation. “It is a record defined by patience and persistence,” Teixeira notes, “proving that growth doesn’t require dramatic reinvention, only the commitment to keep moving forward, one thoughtful step at a time.”
Comprised primarily of analogue and modular synthesizers, each chapter of Kaizen moves amid the shadows of imposing monoliths and the riddles of winding passageways; the tape hiss residue at the edges feels sacred and time-worn, as tremors of bass move the earth and symphonic streaks color the fading sky. “Bright Light” sinks without exposition into a granulated hum that quickly builds into dense waves of overlaid harmony, as a deep voice appears through heavy fog, evoking a sense of beautiful desolation on par with Biosphere’s classic Substrata.
“Tough Things” floats with minimal, dubby grace, the surfacing sighs of its primary chords providing a framework for a gentle, delayed melody that scatters across silken static. “Improvement” awakens under billowing curtains in dim light, summoning a clear piano line that ushers a soft howl through a lucid daydream. The midrange synth drone of “Ash” skims the surface like a pebble on a frozen river, while its companion piece, “Dust”, casts a mournful spell, adorned by glassy shimmers and textural accents. Through these arrangements, Teixeira unleashes a litany of moods with deliberate pacing, carefully guiding the listener from dark to light and back again, like clouds across a smog-choked sun.
Discussing the formation of Kaizen, Teixeira cites “a slower process built on small, consistent steps of recovery and reflection, which allowed the music to evolve naturally, instead of on a fixed timetable.” He continues, “In these works, I valued space, texture, and restraint, letting ideas mature, and allowing subtle changes to accumulate into something meaningful; in many ways, it felt like a return to the roots of my early 90s electronic influences and the sounds that shaped me.”
“Shoshin”, meaning “beginner’s mind”, conjures a clear piano theme, bolstered by a gathering storm of roiling bass and gently overdriven harmonics. For just a moment, a rich swell of strings appears and fades, nodding to the mercurial nature of relief and comfort. The mirror image is “Concrete”, where treated keys and analogue processing evoke the heady hauntology of labelmate Black Swan, but with a greater focus on contemplation and self-forgiving spurred by precarious faith. Both pieces follow in the transportive spirit of Wind Rust (2025), Teixeira’s moving, long-form collaboration with zakè.
In Kaizen’s final stretch, the murmurs of “Mindset” glide into a looping piano cycle and gusty field recordings pierced by points of light, while “Legacy” rounds out the set with a wintry hiss and ostinato string theme. As a slowly pulsing thump drifts in like a half-speed helicopter, a deconstructed exhalation of nebulous, grayscale mist leaves an impression of precious, but tenuous, peace.
RIYL: Biosphere, Deaf Center, Porn Sword Tobacco, Marcus Fjellstrom, Jasper TX, Clarice Jensen, Adam Bryanbaum Wiltzie
CREDITS:
All music written, mixed, arranged, performed, and produced by Almøst Silent (G.Teixeira) at DizzyLabFactory 64. Spoken words on 'Bright Light' by Bryan Freymuth. Mastered at Ambient Mountain House by James Bernard. Photography by Benoît Pioulard on Polaroid SX-70 film. Additional photography by G.Teixeira. Layout and design by zakè.
FORMAT:
- 4-Panel Digipak 2xCD - Two glass-mastered, silkscreen printed CDs housed in a 4-panel, 300g satin cardstock Digipak. Clear cd trays. Shrinkwrapped. Pressed and printed in the Canada. Edition of 150.
- Digital Download [at] pitp.bandcamp.com
DISTRIBUTION:
Past Inside the Present Bandcamp (US), PITP.US (US), Norman Records (UK), Juno Records (UK), Soundohm (IT/EU), and others.
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anthéne – perennials (PITP75)
4 MARCH 2026 / DIGIPAK CD / DIGITAL
Toronto-based anthéne (aka Brad Deschamps) builds transportive, beautifully detailed sonic worlds using only a guitar, sampler, and modest cache of pedals. On perennials, his refined treatments, manipulations, and experimentations blend seamlessly with an innate sense of harmonic layering to create an impression of seasonal cycles and their relationship to the human experience at scale.
“winter chords” opens with slow serenity and a faint suggestion of hibernation heartbeats, as overlapping arcs of guitar drift across a grey-blue expanse and bare branches scrape at the windowpanes, perfectly establishing the delicacy of what follows. On “shades of night”, a gentle tremolo guides a set of alternating chords and shivers of starlit melody, resulting in a spell of ecstatic upward gazing. “drifts and debris” demonstrates one of many ways in which Deschamps is able to use his Jazzmaster to make an orchestra of moods with an alluring combination of compositional skill and dynamic sound design, evoking a rolling sea as it blends into a darkening sky.
About his inspirations for perennials, he notes,”I considered how we face major challenges but always find a way back to center, and the ways emotional rhythms mirror the return of nature after every harsh freeze – all these things that have their own organic pace and require some kind of surrender.” During his sessions, the timeless writings of Walt Whitman and production styles of Sparklehorse and Califone were also key to the mindset that brought these pieces to life. Fittingly, the careful mastering work of James Bernard – with whom Deschamps previously collaborated on the Soft Octaves LP (PITP, 2023) – highlights the unique personality of every low-end hum, heavenly reverberation, and finespun flourish across the set.
The meadows and moraines of “imaginary lines” develop from a kinetic combination of powerful harmonies and feather-light field recordings, while the incandescent loops of “spread of inventions” rise and fall as if on a carousel, blurring a little more with each pass. The gorgeous, gathering swells of title track, “perennials”, conjure the emergence of life after winter, as the ground gives way to lush verdancy and new resolve materializes in the fresh air.
The album concludes with “try to be more realistic”, on which Deschamps takes a yawning, bowed guitar recording by kranky veteran Benoit Pioulard and graces its contemplative environment with glittering bells and layers of treated and re-sampled guitar, yielding a hypnotic shimmer that fades into soft-edged stasis. As a slight chill pervades these final moments, the impulse to flip back to side A and begin the journey again feels as natural as the seasons that inspired the suite.
In addition to being the founder and curator of Polar Seas Recordings and Floralia Editions, Deschamps has released extensively with luminary labels including Home Normal, Quiet Details, and Constellation Tatsu, earning a reputation as one of the most accomplished and consistent producers of compelling ambient music working today. perennials builds on the ideas and environments of previous solo works like frailty (2025) while summoning its own unique universe of meditative, organic grace.
CREDITS:
All music written, arranged, performed, and produced by Brad Deschamps. Track 8 reworked from an original piece by Benoît Pioulard. Engineered and mastered at Ambient Mountain House by James Bernard. Photography by Benoît Pioulard on Polaroid SX-70 film. Layout and design by zakè.
FORMAT:
DISTRIBUTION:
Past Inside the Present Bandcamp (US), PITP.US (US), Norman Records (UK), Juno Records (UK), Soundohm (IT/EU), and others.
4 MARCH 2026 / DIGIPAK CD / DIGITAL
Toronto-based anthéne (aka Brad Deschamps) builds transportive, beautifully detailed sonic worlds using only a guitar, sampler, and modest cache of pedals. On perennials, his refined treatments, manipulations, and experimentations blend seamlessly with an innate sense of harmonic layering to create an impression of seasonal cycles and their relationship to the human experience at scale.
“winter chords” opens with slow serenity and a faint suggestion of hibernation heartbeats, as overlapping arcs of guitar drift across a grey-blue expanse and bare branches scrape at the windowpanes, perfectly establishing the delicacy of what follows. On “shades of night”, a gentle tremolo guides a set of alternating chords and shivers of starlit melody, resulting in a spell of ecstatic upward gazing. “drifts and debris” demonstrates one of many ways in which Deschamps is able to use his Jazzmaster to make an orchestra of moods with an alluring combination of compositional skill and dynamic sound design, evoking a rolling sea as it blends into a darkening sky.
About his inspirations for perennials, he notes,”I considered how we face major challenges but always find a way back to center, and the ways emotional rhythms mirror the return of nature after every harsh freeze – all these things that have their own organic pace and require some kind of surrender.” During his sessions, the timeless writings of Walt Whitman and production styles of Sparklehorse and Califone were also key to the mindset that brought these pieces to life. Fittingly, the careful mastering work of James Bernard – with whom Deschamps previously collaborated on the Soft Octaves LP (PITP, 2023) – highlights the unique personality of every low-end hum, heavenly reverberation, and finespun flourish across the set.
The meadows and moraines of “imaginary lines” develop from a kinetic combination of powerful harmonies and feather-light field recordings, while the incandescent loops of “spread of inventions” rise and fall as if on a carousel, blurring a little more with each pass. The gorgeous, gathering swells of title track, “perennials”, conjure the emergence of life after winter, as the ground gives way to lush verdancy and new resolve materializes in the fresh air.
The album concludes with “try to be more realistic”, on which Deschamps takes a yawning, bowed guitar recording by kranky veteran Benoit Pioulard and graces its contemplative environment with glittering bells and layers of treated and re-sampled guitar, yielding a hypnotic shimmer that fades into soft-edged stasis. As a slight chill pervades these final moments, the impulse to flip back to side A and begin the journey again feels as natural as the seasons that inspired the suite.
In addition to being the founder and curator of Polar Seas Recordings and Floralia Editions, Deschamps has released extensively with luminary labels including Home Normal, Quiet Details, and Constellation Tatsu, earning a reputation as one of the most accomplished and consistent producers of compelling ambient music working today. perennials builds on the ideas and environments of previous solo works like frailty (2025) while summoning its own unique universe of meditative, organic grace.
CREDITS:
All music written, arranged, performed, and produced by Brad Deschamps. Track 8 reworked from an original piece by Benoît Pioulard. Engineered and mastered at Ambient Mountain House by James Bernard. Photography by Benoît Pioulard on Polaroid SX-70 film. Layout and design by zakè.
FORMAT:
- 4-Panel Digipak - Glass-mastered, silkscreen printed CD housed in a 4-panel, 300g satin cardstock Digipak. Clear cd tray. Includes download code insert. Shrinkwrapped. Pressed, manufactured, and assembled in Ontario, Canada. Edition of 150.
- Digital Download [at] pitp.bandcamp.com
DISTRIBUTION:
Past Inside the Present Bandcamp (US), PITP.US (US), Norman Records (UK), Juno Records (UK), Soundohm (IT/EU), and others.
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Slow Dancing Society & City of Dawn – The Dream Season (PITP-D01)
20 FEB. 2026 / DIGITAL
The Dream Season by Slow Dancing Society (Drew Sullivan) and City of Dawn (Damien Duque) is the debut collaboration between the two longtime PITP artists. Set firmly in the stillness of nighttime, the album captures quiet city alleys, empty sidewalks, and dim streetlights glowing in the distance. The duo move freely through minimal electronica and ambient textures, creating a cohesive and stark portrait of the city after dark.
There is something transformative about stepping out when a city sleeps, when the shapes and silhouettes of its daily rush soften and shift beneath the covering of night. The Dream Season serves as a soundtrack for those who remain awake in the dark, finding beauty in the calm that follows the noise.
CREDITS:
Written, recorded, and produced by Slow Dancing Society and City of Dawn. Mastered at SDS Studio by Drew Sullivan. Design and layout by zakè.
FORMAT:
Digital Download [at] pitp.bandcamp.com
20 FEB. 2026 / DIGITAL
The Dream Season by Slow Dancing Society (Drew Sullivan) and City of Dawn (Damien Duque) is the debut collaboration between the two longtime PITP artists. Set firmly in the stillness of nighttime, the album captures quiet city alleys, empty sidewalks, and dim streetlights glowing in the distance. The duo move freely through minimal electronica and ambient textures, creating a cohesive and stark portrait of the city after dark.
There is something transformative about stepping out when a city sleeps, when the shapes and silhouettes of its daily rush soften and shift beneath the covering of night. The Dream Season serves as a soundtrack for those who remain awake in the dark, finding beauty in the calm that follows the noise.
CREDITS:
Written, recorded, and produced by Slow Dancing Society and City of Dawn. Mastered at SDS Studio by Drew Sullivan. Design and layout by zakè.
FORMAT:
Digital Download [at] pitp.bandcamp.com
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36 – Threewave (PITP73)
6 FEB. 2026 / 3xLP Set / DIGITAL
‘Threewave’ is the complete synth trilogy from 36, gathering three interconnected releases that trace a single evolving vision across five years: Wave Variations (PITP36, 2020), Symmetry Systems (PITP V052, 2022), and Reality Engine (PITP V055, 2024).
Built on self imposed limitations and a tightly curated palette of melodic, synth driven textures, the trilogy unfolds like a unified suite of short form transmissions, where each piece directly informs the next.
From the tide like, minimalist vignettes of Wave Variations to the warm machine nostalgia of Symmetry Systems (inspired by Warp’s early Artificial Intelligence era), 36 maintains an unmistakably human touch within the circuitry, balancing melancholic keys with luminous atmosphere. The arc culminates in Reality Engine, where the trilogy’s “melodic, melancholy machine sound” expands into broader thematic terrain, exploring artificial intelligence, perception, and the blurred boundary between the real and the imagined.
Together, this trilogy of sound stands as a defining chapter in the shared story of 36 and Past Inside the Present, a partnership built on trust, artistic freedom, and a mutual devotion to timeless, emotionally resonant sound.
CREDITS:
Everything by 36. Cut at WMM. Pressed at GGR. Marketed, distributed, and published by Past Inside the Present. Pressed, manufactured, and assembled in Cleveland, OH-US.
FORMAT:
DISTRIBUTION:
Past Inside the Present Bandcamp (US), PITP.US (US), Norman Records (UK), Juno Records (UK), Soundohm (IT/EU), and others.
6 FEB. 2026 / 3xLP Set / DIGITAL
‘Threewave’ is the complete synth trilogy from 36, gathering three interconnected releases that trace a single evolving vision across five years: Wave Variations (PITP36, 2020), Symmetry Systems (PITP V052, 2022), and Reality Engine (PITP V055, 2024).
Built on self imposed limitations and a tightly curated palette of melodic, synth driven textures, the trilogy unfolds like a unified suite of short form transmissions, where each piece directly informs the next.
From the tide like, minimalist vignettes of Wave Variations to the warm machine nostalgia of Symmetry Systems (inspired by Warp’s early Artificial Intelligence era), 36 maintains an unmistakably human touch within the circuitry, balancing melancholic keys with luminous atmosphere. The arc culminates in Reality Engine, where the trilogy’s “melodic, melancholy machine sound” expands into broader thematic terrain, exploring artificial intelligence, perception, and the blurred boundary between the real and the imagined.
Together, this trilogy of sound stands as a defining chapter in the shared story of 36 and Past Inside the Present, a partnership built on trust, artistic freedom, and a mutual devotion to timeless, emotionally resonant sound.
CREDITS:
Everything by 36. Cut at WMM. Pressed at GGR. Marketed, distributed, and published by Past Inside the Present. Pressed, manufactured, and assembled in Cleveland, OH-US.
FORMAT:
- Limited 3xLP Vinyl Set - 3xLP 160g audiophile black vinyl. Housed in a wide spine jacket. Rice paper innersleeves. Shrinkwrapped. Edition of 200.
- Digital Download [at] pitp.bandcamp.com
DISTRIBUTION:
Past Inside the Present Bandcamp (US), PITP.US (US), Norman Records (UK), Juno Records (UK), Soundohm (IT/EU), and others.
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Slow Dancing Society – The Disappearing Collective Vol. II (PITP72)
14 JAN. 2026 / LP / DIGITAL
Since taking on the Slow Dancing Society mantle in 2006, Pacific Northwest-based Drew Sullivan has issued more than two dozen collections built from radiant analog synthesis, treated guitars, and an intuitive sense of texture. The Disappearing Collective, Vol. I (PITP, 2020) was an essential expression of reverberating beauty pulled from the darkness of an uncertain era, and six years on, The Disappearing Collective, Vol. II (PITP, 2026) expands on that theme with the wisdom and resolve that have emerged since. “It started with considering where I was in my life back then,” Sullivan notes, “and a desire to reimagine that peculiar headspace, to play in its world again with a different perspective.”
“I Never Will Forget Those Nights” opens the album with a pensive hum and swirling synths over snow-tire ambience, as subtle chord changes mimic shifts in wind direction across a dormant field. There is a particular kind of nocturnal comfort here, not entirely of this world, but familiar in its warmth and welcoming pull. “A Light in the Window at Home” rises from a mysterious howl beneath angelic drones, each element in complementary contrast to the other, while the rumbling bass of “Ephemeris” underscores subtle tonal explorations, smeared across a clock face whose second hand ticks patiently in the background. The quiet power of these pieces illustrates a mastery of world-building through nuanced arrangement and wordless storytelling, each with its own peaks, valleys, and blind corners.
About the album title’s origins, Sullivan cites a line by slow-folk artist Matthew Ryan, who sings, “The things we love will one day disappear / First slow, and then so quick”. This simple, cutting notion applies at the personal scale, as well as the cosmic, and describes perfectly the complicated dance of honoring loss through memory while remaining receptive to the joys of the present. As much as ever, the job of the artist is to return us to ourselves, to tilt our gaze upward and offer a hand on the shoulder amid tender desolation.
On “Tenshi”, soft rain falls in veils behind a slow, crystalline keyboard theme that recalls the spacious, reverent beauty of Hiroshi Yoshimura. Quiet strings develop beneath panning pulses that feel like delicate Morse code messages filtering in from across the ether, conveying some nebulous message to those back home. Elsewhere, we hear blissed-out, shimmering synth arpeggiations, softly glitching fragments of melody, and other disarmingly organic forms built from a shapeshifting combination of guitar, keys, and software.
Closing track, “Blue Suburban Skies”, unfolds with understated momentum, driven by sparse percussion and an array of harmonic textures that recall the most heartbreaking and emotive parts of the legendary score to Twin Peaks. Halfway through, a rich string arrangement joins a cascade of synthesizers to perfectly summarize Sullivan’s wide-ranging skills and worlds of contrast. “I am always working on different projects, and have had a ‘Volume II’ folder for a while, growing as things presented themselves from various sessions,” Sullivan says. “Ultimately, the songs tell me where they want to go.”
CREDITS:
All music written, arranged, performed, and produced by Slow Dancing Society. Mixed and mastered at SDS Studios by Drew Sullivan. Layout and design by zakè.
FORMAT:
DISTRIBUTION:
Past Inside the Present Bandcamp (US), PITP.US (US), Norman Records (UK), Juno Records (UK), Soundohm (IT/EU), and others.
14 JAN. 2026 / LP / DIGITAL
Since taking on the Slow Dancing Society mantle in 2006, Pacific Northwest-based Drew Sullivan has issued more than two dozen collections built from radiant analog synthesis, treated guitars, and an intuitive sense of texture. The Disappearing Collective, Vol. I (PITP, 2020) was an essential expression of reverberating beauty pulled from the darkness of an uncertain era, and six years on, The Disappearing Collective, Vol. II (PITP, 2026) expands on that theme with the wisdom and resolve that have emerged since. “It started with considering where I was in my life back then,” Sullivan notes, “and a desire to reimagine that peculiar headspace, to play in its world again with a different perspective.”
“I Never Will Forget Those Nights” opens the album with a pensive hum and swirling synths over snow-tire ambience, as subtle chord changes mimic shifts in wind direction across a dormant field. There is a particular kind of nocturnal comfort here, not entirely of this world, but familiar in its warmth and welcoming pull. “A Light in the Window at Home” rises from a mysterious howl beneath angelic drones, each element in complementary contrast to the other, while the rumbling bass of “Ephemeris” underscores subtle tonal explorations, smeared across a clock face whose second hand ticks patiently in the background. The quiet power of these pieces illustrates a mastery of world-building through nuanced arrangement and wordless storytelling, each with its own peaks, valleys, and blind corners.
About the album title’s origins, Sullivan cites a line by slow-folk artist Matthew Ryan, who sings, “The things we love will one day disappear / First slow, and then so quick”. This simple, cutting notion applies at the personal scale, as well as the cosmic, and describes perfectly the complicated dance of honoring loss through memory while remaining receptive to the joys of the present. As much as ever, the job of the artist is to return us to ourselves, to tilt our gaze upward and offer a hand on the shoulder amid tender desolation.
On “Tenshi”, soft rain falls in veils behind a slow, crystalline keyboard theme that recalls the spacious, reverent beauty of Hiroshi Yoshimura. Quiet strings develop beneath panning pulses that feel like delicate Morse code messages filtering in from across the ether, conveying some nebulous message to those back home. Elsewhere, we hear blissed-out, shimmering synth arpeggiations, softly glitching fragments of melody, and other disarmingly organic forms built from a shapeshifting combination of guitar, keys, and software.
Closing track, “Blue Suburban Skies”, unfolds with understated momentum, driven by sparse percussion and an array of harmonic textures that recall the most heartbreaking and emotive parts of the legendary score to Twin Peaks. Halfway through, a rich string arrangement joins a cascade of synthesizers to perfectly summarize Sullivan’s wide-ranging skills and worlds of contrast. “I am always working on different projects, and have had a ‘Volume II’ folder for a while, growing as things presented themselves from various sessions,” Sullivan says. “Ultimately, the songs tell me where they want to go.”
CREDITS:
All music written, arranged, performed, and produced by Slow Dancing Society. Mixed and mastered at SDS Studios by Drew Sullivan. Layout and design by zakè.
FORMAT:
- Limited Vinyl Record - 160g color vinyl record housed in a 3mm matte jacket. Full color center labels. Black innersleeve. Download code insert. Shrinkwrapped. Edition of 100.
- Limited Vinyl Record - 160g audiophile black vinyl record housed in a 3mm matte jacket. Full color center labels. Black innersleeve. Download code insert. Shrinkwrapped. Edition of 100.
- Digital Download [at] pitp.bandcamp.com
DISTRIBUTION:
Past Inside the Present Bandcamp (US), PITP.US (US), Norman Records (UK), Juno Records (UK), Soundohm (IT/EU), and others.
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zakè – Cantus for Winter in Six Parts (PITP71)
01 JAN. 2026 / LP / CD / DIGITAL
zakè’s deep attachment to the seasons of the Midwest, along with his intuitive approach to sound creation, has led to a deep and varied body of analog ambient drone recordings across the past ten years. Many of his albums take on the forms and colors of the space in which they are heard, but others convey something more fleeting and indefinable, far beyond the five senses. Cantus for Winter in Six Parts creates a space for comfort, contemplation, nostalgia, and longing; a moment of stillness that honors the cycle of all things, wandering fallow landscapes while dreaming of their renewal.
“Part One” opens with soft, analog hiss and smoky, legato cello, melting into calm waves of drone that immediately envelop the listener. The shifts are subdued, as barely-there field recordings haunt the backdrop, filling the negative space with spectral reverberations. The seamless transition into “Part Two” is marked only by a tectonic rumble, as snow falls on a thin roof and dry logs crackle, creating a hushed atmosphere of sublime calm through deep resonances and a sustained wisp of pianissimo violin. In moments like these, one understands the breadth of zakè’s influences, especially heavy rock and metal, where extreme restraint can often hit with greater effect and catharsis than any amount of wild abandon.
On “Part Four”, wind begins to batter the cladding, a rippling gasp beneath rich, orchestral tones. A moment of pure, centered meditation follows, stretching out to infinity as the first side concludes its transportive arc. “Part Five” is a miniature that nevertheless contains its own yawning universe of iridescent glow for a brief and spellbinding moment, emptying the lungs before the 19-minute finale. As the central loop of “Part Six” is established, each slow-burning pass brings a minuscule build in intensity, and a delicate shift in layering. These variations embody the ineffable magic of winter nights that offer pure solitude amid accumulating ice, and by capturing this rare feeling so vividly, zakè finds endlessness in the momentary.
CREDITS:
Produced, arranged, and mixed by zakè. Engineered and mastered at Ambient Mountain House by James Bernard. Photography by Benoît Pioulard on Polaroid SX-70 film. Layout and design by zakè.
FORMAT:
DISTRIBUTION:
Past Inside the Present Bandcamp (US), PITP.US (US), Norman Records (UK), Juno Records (UK), Soundohm (IT/EU), and others.
01 JAN. 2026 / LP / CD / DIGITAL
zakè’s deep attachment to the seasons of the Midwest, along with his intuitive approach to sound creation, has led to a deep and varied body of analog ambient drone recordings across the past ten years. Many of his albums take on the forms and colors of the space in which they are heard, but others convey something more fleeting and indefinable, far beyond the five senses. Cantus for Winter in Six Parts creates a space for comfort, contemplation, nostalgia, and longing; a moment of stillness that honors the cycle of all things, wandering fallow landscapes while dreaming of their renewal.
“Part One” opens with soft, analog hiss and smoky, legato cello, melting into calm waves of drone that immediately envelop the listener. The shifts are subdued, as barely-there field recordings haunt the backdrop, filling the negative space with spectral reverberations. The seamless transition into “Part Two” is marked only by a tectonic rumble, as snow falls on a thin roof and dry logs crackle, creating a hushed atmosphere of sublime calm through deep resonances and a sustained wisp of pianissimo violin. In moments like these, one understands the breadth of zakè’s influences, especially heavy rock and metal, where extreme restraint can often hit with greater effect and catharsis than any amount of wild abandon.
On “Part Four”, wind begins to batter the cladding, a rippling gasp beneath rich, orchestral tones. A moment of pure, centered meditation follows, stretching out to infinity as the first side concludes its transportive arc. “Part Five” is a miniature that nevertheless contains its own yawning universe of iridescent glow for a brief and spellbinding moment, emptying the lungs before the 19-minute finale. As the central loop of “Part Six” is established, each slow-burning pass brings a minuscule build in intensity, and a delicate shift in layering. These variations embody the ineffable magic of winter nights that offer pure solitude amid accumulating ice, and by capturing this rare feeling so vividly, zakè finds endlessness in the momentary.
CREDITS:
Produced, arranged, and mixed by zakè. Engineered and mastered at Ambient Mountain House by James Bernard. Photography by Benoît Pioulard on Polaroid SX-70 film. Layout and design by zakè.
FORMAT:
- 4-Panel Digipak 2xCD
- Limited Vinyl Record - 160g boreal blue vinyl record housed in a 3mm matte jacket. Full color center labels. Black innersleeve. Download code insert. Shrinkwrapped. Edition of 100.
- Limited Vinyl Record - 160g audiophile black vinyl record housed in a 3mm matte jacket. Full color center labels. Black innersleeve. Download code insert. Shrinkwrapped. Edition of 100.
- Digital Download [at] pitp.bandcamp.com
DISTRIBUTION:
Past Inside the Present Bandcamp (US), PITP.US (US), Norman Records (UK), Juno Records (UK), Soundohm (IT/EU), and others.
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