2026
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leon todd johnson - untitled (PITP87)
26 AUGUST 2026 / LIMITED CASSETTE / DIGITAL
leon todd johnson makes his Past Inside the Present debut with untitled, a three track collection of ambient adjacent instrumental pieces shaped by gentle guitar work, analog textures, and tactile instrumentation. Formerly recording as Airport People, the Indianapolis-based artist has spent years refining a patient, understated approach that feels both immediate and nostalgic.
Each composition balances warmth, restraint, and subtle detail. The music evokes memories that feel both forgotten and newly remembered without leaning on sentimentality, allowing its painterly arrangements and soulful depth to emerge naturally. untitled is a confident introduction to johnson's work on Past Inside the Present and another welcome addition to the growing community of Indiana artists represented by the label, itself proudly based in Indiana.
CREDITS:
Written, recorded, produced, arranged, mixed, and performed by Leon Todd Johnson. Instrumentation: electric guitar, bass guitar, synthesizer, orchestral sample manipulations (vibes, harp, celesta, violins, cello, marimba, flute), and Monome Norns + Arc (custom script by ltj). Field recordings captured outside his home in Indianapolis. Mastered by zakè. Cover art by Ada Johnson. Layout and design by zakè. Marketing, distribution, and phonographic copyright: Past Inside the Present. ©℗ 2026 Past Inside the Present. This is PITP87.
FORMAT:
DISTRIBUTION:
Past Inside the Present Bandcamp (US), PITP.US (US), Norman Records (UK), Juno Records (UK), Soundohm (IT/EU), and others.
26 AUGUST 2026 / LIMITED CASSETTE / DIGITAL
leon todd johnson makes his Past Inside the Present debut with untitled, a three track collection of ambient adjacent instrumental pieces shaped by gentle guitar work, analog textures, and tactile instrumentation. Formerly recording as Airport People, the Indianapolis-based artist has spent years refining a patient, understated approach that feels both immediate and nostalgic.
Each composition balances warmth, restraint, and subtle detail. The music evokes memories that feel both forgotten and newly remembered without leaning on sentimentality, allowing its painterly arrangements and soulful depth to emerge naturally. untitled is a confident introduction to johnson's work on Past Inside the Present and another welcome addition to the growing community of Indiana artists represented by the label, itself proudly based in Indiana.
CREDITS:
Written, recorded, produced, arranged, mixed, and performed by Leon Todd Johnson. Instrumentation: electric guitar, bass guitar, synthesizer, orchestral sample manipulations (vibes, harp, celesta, violins, cello, marimba, flute), and Monome Norns + Arc (custom script by ltj). Field recordings captured outside his home in Indianapolis. Mastered by zakè. Cover art by Ada Johnson. Layout and design by zakè. Marketing, distribution, and phonographic copyright: Past Inside the Present. ©℗ 2026 Past Inside the Present. This is PITP87.
FORMAT:
- C456 Limited Edition Cassette - Split color cassette tape shell (black/white) with direct imprinting, housed in a clear/white norelco box. Loaded with FerroMaster C456™ super ferric, ultra-high performance type-1 music grade analog tape. Pressed, manufactured, and assembled in Canada. Mastered for cassette by zakè. Photography by leon todd johnson. Layout and design by zakè. Edition of 50.
- 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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Tyresta - Nothing Is Hidden (PITP84)
19 AUGUST 2026 / DIGIPAK CD / DIGITAL
Before the music found its form, Tyresta emerged as a means of finding footing through life's uncertainty. What began in 2016 as a quiet creative outlet gradually evolved into one of the defining voices within the Past Inside the Present catalog. Over the past decade, Nick Turner has crafted a body of work distinguished by emotional honesty, restraint, and a remarkable sensitivity to atmosphere.
From the deeply affecting All We Have (2020), through its poignant companion Small Hours (2023), to the expansive collaborations found on Color of Time (2021), Color of Time II (2024), and Azimuth with Simon McCorry (2025), Turner's music has consistently explored memory, grief, healing, and the quiet spaces between them. Each release has marked another chapter in an artistic journey defined not by spectacle, but by sincerity.
Recorded between 2023 and 2025, Nothing Is Hidden represents a gentle yet meaningful shift in perspective. Where earlier works were born from loss and the slow work of recovery, this collection turns its gaze toward gratitude. These compositions are reflections on the enduring friendships, kindness, and love that carried Turner through his most difficult years. Featuring contributions from some of his closest collaborators and favorite musicians, the album feels both deeply personal and quietly communal, celebrating the relationships that have become inseparable from the music itself.
There is a palpable sense of arrival throughout Nothing Is Hidden. Rather than looking backward, the album embraces the present with warmth and quiet confidence, offering arrangements that feel patient, luminous, and profoundly human. It is music that invites reflection while remaining hopeful, allowing moments of stillness to speak as eloquently as melody.
Nick has been an essential part of Past Inside the Present since the label's inception, helping shape both its sound and its identity through a catalog of deeply resonant works. We are honored to continue documenting his artistic legacy with Nothing Is Hidden, a record that stands not only as a culmination of the journey thus far, but as a beautiful reminder that, even after our darkest seasons, gratitude has a way of revealing what has been there all along.
CREDITS:
Written, recorded, and produced by Nick Turner, featuring: Sharon Udoh (piano), Scott Rubin (viola) on All Around You. Sharon Udoh (piano), Ben Zucker (trumpet) on Eyes Wide Wandering. Patrick Shiroishi (saxophone, vocals) on Everything You Need. Leon Todd Johnson (piano) on Softly Sway. Mastered at Ambient Mountain House by James Bernard. Album art, 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.
19 AUGUST 2026 / DIGIPAK CD / DIGITAL
Before the music found its form, Tyresta emerged as a means of finding footing through life's uncertainty. What began in 2016 as a quiet creative outlet gradually evolved into one of the defining voices within the Past Inside the Present catalog. Over the past decade, Nick Turner has crafted a body of work distinguished by emotional honesty, restraint, and a remarkable sensitivity to atmosphere.
From the deeply affecting All We Have (2020), through its poignant companion Small Hours (2023), to the expansive collaborations found on Color of Time (2021), Color of Time II (2024), and Azimuth with Simon McCorry (2025), Turner's music has consistently explored memory, grief, healing, and the quiet spaces between them. Each release has marked another chapter in an artistic journey defined not by spectacle, but by sincerity.
Recorded between 2023 and 2025, Nothing Is Hidden represents a gentle yet meaningful shift in perspective. Where earlier works were born from loss and the slow work of recovery, this collection turns its gaze toward gratitude. These compositions are reflections on the enduring friendships, kindness, and love that carried Turner through his most difficult years. Featuring contributions from some of his closest collaborators and favorite musicians, the album feels both deeply personal and quietly communal, celebrating the relationships that have become inseparable from the music itself.
There is a palpable sense of arrival throughout Nothing Is Hidden. Rather than looking backward, the album embraces the present with warmth and quiet confidence, offering arrangements that feel patient, luminous, and profoundly human. It is music that invites reflection while remaining hopeful, allowing moments of stillness to speak as eloquently as melody.
Nick has been an essential part of Past Inside the Present since the label's inception, helping shape both its sound and its identity through a catalog of deeply resonant works. We are honored to continue documenting his artistic legacy with Nothing Is Hidden, a record that stands not only as a culmination of the journey thus far, but as a beautiful reminder that, even after our darkest seasons, gratitude has a way of revealing what has been there all along.
CREDITS:
Written, recorded, and produced by Nick Turner, featuring: Sharon Udoh (piano), Scott Rubin (viola) on All Around You. Sharon Udoh (piano), Ben Zucker (trumpet) on Eyes Wide Wandering. Patrick Shiroishi (saxophone, vocals) on Everything You Need. Leon Todd Johnson (piano) on Softly Sway. Mastered at Ambient Mountain House by James Bernard. Album art, layout, and design by zakè.
FORMAT:
- 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. Mastered at Ambient Mountain House by James Bernard. Album art, layout, and design by zakè. 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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Almost An Island - Few Words Are Enough EP (PITP-C029)
05 AUGUST 2026 / LIMITED CASSETTE / DIGITAL
Following last year's debut LP, Almost An Island, released on Past Inside the Present, the trio of James Bernard, Cynthia Bernard, and Kenneth James Gibson return with the three-song EP Few Words Are Enough. The collection includes the title track, previously available only on Bandcamp as part of PITP's year-end compilation, along with an extended ambient version and a brand-new piece, Gift of Place, featuring the enveloping textures of taishogoto harp and lap steel. Picking up where Almost An Island left off, the EP continues the trio's exploration of ambient Americana, dream pop and cinematic textures, calling forth vast landscapes and the beauty of the open road. The group is currently at work on their second full-length album, slated for release on Past Inside the Present in 2027.
CREDITS:
All music written, arranged, performed, and produced by James Bernard, Cynthia Bernard and Kenneth James Gibson. Pedal Steel on Few Words Are Enough by David Cuetter. Mastered at Ambient Mountain House by James Bernard. Cover art by Cynthia Bernard. 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.
05 AUGUST 2026 / LIMITED CASSETTE / DIGITAL
Following last year's debut LP, Almost An Island, released on Past Inside the Present, the trio of James Bernard, Cynthia Bernard, and Kenneth James Gibson return with the three-song EP Few Words Are Enough. The collection includes the title track, previously available only on Bandcamp as part of PITP's year-end compilation, along with an extended ambient version and a brand-new piece, Gift of Place, featuring the enveloping textures of taishogoto harp and lap steel. Picking up where Almost An Island left off, the EP continues the trio's exploration of ambient Americana, dream pop and cinematic textures, calling forth vast landscapes and the beauty of the open road. The group is currently at work on their second full-length album, slated for release on Past Inside the Present in 2027.
CREDITS:
All music written, arranged, performed, and produced by James Bernard, Cynthia Bernard and Kenneth James Gibson. Pedal Steel on Few Words Are Enough by David Cuetter. Mastered at Ambient Mountain House by James Bernard. Cover art by Cynthia Bernard. Layout and design by zakè.
FORMAT:
- Brick colored cassette tape shell with white imprinting, housed in a clear/white norelco box. Loaded with FerroMaster C456™ super ferric, ultra-high performance type-1 music grade analog tape. Pressed, manufactured, and assembled in Canada. 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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Jessica Roch - Human Music: Live Improvisations I (PITP81)
29 JULY 2026 / DIGIPAK CD / DIGITAL
Jessica Roch is a London based, award winning composer, multi instrumentalist, sound designer, and improviser. Her solo work moves fluidly across genres, weaving ambient and electronic textures with elements of minimalism, jazz, folk, and experimental music. A classically trained violinist and pianist, Jessica creates music for film, games, and contemporary media, while also collaborating as a session musician with artists including Super Furry Animals. In 2025, she received a Composer Spotlight Award at the Production Music Awards. She has recently performed at Cafe OTO and is a co-founder and director of The London Ambient Orchestra. Jessica's composition Pandemonium: Music for Parakeets, created as part of a cross disciplinary artistic collaboration, was featured at The Design Museum as part of the Artificial exhibition, where it was on display throughout the summer season.
Speaking about her debut album on Past Inside the Present, Human Music: Live Improvisations I, Jessica explains: “This album is an unambiguous protest and rejection of AI-generated “music”. It is imperfect, it is raw and it is unpredictable. That is the beauty of live improvisation. It is innately human.”
Drawn from performances captured between 2022 and 2025 in concert halls, intimate venues, and assembly rooms across England, Human Music: Live Improvisations I is a document of spontaneity, vulnerability, and presence. Each piece unfolds in real time, free from predetermined outcomes, embracing the subtle imperfections, fleeting decisions, and emotional responses that define genuine human expression.
The album's title serves as both a statement and a philosophy. In an era increasingly shaped by automation and algorithmic creation, Human Music celebrates the irreplaceable qualities of live performance: intuition, risk, connection, and the profound beauty found in uncertainty. These recordings are not polished constructions assembled from endless revisions, but living moments captured as they happened, shaped by the atmosphere of the room, the energy of the audience, and the artist's instinct in the moment.
Beautifully curated from a collection of live performances, the album was mixed by Jessica herself and mastered with remarkable sensitivity by James Bernard. Together they preserve the immediacy and emotional depth of each performance while allowing every nuance, resonance, and breath of the room to remain intact. The result is a deeply personal body of work that stands as both an artistic statement and a testament to the enduring power of human creativity.
CREDITS:
Performed live by Jessica Roch on violin, synth, vocals, pianos, vibraphone, many pedals and (many) electronics. Written, recorded, produced, arranged, and mixed by Jessica Roch. Mastered at Ambient Mountain House by James Bernard. Photographic compositing and imagery by Jessica Roch. Design and layout by zakè.
FORMAT:
DISTRIBUTION:
Past Inside the Present Bandcamp (US), PITP.US (US), Norman Records (UK), Juno Records (UK), Soundohm (IT/EU), and others.
29 JULY 2026 / DIGIPAK CD / DIGITAL
Jessica Roch is a London based, award winning composer, multi instrumentalist, sound designer, and improviser. Her solo work moves fluidly across genres, weaving ambient and electronic textures with elements of minimalism, jazz, folk, and experimental music. A classically trained violinist and pianist, Jessica creates music for film, games, and contemporary media, while also collaborating as a session musician with artists including Super Furry Animals. In 2025, she received a Composer Spotlight Award at the Production Music Awards. She has recently performed at Cafe OTO and is a co-founder and director of The London Ambient Orchestra. Jessica's composition Pandemonium: Music for Parakeets, created as part of a cross disciplinary artistic collaboration, was featured at The Design Museum as part of the Artificial exhibition, where it was on display throughout the summer season.
Speaking about her debut album on Past Inside the Present, Human Music: Live Improvisations I, Jessica explains: “This album is an unambiguous protest and rejection of AI-generated “music”. It is imperfect, it is raw and it is unpredictable. That is the beauty of live improvisation. It is innately human.”
Drawn from performances captured between 2022 and 2025 in concert halls, intimate venues, and assembly rooms across England, Human Music: Live Improvisations I is a document of spontaneity, vulnerability, and presence. Each piece unfolds in real time, free from predetermined outcomes, embracing the subtle imperfections, fleeting decisions, and emotional responses that define genuine human expression.
The album's title serves as both a statement and a philosophy. In an era increasingly shaped by automation and algorithmic creation, Human Music celebrates the irreplaceable qualities of live performance: intuition, risk, connection, and the profound beauty found in uncertainty. These recordings are not polished constructions assembled from endless revisions, but living moments captured as they happened, shaped by the atmosphere of the room, the energy of the audience, and the artist's instinct in the moment.
Beautifully curated from a collection of live performances, the album was mixed by Jessica herself and mastered with remarkable sensitivity by James Bernard. Together they preserve the immediacy and emotional depth of each performance while allowing every nuance, resonance, and breath of the room to remain intact. The result is a deeply personal body of work that stands as both an artistic statement and a testament to the enduring power of human creativity.
CREDITS:
Performed live by Jessica Roch on violin, synth, vocals, pianos, vibraphone, many pedals and (many) electronics. Written, recorded, produced, arranged, and mixed by Jessica Roch. Mastered at Ambient Mountain House by James Bernard. Photographic compositing and imagery by Jessica Roch. Design and layout 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 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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Lamasz & Grandbuit - Fictions (PITP82)
10 JULY 2026 / DIGIPAK CD / CASSETTE / DIGITAL
Lamasz and Grandbruit return to Past Inside the Present for the first time in more than five years with Fictions, the first collaborative recording from brothers Pier-Luc and Francis Tremblay. Following four acclaimed solo releases across the label, Fictions brings together the defining elements of both artists into a single body of work.
Drawing from the tape loop driven structures of Nature Morte (PITP-C016, 2020) and Broderie (PITP-C021, 2021), alongside the layered guitar compositions and environmental recordings that shaped Ruptures (PITP-C017, 2020) and Ville inerte (PITP-C019, 2021), the album finds common ground between repetition, decay, and atmosphere. Loops evolve gradually, guitars blur into dense harmonic fields, and tape hiss becomes an active part of the compositions rather than background texture.
Rather than merging two established styles, Fictions expands them. The result is a focused collection of slow moving, deeply enveloping pieces that embraces imperfection through analog processes while maintaining a strong sense of melody and restraint. It marks a natural continuation of both artists' catalogs and a long awaited return to the Past Inside the Present catalog.
CREDITS:
Written, recorded, produced, arranged, and mixed by Lamasz & Grandbruit. Compact disc and digital mastering at Ambient Mountain House by James Bernard. Mastered for cassette by zakè. Photography by Pier-Luc Tremblay. 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.
10 JULY 2026 / DIGIPAK CD / CASSETTE / DIGITAL
Lamasz and Grandbruit return to Past Inside the Present for the first time in more than five years with Fictions, the first collaborative recording from brothers Pier-Luc and Francis Tremblay. Following four acclaimed solo releases across the label, Fictions brings together the defining elements of both artists into a single body of work.
Drawing from the tape loop driven structures of Nature Morte (PITP-C016, 2020) and Broderie (PITP-C021, 2021), alongside the layered guitar compositions and environmental recordings that shaped Ruptures (PITP-C017, 2020) and Ville inerte (PITP-C019, 2021), the album finds common ground between repetition, decay, and atmosphere. Loops evolve gradually, guitars blur into dense harmonic fields, and tape hiss becomes an active part of the compositions rather than background texture.
Rather than merging two established styles, Fictions expands them. The result is a focused collection of slow moving, deeply enveloping pieces that embraces imperfection through analog processes while maintaining a strong sense of melody and restraint. It marks a natural continuation of both artists' catalogs and a long awaited return to the Past Inside the Present catalog.
CREDITS:
Written, recorded, produced, arranged, and mixed by Lamasz & Grandbruit. Compact disc and digital mastering at Ambient Mountain House by James Bernard. Mastered for cassette by zakè. Photography by Pier-Luc Tremblay. Layout and design by zakè.
FORMAT:
- 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 Canada. Mastered for CD by James Bernard. Photography by Pier-Luc Tremblay. Layout and design by zakè. Edition of 150.
- Split color cassette tape shell (black/white) with imprinting, housed in a clear/white norelco box. Loaded with FerroMaster C456™ super ferric, ultra-high performance type-1 music grade analog tape. Pressed, manufactured, and assembled in Canada. Mastered for cassette by zakè. Photography by Pier-Luc Tremblay. Layout and design by zakè. Edition of 50.
- 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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James Bernard - In A Small Room, Decades Ago (PITP80)
24 JUNE 2026 / DIGIPAK CD / DIGITAL
“Hanging in the chill out rooms of the 1990’s rave scene inspired me to create my first ambient album, Atmospherics over 30 years ago. For this album I wanted to journey back and create a love letter to those magical times, and the energy that was felt in those small rooms decades ago.” -JB
Review: "More than three decades after his landmark debut, Atmospherics, James Bernard returns to the spaces that first shaped his musical imagination with In A Small Room, Decades Ago. Inspired by the ambient sanctuaries tucked away from the intensity of early 1990s New York raves, this new LP is a deeply personal reflection on the era that helped define both his career and a generation of electronic music. Using a palette that includes the assorted analogue synths and drum machines, Bernard crafts warm, immersive soundscapes that blur the lines between ambient, acid and downtempo electronica. Rich with nostalgia yet never trapped by it, this is a heartfelt tribute to those quiet moments off post-club introspection." -Juno Records, UK
In A Small Room, Decades Ago marks James Bernard’s second solo album of new material on PITP, following his label debut seven years ago in 2019. Between those releases, PITP also proudly issued the 30th-anniversary edition of Atmospherics in 2024, further celebrating his remarkable body of work.
No stranger to the imprint, James has been an integral part of the PITP family for many years. Alongside his wife, he has released several albums as awakened souls, while also contributing to collaborative projects under the names Almost An Island and Keep The Orange Sun. His extensive list of collaborations on PITP includes work with bvdub, anthéne, zakè, From Overseas, and 36, as well as his participation in the Live at the Gothic Chapel LP, numerous remixes, reworks, and other projects that have become part of PITP’s history.
As if that weren’t enough, James also serves as PITP’s in-house mastering engineer, having mastered the vast majority of the label’s catalog. His contributions, both creative and technical, have helped shape the sound and identity of PITP since its inception, making his presence on the label as enduring as it is invaluable.
CREDITS:
Written, recorded, and produced by James Bernard. Vocals on Acid Ocean by marine eyes. Mixed and mastered at Ambient Mountain House by James Bernard. Photography and album art by Cynthia Bernard. Design and layout by zakè. Instruments used: Roland TB-303, Bass VI, Assorted synths and drum machines.
FORMAT:
DISTRIBUTION:
Past Inside the Present Bandcamp (US), PITP.US (US), Norman Records (UK), Juno Records (UK), Soundohm (IT/EU), and others.
24 JUNE 2026 / DIGIPAK CD / DIGITAL
“Hanging in the chill out rooms of the 1990’s rave scene inspired me to create my first ambient album, Atmospherics over 30 years ago. For this album I wanted to journey back and create a love letter to those magical times, and the energy that was felt in those small rooms decades ago.” -JB
Review: "More than three decades after his landmark debut, Atmospherics, James Bernard returns to the spaces that first shaped his musical imagination with In A Small Room, Decades Ago. Inspired by the ambient sanctuaries tucked away from the intensity of early 1990s New York raves, this new LP is a deeply personal reflection on the era that helped define both his career and a generation of electronic music. Using a palette that includes the assorted analogue synths and drum machines, Bernard crafts warm, immersive soundscapes that blur the lines between ambient, acid and downtempo electronica. Rich with nostalgia yet never trapped by it, this is a heartfelt tribute to those quiet moments off post-club introspection." -Juno Records, UK
In A Small Room, Decades Ago marks James Bernard’s second solo album of new material on PITP, following his label debut seven years ago in 2019. Between those releases, PITP also proudly issued the 30th-anniversary edition of Atmospherics in 2024, further celebrating his remarkable body of work.
No stranger to the imprint, James has been an integral part of the PITP family for many years. Alongside his wife, he has released several albums as awakened souls, while also contributing to collaborative projects under the names Almost An Island and Keep The Orange Sun. His extensive list of collaborations on PITP includes work with bvdub, anthéne, zakè, From Overseas, and 36, as well as his participation in the Live at the Gothic Chapel LP, numerous remixes, reworks, and other projects that have become part of PITP’s history.
As if that weren’t enough, James also serves as PITP’s in-house mastering engineer, having mastered the vast majority of the label’s catalog. His contributions, both creative and technical, have helped shape the sound and identity of PITP since its inception, making his presence on the label as enduring as it is invaluable.
CREDITS:
Written, recorded, and produced by James Bernard. Vocals on Acid Ocean by marine eyes. Mixed and mastered at Ambient Mountain House by James Bernard. Photography and album art by Cynthia Bernard. Design and layout by zakè. Instruments used: Roland TB-303, Bass VI, Assorted synths and drum machines.
FORMAT:
- Jewel Case CD - Glass-mastered, silkscreen printed CD housed in a 100% virgin polystyrene jewel box. Clear CD tray. 3-panel, double-sided folded insert. Double-sided print inlay card. Shrinkwrapped. Pressed and printed in Canada. All photography by marine eyes. Design and layout by zakè. 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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zakè - 20th Anniversary Edition (PITP08)
12 JUNE 2026 / DIGIPAK CD / DIGITAL
Although this is zakè’s debut release on Past Inside the Present (2019), these arrangements were originally created in 2006. Sharing a fitting description of the label name with the release, it truly is the ‘Past Inside the Present’. These time-worn selections unfold like a slow-moving cascade, quiet, delicate, and gracefully drifting. The understated arrangements weave together warm, ambient drones that shift from faint lo-fi textures, while sinewy mid-tonal synths sway between idle afternoon reflections and hazy daydreams. Subtly distorted lows, punctuated by transitional swells, propel the music forward, creating a sense of weightless motion. The album breathes with a natural cadence with its final moments dissolving into a quiet, lingering afterglow.
CREDITS:
Written, recorded, mixed, and produced by zakè. Remastered for this 20th Anniversary Edition at Ambient Mountain House by James Bernard. The arrangements, Cenotaph, Adventus, Young Spirit, and Slow Reverence, were created during the same 2006 sessions and have been remixed and remastered for this edition. 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.
12 JUNE 2026 / DIGIPAK CD / DIGITAL
Although this is zakè’s debut release on Past Inside the Present (2019), these arrangements were originally created in 2006. Sharing a fitting description of the label name with the release, it truly is the ‘Past Inside the Present’. These time-worn selections unfold like a slow-moving cascade, quiet, delicate, and gracefully drifting. The understated arrangements weave together warm, ambient drones that shift from faint lo-fi textures, while sinewy mid-tonal synths sway between idle afternoon reflections and hazy daydreams. Subtly distorted lows, punctuated by transitional swells, propel the music forward, creating a sense of weightless motion. The album breathes with a natural cadence with its final moments dissolving into a quiet, lingering afterglow.
CREDITS:
Written, recorded, mixed, and produced by zakè. Remastered for this 20th Anniversary Edition at Ambient Mountain House by James Bernard. The arrangements, Cenotaph, Adventus, Young Spirit, and Slow Reverence, were created during the same 2006 sessions and have been remixed and remastered for this edition. 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 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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zake & marine eyes – Still Beauty (PITP78)
3 JUNE 2026 / DIGIPAK CD / DIGITAL
With Still Beauty, PITP label head zakè (Zach Frizzell) and California-based marine eyes (Cynthia Bernard) present a suite of lovingly constructed pieces that combine organic, tape-saturated drones with angelic, spacious vocals and a host of other textured instrumentation. Building on the hushed promises of their collaborative debut, Unfailing Love (2021), the two artists immerse us in the processes of loss, grief, and renewal, spiriting us through overlapping shadows into newfound light.
“Unfailing Love explored sadness, resilience, and a path toward deeper compassion and empathy,” Frizzell explains, “and while those themes continue here with greater clarity, we also wanted to show that even after hardship, there is a precious, persistent beauty worth holding onto.” Fittingly, the album’s eight movements sit on the precipice of some darkened abyss from which a mysterious, sweetened air arises, balanced between hope and melancholy, at peace with the whims of nature’s immensity.
On opening track, “Frosted Glass”, Frizzell wraps a blanket of etherized drone around rich bass tones and fragments of Bernard’s heavenly incantations. As the piece unfurls, warmly intoned violins melt like candle wax at the edges, and the vocals subtly fray into gentle distortion. “Map of Edges” expands on the duo’s familiar pairing of low-end heaviness and weightless, cirrus trails, adding layers of treated textures and yarn-malleted chimes that placidly anchor the composition in space-time. The overall feeling, though, is infinite and rapturous, a perfect synthesis of Frizzell’s Midwestern, existentialist gravity and Bernard’s daydreaming, coastal drift.
Throughout “Blanketed”, the duo offer an impression of “a veiled spirit luring the listener into a tender embrace,” according to Bernard. True to this aim, there is a movement of the earth below as the seismograph flitters at the corners and a comforting, crystalline mist of upper-register harmony wafts across the landscape. A pale sun emerges from behind pitch-dark clouds on “After It Rained”, glistening off every surface with deliberate and delicate pacing, patient as a seed extending its first root.
The orchestral zones of “Day’s End” and “What Was Home” provide an understated sense of evolution for the duo, as elemental chords shift placidly through meditative landscapes, graced by layers of saintly voices and languid guitar plucks that appear like beacons through swirling fog. “Crossroads” is the eeriest and darkest entry here, yet still carries a current of protective strength, quietly showing the range of emotional contours that Frizzell and Bernard can summon with their sonic sculpture.
The sprawling title track closes Still Beauty with progressive layers of harmonic drone set against Bernard’s breathy, slow-motion mezzo soprano, casting a spell of kindness and care. Each artist has experienced significant trials and traumas in the half-decade since Unfailing Love, but as two individuals who profoundly revere the natural world, they choose to nurture their strength of spirit through the creation of beautiful things. “Zach and I share a wonderful friendship, and when we collaborate, our synergy just naturally locks in,” notes Bernard, “These songs contain a lot of secretly encoded messages to our loved ones, honoring the importance of each day we get to share… We have such an unbreakable bond based on our awareness of that fragility, and this collaboration has been a gift to us both.”
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.
3 JUNE 2026 / DIGIPAK CD / DIGITAL
With Still Beauty, PITP label head zakè (Zach Frizzell) and California-based marine eyes (Cynthia Bernard) present a suite of lovingly constructed pieces that combine organic, tape-saturated drones with angelic, spacious vocals and a host of other textured instrumentation. Building on the hushed promises of their collaborative debut, Unfailing Love (2021), the two artists immerse us in the processes of loss, grief, and renewal, spiriting us through overlapping shadows into newfound light.
“Unfailing Love explored sadness, resilience, and a path toward deeper compassion and empathy,” Frizzell explains, “and while those themes continue here with greater clarity, we also wanted to show that even after hardship, there is a precious, persistent beauty worth holding onto.” Fittingly, the album’s eight movements sit on the precipice of some darkened abyss from which a mysterious, sweetened air arises, balanced between hope and melancholy, at peace with the whims of nature’s immensity.
On opening track, “Frosted Glass”, Frizzell wraps a blanket of etherized drone around rich bass tones and fragments of Bernard’s heavenly incantations. As the piece unfurls, warmly intoned violins melt like candle wax at the edges, and the vocals subtly fray into gentle distortion. “Map of Edges” expands on the duo’s familiar pairing of low-end heaviness and weightless, cirrus trails, adding layers of treated textures and yarn-malleted chimes that placidly anchor the composition in space-time. The overall feeling, though, is infinite and rapturous, a perfect synthesis of Frizzell’s Midwestern, existentialist gravity and Bernard’s daydreaming, coastal drift.
Throughout “Blanketed”, the duo offer an impression of “a veiled spirit luring the listener into a tender embrace,” according to Bernard. True to this aim, there is a movement of the earth below as the seismograph flitters at the corners and a comforting, crystalline mist of upper-register harmony wafts across the landscape. A pale sun emerges from behind pitch-dark clouds on “After It Rained”, glistening off every surface with deliberate and delicate pacing, patient as a seed extending its first root.
The orchestral zones of “Day’s End” and “What Was Home” provide an understated sense of evolution for the duo, as elemental chords shift placidly through meditative landscapes, graced by layers of saintly voices and languid guitar plucks that appear like beacons through swirling fog. “Crossroads” is the eeriest and darkest entry here, yet still carries a current of protective strength, quietly showing the range of emotional contours that Frizzell and Bernard can summon with their sonic sculpture.
The sprawling title track closes Still Beauty with progressive layers of harmonic drone set against Bernard’s breathy, slow-motion mezzo soprano, casting a spell of kindness and care. Each artist has experienced significant trials and traumas in the half-decade since Unfailing Love, but as two individuals who profoundly revere the natural world, they choose to nurture their strength of spirit through the creation of beautiful things. “Zach and I share a wonderful friendship, and when we collaborate, our synergy just naturally locks in,” notes Bernard, “These songs contain a lot of secretly encoded messages to our loved ones, honoring the importance of each day we get to share… We have such an unbreakable bond based on our awareness of that fragility, and this collaboration has been a gift to us both.”
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 250.
- 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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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.
