Inspiration and thoughts behind the making of 'Six Postcards & Other Stories' by Carlos Ferreira Modern Japanese Literature In recent years I have been devoting myself to reading Modern Japanese Literature - Haruki Murakami, Yasunari Kawabata, Jun'ichiro Tanizaki, Yukio Mishima... just to name a few of my favorites. Although the approach of these authors is always very diverse, I find among all some elements that converge and dialogue with each other. I identify a lot with their conception of time present in the works. There seems to be a tendency to value the moment lived, “here-now”. Also, the detailed description of nature, which is not only a background, but an active part of the narratives... they seem to me elements in common with approaches to ambient music, of using the environment as a trigger for experiences. Andrei Tarkovsky's Landscapes Tarkovsky is one of my favorite film directors for sure. The natural landscapes of his films seem to act as projections of an inner world - the filming in sequence / the extended time, the use of silence as an aesthetic resource to embrace the viewer, placing him actively in the center of the narrative... These are things that I try to explore in my music, in order to put the listener in a deep and emotional listening experience, offering a different sensorial space. Cassette Culture Let me note that I love cassettes! They have noises, crackling sounds, hiss, etc. They are reminders of what life is like – organic, finite, imperfect. From the beginning, the whole concept of “Six Postcards & Other Stories” was related to its physical format. As I tried to work with the idea of making 'sound postcards’, something that contained a very personal message and was also portable, cassettes are perfect for that. Therefore, many of the layers and textures of this album were obtained through tapes, as well as its mastering. Six Postcards & Other Stories
by Carlos Ferreira Cassette + Postcard Set // Digital 11/06/2020 “I am fascinated by the idea that time is not linear, and that it cannot be measured quantitatively. The intensity of each moment lived makes it unique. This makes me rethink my own existence as an individual, as well as my relationship with all the things that surround me. "Six Postcards & Other Stories" is a soundtrack for these thoughts. Each postcard represents a fragment, a memory of an indefinite time. They are soundscapes that aim to make the listener create their own images, acting as triggers for experiences.” - C.F. Written, produced and mastered by Carlos Ferreira Design, layout and assemblage by zakè Postcards by Fernanda Ishida -- © Past Inside the Present This is PITP-C015 | MMXX PITP.bandcamp.com pastinsidethepresent.com Inspiration Jefre Cantu-Ledesma This artist is a major influence in my creative process. He inspires me by his versatility and audacity to push boundaries. One of my favourite album, On the Echoing Green, immerses you in a shoegaze and dream pop haze with a touch of lo-fi. You are transported to this nostalgic place with the noisy and melodic guitar effects. The second album, Tracking Back the Radiance, is a much more subtle record but hypnotic all the same. Experimentation
I enjoy alternating with the order of my pedals. Sometime, the simple act of changing their positioning on the pedal board can trigger a different sound. I am constantly searching for a new and interesting sound all the while ensuring the specific esthetic I have worked to preserve. I believe that the esthetic of a piece of art can transcend the art itself. It is with this belief that Ruptures was created. A non-exhaustive list of things that directly inspired the album Nature Morte.
Things. Things is the name of a novel by George Perec, a french author who set boundaries in his creative process in order to create unique pieces of art. You've perhaps heard of his most famous work: La Disparition (Vanish'd in english) - a three hundred page novel written without the letter “E”. It is truly an unreadable narrative but the creative process is interesting; sometimes the result is amazing, where a perfect balance exists between the means and the end, like his book Things. I decided to imitate Perec, limiting myself to the use of only one cassette tape loop for each track. On certain tracks like Esquisse, there is no manipulation, whereas on others such as Relief, there is a lot. There is virtually no mix in my DAW. The loops are processed live with the use of pedals, an effect processor and an analog EQ. I wished to keep things as simple as possible because I discovered that when endless possibilities are at my disposal, it interferes with my slow creative flow. Still Life. I work part time at a Fine Arts Museum. Naturally, being surrounded by a lot of paintings, greatly influences me. I often find myself going before opening hours. The experience of being completely alone in a room, filled with so much beauty and history is wildly enriching. I am in no way a painter but I am deeply moved by the technicality of the paintings, especially the dutch Still life of the seventeenth century. I named the tracks of the album as if I were, myself, painting a Still life; a musical one Hi Gavin! It is a pleasure talking to you today. How are you doing?
W: I'm doing good, thanks! A little tired and a little sad that summer is kinda tailing off, but all good nonetheless. We are really excited to welcome worriedaboutsatan in our PITP roster. Please tell us a bit about yourself and how did you come to release this album on PITP? W: Well, I'm Gavin – I make music from a little home studio in Saltaire, a little village in the north of England. It's a world heritage site as it was a model village built in the Victorian times, so it's a bit weird living here, but I grew up just down the road in another little village, so it's not the biggest change in circumstances I guess :) I started making music as worriedaboutsatan in 2005, and have been kinda chugging along ever since. I think PITP popped up on my radar as we both swim in the same ambient circles, and I just got chatting with Zach one day I think – I had loads of material I remember, and I kept looking at that lovely logo and thinking “god damn I wanna be on that label!” haha! ‘Europa’ is amazing, congratulations! Let’s talk about it. What is this album about and what does it mean to you? W: Thanks! I really like it too. It kinda happened by accident, as it was Zach that floated the idea of a little introduction album, so Europa is somewhere between a re-issue, a best of, and a new single. It's a nice mix of the older satan catalogue and two new tracks too, but it's been programmed to flow like an original record, which is awesome. Who Is A Hunter? & Cloaking were actually part of a single from a few years ago, but a label that was supposed to put it out on vinyl never did, so I was always a little annoyed at that, as those tracks were made especially for the format, so when Zach suggested including them on Europa, it was one of those full circle moments! Beautiful how it all fell into place. The album is a perfect blend of ambient, drone, techno and post-rock. What is your approach when it comes to mixing these different genres? W: It's a strange one, as I started out in a post-rock band – y'know, the OTT overblown type, so when that band split up, and I started making electronic music, I kinda had that post-rock vibe in mind, but was trying to replicate the emotive quality through something other than a band format. I think I was a bit fed up with bands in general, and just wanted to experiment with electronics, which is how satan was born – coming at ambient, drone, electronica and techno, but from a post-rock background, so it's all I've ever known how to do! I'm always up for having a little look at a certain genre and seeing if there's anything I can pinch or bend to the satan sound, so it's nice to keep a fresh ear as to what's happening. Tell us about your process and influences for this album. W: As it's a compilation, the influences range a little more than usual, but the processes were still the same – just turn on bits of gear and see where they take you! Influence wise, Shift (part 1) was born out of a project which was attempting to make something long, flowing and free- form, rather than strict four-to-the-floor stuff like, say, Who Is A Hunter? Vex and Sunk, the two brand new ones, were more experiments in synthy, slow-core techno stuff and floaty ambience respectively. I guess most satan stuff starts as an experiment in something, and then it kinda falls into place as it goes along. Let’s talk about the beautiful artwork and ‘Europa’. What is your relationship with space and how did ‘Europa’ end up being the album title? W: Zach suggested Europa, and I think at one point he didn't know if it was any good or not, but I loved it straight away! I always think of myself as more European than English anyway (that's what a German side of the family will do to you), and I just really loved that word and the stark image of the moon itself on the cover – which is some more incredible work by Zach. Oh, and also – Europa is the moon they travel to in the not-so-successful-but-I-still-love-it sequel to 2001: A Space Odyssey, 2010. Properly underrated film, Helen Mirren's great in it. What is your favorite track on the record and why? W: Ooh, tough one. I really like Shift, but I'll say Vex as it's a new one. It was the first time in a long time where I sat down with a guitar and played stuff that was hovering around the same key as the synth, but wasn't necessarily the same chords or notes – I remember thinking “oh shit, yeah – you can do this can't you?” haha! Really nice guitar bits on that one. In general what inspires you to write music? W: Kind of anything really. I think I'm a melancholic person in general, so when it comes to making stuff, I'm never going to ply a trade in major chords, so I like to try and see what I can do with the more subdued end of the musical spectrum. Sometimes I'll just get an idea and think 'yeah, I should try that!', and see what I can mold it into. Other times I'll just sit down and try to kick off with a small idea and see where it heads. What are you listening to these days? Any artists that you admire and continue to be inspired by? W: Yeah, I'm listening to quite a fair bit at the moment. I like to listen to a lot of stuff across genres as well, as I think it keeps you on your toes a little more. You can always tell when people only listen to techno, or just ambient or whatever. I think I'm too restless for that, so I will load up a Carly Rae Jepsen album or something. I mean, she's amazing – something like Too Much, or Gimme Love has had more impact on me than a lot of the big ambient/ drone guys. Also really like FRKTL, she's awesome. Her new record is just incredible – it sounds so ferocious, yet has this heart to it as well. Also really like that new Hayley Williams album, that new Charli XCX one as well, and more often than not I'll bang on a bit of HTRK – I could listen to them all day, I really could! Their atmospheres are just beautiful. They have a real yearning quality to them that's so hard to replicate - they just leave stuff up in the air, and only bring it back down when it's totally needed. A live show/tour for this record would be such a great experience. Do you miss live shows? When we can put social distancing behind us, is playing ‘Europa’ live something you want to do? W: Hell yeah! I think 2020 is the first year since 2004 where I've not played a live show, and it's horrible! Playing live was always something I really believed in doing, and making it much more of a live show than a lot of electronica guys do. There's a tendency to just load up a laptop and sit there, poking at buttons for an hour, so when I first started looking at a new live set, I ditched the iPad, and bought a drum machine, as I wanted things to look and sound a lot more organic – I wanted to get away from just triggering loops of Garage band, and get a bit more hands on. I've been doing a few live-streams on Instagram & YouTube, but it's not the same as being on stage in front of people. It's nice though, don't get me wrong, and it's been great to play some guitar for people over the past few months, but I'm really itching to get back onstage with all this stuff and play for people. I'm not going to be one of these douchebags who play gigs during a pandemic though, that's just so daft. Thank you for taking the time. Any last words you want to share with people out there? W: No worries! Hmm... last words? Erm. How about Up The Villa? (it's a football thing) " Music and architecture are my main fields of interest. Producing an album like 'Chronos' is more or less like building a house from setting the foundation to final decoration. That’s why I’d like to present to you the places that we as AUSKLANG connect to the most and that inspired making this record. Zionskirche This wonderful 19th century Church has become our musical home. It’s the place where we had our very first concert and since two months we started a series of live sessions every Thursday night. It’s not a regular show but people can come in and stay for how long they want. Soaking in the atmosphere and tranquility of this space. When we start playing we don’t know what will happen as everything is improvised. There’s space for vulnerability and space for magic and conversation in the music that is being created in these fragile moments. The building itself displays fragility as it was heavily damaged during World War 2 and you can still see the scars. During the peaceful revolution in 1989 it was a secret gathering place for political activist leading towards change. We feel very blessed to be able to play our music in this special place and it continues to inspire us for making new music. For example we share the recordings of our live sessions with our patrons on Patreon. Studioboerne 45 I‘ve discovered this brick building on my first walk through Berlin-Weissensee, a rather quiet district far away from the rushing and hip areas of the town. What seemed at first sight like a rather usual side street later unveiled as a creative hub for many leading musicians. I found an open door and stumbled into an Italian guy who explained to me that this was his sound studio. He showed me around his place filled with analog audio gear of all ages. At this time I didn’t know that he was Francesco Donadello and had worked with most of my musical idols like Hammock and A Winged Victory for the Sullen. It feels to me like a perfect coincidence that we were later able to use the recording room in this building to record our album 'Chronos'. Behaimstrasse Only one street away I’ve found my own little Studio for working on my music and sound projects. It feels like a hidden world, a pitoresque brick building in a side street backyard.
The turbulent world stays outside while I lock myself in this room to produce music. There are several audio engineers working here and we share a lot of knowledge and gear which is a great support. Here I’ve spend endless hours working on mixing and mastering the tracks for „Chronos“. Everytime I felt like I couldn’t continue working due to lack of time or creativity something new and inspiring came across my way. Like this one day when I’ve found an interview with Sigur Rós producer Alex Somers in a staple of old Sound magazines talking about his work on “Kveikur”. I’ve learned some very creative techniques that I used in Chronos straight away. On 'Abschied' for example I’ve slowed down the piano track to half speed and half pitch making it and slow-motion like second layer. Thank you Alex ;) Hi Austin! How are you doing today?
RB: I am well. I have about 30 things on my to-do list and the it seems like the world is falling apart, but I am well all things considered. For people that aren't familiar with your work, tell us a bit about your background and what led you to start releasing music as r beny? Also, if you are willing to share, what is the meaning behind the name? RB: Like many do, I grew up playing guitar in bands throughout my teens and early 20s. While I loved making music and being in bands with friends, I never felt fully comfortable with the guitar. I felt like it was difficult to express what I wanted to express with music, I think due to my own lack of skill and the limitations of the instrument itself. I had a crossroads moment in 2014, where I was finally able to admit this to myself. All of the work put into practicing, writing songs, and playing gigs had become a source of frustration, rather than one of joy. It was a bittersweet epiphany, considering my passion for music. I ended up quitting the band I was in, sold most of my gear, and put myself into other hobbies. About a year later, I was at a friend’s house and he showed me a synthesizer he had recently picked up, a Korg Monotribe. We played with it for a few hours and I found it insanely fun, so I decided to pick one up for myself. I ended up with a Korg Volca Keys instead, since the Monotribe had been discontinued. While I always had an affinity for electronic music and instruments, I had never really understood my way around a synth or a sampler. I had a Korg Microkorg a few years back and never figured it out beyond just switching between the presets. As I started to properly learn about synthesis and sound design, it all just clicked into place. I found that with these instruments and tools, I was finally able to express myself musically the way I so desperately wanted to. It all kind of snowballed from there, getting into DIY electronic instruments, then modular, then starting to record and release music. “r beny” came about as a pseudonym for my work with synthesizers and other electronic instruments. It was actually a placeholder name, I had quickly made a YouTube channel one day to do a tutorial for some people on the Korg forums. At the time, I was obsessed with the work of photographer Roloff Beny. The name “r beny” was a tribute to him, while also being what I thought was somewhat vague (in my head, I thought it sounded like a word from another language. I now get called “Beny” quite a lot). I meant to just do that one video and then make a real channel for better thought out tutorials later down the line, but the video blew up outside that circle and the name stuck. Congratulations on the new album! We have been looking forward to working with you on a release for quite some time. How did this album come to be? RB: Thank you! Last year Past Inside the Present reached out to me to propose a 10” vinyl release. As a fan of the label, it was an easy decision to say yes. The timing and situation was just right. I get a number of requests to release music, but I tend to work on music at my own sporadic pace and don’t really have extra material at the ready. 2/3 of the tracks on this EP (Fjorda and Golden Larch) were tracks I started working on and playing live last fall. They were inspired by my time touring in Europe, earlier that summer. They both started as sketches I made on the Novation Summit synthesizer and then later fleshed out. I think there were some issues with pressing the 10” records, so the EP is out on 12” instead. I am pleased to be a part of the PITP family and community! The title ‘The Dashboard Cast a Spectral Glow’ is quite powerful and fits the music perfectly. What is the meaning behind both the song titles and the music you put together for this release? RB: The EP title is a play on a line in a book I read called Blue Highways by William Least Heat-Moon. “The early darkness came on. My headlamps cut only a forty-foot trail through the rain, and the dashboard lights cast a spectral glowing.” I have a journal where I write down interesting or affecting words or phrases that I read in books, hear in movies/tv, and see in everyday life. For me, this line encapsulates the feeling I try to emote with my music. Those little lost, in-between moments. That brief feeling of longing for your past you randomly feel as you drive through the forest and the sun breaks through the canopy of leaves. The vision of dashboard lights cutting through the darkness, as it starts to set in the middle of the woods on a rainy evening, felt so familiar. I knew it would inspire the name of a track or release as soon as I read it. “Fjorda” is play on the word fjord. I had the opportunity to visit Iceland last year, right before my European tour, and I was so struck by the beautiful landscape and nature. I had wanted to visit Iceland since I was young, so it was fantastically surreal actually being there. It felt like a dream. When I got back from that tour, I wrote a song called “Fjossa”, which was a play on foss, the Icelandic word for waterfall. It was sort of a portmanteau of foss and fjord, a made-up word describing this floating feeling of waterfalls, water, and nature. “Fjorda” is a sister track to “Fjossa”, inspired by those same feelings. I was thinking about the history of the geography of fjords and waterfalls, all the events and years that have to pass for them to form. Those were things I thought a lot about while in Iceland and Europe. I can’t quite recall where the title “Golden Larch Emerging in Spring” came from. That might have been one that just came to me. It felt like a very hopeful title. Winter is over, spring is here, it’s all okay now. There, there. I relate that to my depression. I’ll have peaks and valleys and coming out from one of those valleys feels like emerging from the cold, dead winter to the life of spring. The songs on this record are both soothing and nostalgic, which seems to be driven by your use of tape. What was your approach to recording the songs on this release? RB: One trick I’ve been using quite a bit over the last year or so is using 3-head tape machines to process sounds on tape in real time. These machines have separate recording and playback heads that allow you to listen to the playback of the tape as it’s being recorded to. The real magic starts when you start using worn out tape, or in my case, worn out tape loops. The effect means you get these lofi tape loop-like sounds, but you aren’t limited to the length of the loop, or even loops. The tape just cycles through endlessly and each time through, introduces different artifacts and character. That trick is used at some point on all 3 tracks on this release. In the case of Fjorda and Golden Larch, each of these tracks started out as one take of me playing the Novation Summit through the tape machine and into a looper in this manner. Some overdubs were added later. Field recordings are also regularly featured in your work. For this record, they especially stood out to us on 'Golden Larch Emerging in Spring.' When and where were these sounds captured? How do you approach field recording in general? RB: That recording was taken during a rare spring Bay Area thunder storm in April 2019 from my room through an open window. The thunder was so close, it actually started clipping my Zoom recorder and shaking the whole house. There was this weird, still energy in the air. Beyond the occasional car, you could feel the ebb and flow between the dead quiet and then the rain and thunder. In general, I don’t really go out looking to capture field recordings. I tend to happen upon the sounds I would want to record, which can make things difficult. Thankfully, we all are carrying little field recorders in our pocket, that happen to have cameras and phone capabilities. I do make it a point to bring my Zoom field recorder when I go out for things like hikes or drives out into the countryside. But the inspiration to capture something usually happens externally. I am trying to make it more of a point to go out and listen to the quiet. Listen to the sounds of the world around me. If you had to choose a favorite track on this release, what would it be? And why? RB: Probably Fjorda. Just for the memories it brings from that trip to Iceland. Considering the current state of the world, there is a chance I may never have the opportunity to go back, or at least it could be a long, long time. It’s also the track that I think sounds the least like myself, in a way. It feels less linear than what I usually do, with a clear A part and a clear B part. What inspires you to write music? What artists do you admire and continue to be inspired by? RB: There is so much that inspires me to make music. Nature - the history of and volatility of it. The human experience - working through emotions, depression, anxiety, expressing the nuances that cannot be expressed so easily through words. Architecture - the way materials come together to make a whole, the meaning and symbolism of buildings and structures. Photography and art. Music, especially instrumental music, has so much in common with photography and painting. From the tools used, to the process, to the finished piece that’s put out into the world (or not) for interpretation. I often liken ambient music to abstract art. It’s about the color and texture and the shapelessness, rather than a specific subject. How it makes you, the listener, feel. And of course, I am inspired by other music. I am inspired on some level by pretty much any artist I listen to, from a level of emotion and from a technical level. I love thinking about how an artist made a certain sound, and what inspired them. I think that’s why I am so much into the gear and technical side of music. Seeing the technical aspect all the way through into art is something that inspires me. The world has changed pretty drastically in recent months due to Covid-19. How has the pandemic impacted you both as a person and as an artist? RB: I live in the county where one of the first cases was found in the United States, so it has been on my mind early and often. I’m super grateful that it hasn’t really affected my day job all that much. I’m able to work remotely for the most part. I live alone, so sheltering-in-place has been a bit lonely. I miss being in the same room or hiking with friends. I try to go for a walk at least once a day, just to get some fresh air and sunlight. As an artist, it has been an interesting experience. Like many, I have had cancelled gigs. I’m not at the point where music is my livelihood, so I don’t have to be constantly gigging/working on music normally. But I also don’t have a ton of time or energy to work on music on a typical day. Because I’ve been staying home, I have been playing more music. If there is downtime at work, I can just walk into the studio, instead of browsing the internet. And with that, I’ve been able to finish and take on other commissioned music projects. From finishing releases, to patch design and beta testing for synthesizers, to working on live streaming sets. I hesitate to call it a positive, with all that’s going on in the world, but I appreciate the creative opportunities I’ve had in the last few months that have kept me from going stir crazy. You recently live-streamed a performance from your studio space. How do you feel about the medium? What are the pros and cons of live streaming concerts? Do you plan on doing it again? RB: I’m very much on the fence about live streaming concerts, at least when it comes to playing them. I did have a blast doing that stream for Gray Area. For me, I think it’s circumstantial. For one, I think the sound quality is a major concern. That concert was my first time streaming on Twitch, and the quality was better than I thought it could be for a stream. It was an overall positive experience. I’ve been doing one-take performances on my YouTube channel for years, so I feel like I need to be able to differentiate between doing something like that and live streaming. I appreciated this last stream was actually live, as opposed to a pre-recorded performance. It felt like so much could have gone wrong, so in that way it felt much like a real performance with an audience. The other aspect of it is the audience. When I play live, I play off the feeling of the room and the audience. I think my live shows are a different experience than one I can provide over a stream or a recording. When I play live, I work with dynamic. My live sets are a bit louder and heavier, as I want the audience to not just hear the music, but to physically feel the music. In a venue, I can shake the whole room with bass and distortion. That connection and intention is lost over a stream. I can only play off my own energy and the dynamics just aren’t the same. I appreciate things to make the streams feel more communal, like chats. Overall, I have a positive view on streams, but I don’t think they are necessarily my favorite thing to do. I will be doing at least a few more in the near-future, to see if I do end enjoy doing them more and to continue to connect to people who do want to hear me play. Your approach to sound design and tape manipulation is really inspiring. What advice do you have for people wanting to work with tape? RB: Get yourself a time machine so you can buy tape machines at a reasonable price! Kidding aside, I always say go for it. You might have to be a little patient to find a good machine at a decent price, but there are a good number of options out there. I have a few Tascam machines and a few Marantz machines, in varying degrees of working states. Personally, I prefer recorders that have multi-tracking capabilities (like the Tascam machines), or recorders with 3-heads that can monitor the tape as it’s being recorded to (like the Marantz machines). I love working with tape because it just adds a certain character to sounds that feels “lived-in”. In some ways, they can be unpredictable, especially as these machines age, but there is a certain beauty and magic to that unpredictability. Reel-to-reel machines are also becoming more prevalent and some can be had for decent prices compared to cassette recorders. There are a good number of tape emulators and software out there. The one that I’ve found to sound closest to my actual tape machines is Cassette by Waves Factory. I’ve already used it on some tracks in cases where my tape machines were too much of a hassle to deal with. Thanks for taking the time to talk to us today! Anything you want to add and say to people out there? RB: Thank you for having me and thank you to PITP for putting this release out! I just want to say that I hope everyone and their loved ones are staying safe and healthy out there. We will get through this together! And as always, thank you for listening. Healing Sounds II: A compilation for those in need by Various Artists 4xCD // Digital over 4 hours of healing sounds. Featuring: 36, r beny, Black Swan, James Bernard, The Green Kingdom, Moss Covered Technology, anthéne, Wayne Robert Thomas, Benoît Pioulard, zakè, Christina Giannone, Scott Campbell, Belly Full Of Stars, Carlos Ferreira, Mathieu Lamontagne, From Overseas, Slow Dancing Society, Polar Moon, Viul, Awakened Souls, wøunds, Marc Ertel, Syneva, Black Brunswicker, andarctica, City of Dawn , Hipnotic Earth, Sita Ostheimer, Almøst Silent, Deer Meadow, Aaron Ross Hansen, Tyresta, Two Hands | One Engine, Jörgen Kjellgren, Ai Yamamoto, AUSKLANG, Tom Vourtsis, Jordan Christoff, Rhucle, Isaac Helsen, Pepo Galán, Field Hymn, Fabian Koppri, PILLARS, dreamgazer, Ludvig Cimbrelius, Phillip Wilkerson, Etxera, Akkad the Orphic Priest, Andrew J. Klimek, Hilyard All tracks included on this compilation are previously unreleased or new material produced specifically for Healing Sounds II: A compilation for those in need. All donations will be donated to Feeding America. Feeding America is a nationwide organization that harnesses support from local communities to keep low-income families supplied with food. Right now, its biggest concern is children whose schools have closed, cutting off a source of healthy, free meals. All arrangements featured on this compilation belongs to the respective copyright holders and graciously provided their arrangement in an effort to raise donations for 'Feeding America' in response to the devastating effects of COVID-19. Thank you to all artists and fans alike for the support. -- © Past Inside the Present This is PITP-HS02 | MMXX PITP.bandcamp.com pastinsidethepresent.com 4xCD 'Healing Sounds II: A compilation for those in need' spanning across four discs. Each disc is housed in a 4-panel cardstock eco-pack. Eco-packs protected by a clear, re-sealable eco-bag. Printed using green friendly ink. Collection housed in a white, 5" tape reel box. Limited to 100 units. A Thousand Harmonies in Silence
by Bedroom Limited Edition LP // Digital 04/08/2020 Written and recorded by Adam London Editing and mixing by Billy Mannino / Adam London Additional performances on 'Apart Worlds' include: Raphael Weinroth-Browne, Cello Laurence Schaufele, Viola Alex Toskov,Violin Mastered at 12K Studio (NY) by Taylor Deupree Artwork by Irek Jania -- © Past Inside the Present This is PITP43 | MMXX PITP.bandcamp.com pastinsidethepresent.com LP Details: 160 gram 'transparent seafoam' vinyl housed in a full color, semi-gloss jacket. Full color labels. Record is placed in white innersleeves. Shrinkwrapped. Limited to 100. 160 gram black vinyl housed in a full color, semi-gloss jacket. Full color labels. Record is placed in white innersleeves. Shrinkwrapped. Limited to 100. Home
by From Overseas Limited Edition LP // Digital 03/25/2020 Islands, volcanoes and instrumental exile stories… From Overseas is the experimental ambient project by Kévin Séry. Originally from the tiny French overseas department and region, Reunion Island, he routinely bounces between his home island, a small port town on the east coast of the US and continental Europe picking up fresh ideas and inspiration along the way. With a beautiful master by Stephan Mathieu (12k, Shelter Press, …), From Overseas releases his first full length album “Home” on PITP. “Home" is a journey through beautiful soundscapes where dark and light intertwine, where ambient tones give way to post-rock guitar craft, then segway to melodic drone, noise and back again. These soothingly powerful songs evoke emotions on a full spectrum, dreamy unplanned travels and inspire us to question the nature of the place that each of us calls home. The fourth track, Maloya Tales, is a personal tribute to Séry's homeland 'Reunion Island' and gives the listener a glimpse of the mystical rhythms of traditional Reunionese Maloya music. Written and produced by Kévin Séry Mastered at Schwebung Mastering (Germany) by Stephan Mathieu Cover Photography by Claire Séry Layout and Assemblage by zakè -- © Past Inside the Present This is PITP-V020 | MMXX PITP.bandcamp.com pastinsidethepresent.com LP Details: 160 gram 'transparent celadon' vinyl housed in a full color, semi-gloss jacket. Full color labels. Record is placed in white innersleeves. Shrinkwrapped. [Overtures]
by Marc Ertel Limited Edition LP Cassette // Digital 03/18/2020 Indianapolis-based composer, Marc Ertel (PILLARS/Dawn Chorus and The Infallible Sea), made his solo debut appearance at Post. Festival 2019, where he performed alongside with other Past Inside the Present artists on the label’s showcase stage. Since that time, PITP has been anxious to share Ertel’s brilliant guitar-laden drone arrangements to the masses. On his first proper solo release with Past Inside the Present titled, “[Overtures]”, Ertel delivers five compositions of immersive, angelic drone that embody an organic intensity suffused with opulent guitar articulations. Multiple layers of synth lines and guitar-work flawlessly converge, producing 36 minutes of vaporous soundscapes. [Overtures] is a solemn, yet equally rapturous paean to placidity. A brilliant and eloquent addition to PITP's growing catalogue of dronescapes and healing sounds. Written & Produced by Marc Ertel Mastered at SDS Studio (WA) by Drew Sullivan Design, Layout & Assemblage by zakè & Marc Ertel -- © Past Inside the Present This is PITP-C010 | MMXX PITP.bandcamp.com pastinsidethepresent.com Cassette Details: Black shell cassette tape with white imprinting, housed in a clear norelco box and shrink wrapped. Loaded with FerroMaster C456™ super ferric, ultra-high performance type-1 music grade analog tape. Limited to 50 units. 'Stasis Sounds for Long-Distance Space Travel' + 'Extended Hypersleep Programs & Reductions' by 36 & zakè Limited Edition LP & Companion Cassette // Digital 1/31/2020 Album Description The world has found itself in a significant hurry. We have also found ourselves in the most distracted period of time in history; finding it tremendously difficult to remain in a moment of stillness, quietude, or allow time for self-reflection. Conversely, our vast universe continues its expansion into infinite development; a climate of deafening silence in a boundless four-dimensional continuum. It remains mesmerizing with a quiet allure that freely suspends in space-time; a true account of the beautiful unknown that sparks hope, reverence, and an awesome realization of impenetrable mystery. “Stasis Sounds For Long-Distance Space Travel” is audibly rich in its delivery with an array of tranquil billows and patient tones. It is a journey and soundtrack that commences at Earth’s thermosphere, gently moving towards the untraveled parts of space, lushly floating on forever. These arrangements represent a group of celestial transmissions that are delicate in nature and intended for the listener to embrace moments of stillness, quietude and reflection, of which are on a trajectory of extinction at a place we call Earth. -- Limited Edition LP (Transparent Yellow/Red Swirl) 160 gram LP on transparent yellow/red vinyl housed in a semi-gloss jacket. Full color labels. Records are placed in a black, anti-static inner sleeve with a .75 gauge archival polypropylene lining. The album is housed in a perforated sealed polybag. 300 units worldwide. Limited Edition LP (Transparent Cobalt) 160 gram LP on transparent cobalt vinyl housed in a semi-gloss jacket. Full color labels. Record placed in white inner sleeve. Shrink-wrapped. 200 units worldwide. Test Launch Press (160g Black) 160 gram black vinyl LP housed in a black jacket with a 11”x3” test press sticker on front cover. Blank, white labels. Record placed in an anti-static, high density rice paper innersleeve for ultimate protection. Jacket housed in a polyethylene sleeve. 25 units worldwide. Extended Hypersleep Programs & Reductions Cassette
White shell cassette tape with white imprinting, housed in a clear norelco box and shrink wrapped. Loaded with FerroMaster C456™ super ferric, ultra-high performance type-1 music grade analog tape. Limited to 100 units worldwide. SIDE A Description Four accompaniment programs by 36, designed to give the stasis user a pleasurable experience in extended hypersleep. Sweet dreams traveler. SIDE B Description Features the original stasis sounds by zakè, reduced to their essential elements. Redemption
by Christina Giannone Limited Edition 10" (Clear) + 10" Slipmat // Digital 01/17/2020 Redemption features three drone-based compositions, filled with depth and intrigue. Simultaneously cavernous and comforting the songs take hold and fill the listener with a sense of peaceful unease. On her PITP debut, Christina Giannone masterfully demonstrates what it means to let go in order to transcend suffering and gain infinite closure. Written and produced by Christina Giannone Mastered at Kaleidoscope Tone Studio (IN) by zakè Layout & design treatments by zakè -- © Past Inside the Present This is PITP-LS02 | MMXX PITP.bandcamp.com pastinsidethepresent.com Limited Edition 10" (Clear) + 10" Slipmat Details -- 10" Record -- 180 gram clear 10" vinyl housed in a Kraft jacket. Full color labels. Record placed in a white paper innersleeve. Album housed in a polyethylene bag. Hand-numbered. Pressed by Audio Geography on a high fidelity, stereo lathe-cut record for optimal playback, low surface noise, and extended frequency response. Limited to 25 units. -- 10" Slipmat -- Professional grade Custom printed 10″ slipmats featuring the album artwork. 16oz glazed bottom. 100% polyester felt top. 1/16" thickness. Sublimation printing technique. Limited to 25 units. Rushing
by Lucy Gooch Limited Edition 10" (Clear) + 10" Slipmat // Digital 01/08/2020 Rushing is intimate collection of songs built around Lucy’s emotive and soothing vocals. Her voice acts as a grounding force in the face of longing, loss, and uncertainty. The accompanying layered synth lines unobtrusively support both Lucy and the listener as they search for a space in which they can heal and grow. All music written by Lucy Gooch Additional Synthesizers by Oliver Andrews on ‘Rushing’ Tracks 1 & 2 were produced by Alistair Lax Tracks 3 & 4 were produced by Iain Lowery during Lucy’s Masters Degree in 2017 Mastered at Kaleidoscope Tone Studio (IN) by zakè Layout & design treatments by zakè -- © Past Inside the Present This is PITP-LS01 | MMXX PITP.bandcamp.com pastinsidethepresent.com Limited Edition 10" (Clear) + 10" Slipmat Details -- 10" Record -- 180 gram clear 10" vinyl housed in a Kraft jacket. White labels. Record placed in a white paper innersleeve. Album housed in a polyethylene bag. Hand-numbered. Pressed by Audio Geography on a high fidelity, stereo lathe-cut record for optimal playback, low surface noise, and extended frequency response. Limited to 25 units. -- 10" Slipmat -- Professional grade Custom printed 10″ slipmats featuring the album artwork. 16oz glazed bottom. 100% polyester felt top. 1/16" thickness. Sublimation printing technique. Limited to 25 units. Fieldwaves
by Low Howl Limited Edition Cassette // Digital 1/3/2019 Low Howl is the ambient alias of Indianapolis native, Dylan Wilson. He made his debut PITP appearance on the “Healing Sounds: A Compilation for Hurricane Recovery”, contributing the wistful, yet equally sanguine track “Lux” under the moniker H E A V Y. On his first proper release with Past Inside the Present titled, “Fieldwaves”, Low Howl delivers five arrangements of glowing ambience that patiently swell with gentle articulations. Synth lines radiate warmly with a profound sense of stillness and quietude. The multi-textural synth layers beautifully converge together, resulting in a lush array of calm, ambient tones. Cassette Details: Rhodamine red shell cassette tape with white imprinting, housed in a clear norelco box with a three panel J-card and shrink wrapped. Loaded with FerroMaster C456™ super ferric, ultra-high performance type-1 music grade analog tape. Limited to 50 units. Outside the Dream World
by Viul Limited Edition Cassette & Companion 7" lathe + slipmat 12/11/2019 We are very excited to be releasing Viul's latest full length titled, 'Outside the Dream World' in early December. Thirteen brand new tracks [three of which are exclusive to the 7" record] that encompass beautiful ambient guitar, tape and various effects treatments. You will not want to miss this special release. Personnel: Written and produced by VIUL Mastered at Black Knoll Studio (NY) by Rafael Anton Irisarri Layout and assemblage by zakè Cover photograph by Benoît Pioulard Slipmat and backside Jcard photograph/design by Viul Additional design treatments by Dylan Entelis Cassette Details: Cream shell cassette tape with black imprinting, housed in a clear norelco box and shrink wrapped. Loaded with FerroMaster C456™ super ferric, ultra-high performance type-1 music grade analog tape. Limited to 100 units. Companion 7"+ Slipmat Details: 155 gram clear 7" vinyl housed in a black jacket with a die-cut center hole. Full color labels. 7" housed in a polyethylene bag. Hand-numbered. Pressed by Audio Geography on a high fidelity, stereo lathe-cut record for optimal playback, low surface noise, and extended frequency response. Included with the record is a professional grade, custom printed 7″ slipmat featuring the album artwork. 16oz glazed bottom. 100% polyester felt top. 1/16" thickness. Sublimation printing technique. Limited to 25 units. 'In Four Parts'
by 36 & Black Swan Limited Edition LP / Cassette 11/20/2019 All tracks written & produced by 36 & Black Swan Artwork by Nathan Abels / nathanabels.com Layout & typography by 36 -- © Past Inside the Present LP::PITPV-009 | MMXIX CS:: PITP29 | MMXIX PITP.bandcamp.com pastinsidethepresent.com LIMITED EDITION LP 155 gram 'transparent glacier' vinyl housed in a full color, matte jacket. Full color labels. Record is placed in white innersleeves. The album is housed in a perforated sealed polybag. Limited to 300 units worldwide. LIMITED EDITION CASSETTE Lavender shell cassette tape with black imprinting, housed in a clear norelco box and shrink wrapped. Loaded with FerroMaster C456™ super ferric, ultra-high performance type-1 music grade analog tape. Limited to 100 units worldwide. Moments We Spent Together | Marigold Fields
by Endless Melancholy PITP Digital Exclusive Making his debut appearance on PITP, Oleksiy Sakevych AKA Endless Melancholy contributes two angelic pieces to the PITP Digital Exclusive Series titled, "Moments We Spent Together" and "Marigold Fields". "Moments We Spent Together" is a grandiose introduction to this two-part release. It patiently builds and glistens in splendor, while piercing the soul that yearns for hope. "Marigold Fields" echoes and reflects the beauty found in "Moments We Spent Together". Gentle synths and distant pianos swell with restraint, cultivating a peaceful atmosphere that is transcendent and heavenly. Written and produced by Oleksiy Sakevych Layout & design treatments by zakè -- © Past Inside the Present This is PITP35 | MMXIX PITP.bandcamp.com pastinsidethepresent.com 'Remnants Vol. VII' by Isaac Helsen
PITP Digital Exclusive Two brand new angelic pieces in Helsen’s ‘Remnants Series’ which conjures the solitude of emptiness while contemplating existence. ‘Remnants’ by Isaac Helsen has taken several forms over many years: A full-length album and a double album, before it was scrapped entirely; reborn as a four-part series of EPs, and scrapped again; finally, taking form as 'Remnants', an eight-part series to be released over the course of 2019 on Past Inside the Present. The project is both an autobiographical examination of the artist’s struggles with mental health and an attempt to deconstruct the idea of an album, creating a new series of sounds by collecting broken pieces of varying styles and in scattered stages of completion. The individual eight volumes will be released sporadically and unpredictably throughout the remainder of 2019, noting both the sporadic and unpredictable nature of these collections of sound as well as the processes in which they were conceived. 50% of all proceeds for the ‘Remnants’ series will be donated to Active Minds, a charity focused on opening the conversation about mental health through support services and education, aimed at students aged 14-25. Vol. VII context and setting: solitude in emptiness, facing existence. Written and produced by Isaac Helsen Layout & design treatments by zakè Photo captured in 2019 on expired Kodak Gold 200 film by Isaac Helsen -- © Past Inside the Present This is PITP17.7 | MMXIX Vol. VII - Remnants Series PITP.bandcamp.com pastinsidethepresent.com 'Sunlight of Oneness | Very Amazing Now' by Phillip Wilkerson
PITP Digital Exclusive Synth lines ripple and radiate throughout Phillip Wilkerson’s “Sunlight of Oneness,” the first track on his PITP debut. The song bathes the listener in a warm bath of blissful tones, momentarily connecting them with the universal plane. The transcendent “Very Amazing Now” follows, which further explores realms beyond our limited sense of self. Written and composed by Phillip Wilkerson, BMI. Layout & design treatments by zakè -- © Past Inside the Present This is PITP28 | MMXIX PITP.bandcamp.com www.pastinsidethepresent.com 'Streaking Light | The Lowest Tide' by Amulets 7" + Slipmat / Digital Amulet’s music is intimately tied to the Pacific Northwest. Foggy and emotive soundscapes that perfectly encapsulate what it feels like to spend time on the Western Oregon Coast. With his PITP debut release, Randall Taylor utilizes his signature blend of tape manipulation, field recordings, and instrumentation to convey a sense of pensive hopefulness. Both “Streaking Light” and “The Lowest Tide” are brief but engaging glimpses into an environment that encourages and rewards introspection and wonder Written and produced by Amulets Layout & design treatments by zakè Photography by Jacqueline Turner -- © Past Inside the Present This is PITP27 | MMXIX PITP.bandcamp.com www.pastinsidethepresent.com SHIPPING BEGINS ON 10/31/19
-- 7" Record -- 155 gram clear 7" vinyl housed in a black jacket with a die-cut center hole. Full color labels. 7" housed in a polyethylene bag. Hand-numbered. Pressed by Audio Geography on a high fidelity, stereo lathe-cut record for optimal playback, low surface noise, and extended frequency response. Limited to 25 units. -- 7" Slipmat -- Professional grade, custom printed 7″ slipmat featuring the album artwork. 16oz glazed bottom. 100% polyester felt top. 1/16" thickness. Sublimation printing technique. Limited to 25 units. 'The Best Driving Music in the World Ever' by Sean Curtis Patrick
Cassette / Digital 10/31/2019 PITP is excited to present 'The Best Driving Music in the World Ever' by Sean Curtis Patrick. PITP has since released the album on all streaming platforms and will be releasing a very limited cassette pressing as well. Due out late October. This album was recorded in a 48 hour period between Friday, 9/13/19 and Sunday 9/15/19. It was originally released on the evening of the 15th by SCP. "This all came together due to a bout of loneliness and depression that swept over me that Friday evening. Being lonely sometimes can render positive results, something I am learning. On my walk home, I decided to go and make a guitar-based record and not leave the house until it was done. I succeeded and this is what was made. This is not a one-off experiment, that will disappear a few weeks from now: This is my fifth solo full-length record. It is "canon", to quote film nerds. I hope you enjoy it and appreciate the context of its creation. Context they say that's everything these days..." - SCP Part of the proceeds will be donated to the Honnold Foundation, an honorable group trying to spread what is our solar-powered future. More about them here: www.honnoldfoundation.org Recorded, Mixed, & Mastered in a 48hr sprint by Sean Curtis Patrick. Vintage Fender Jazzmaster & Jaguar were the primary guitars used. Album cover is a painting by SCP titled, "The Black & Gold Door". Layout & assemblage by zaké -- © Past Inside the Present This is PITP-C003 | MMXIX PITP.bandcamp.com pastinsidethepresent.com 'Pattern' by Duenn Cassette / CD / Digital 09/20/2019 Past Inside The Present is thrilled to release 'Pattern', a new, two song slow burner by Japanese sound artist Duenn. This album is an hour long sonic journey bathed in shimmering reflections with a profound sense of stillness and quietude. Duenn (Fukuoka, Japan) is an electronic musician and composer producing minimal works, using a minimum source of equipment. Through collaborations with other artists, both sonic and visual, Duenn seeks an expansion of self. In 2017, Duenn formed the experimental collaborative unit 3RENSA with Merzbow and Nyantora. Duenn’s works have been published by Line Imprint (US), White Paddy Mountain (JP), Entr’acte (UK), sicsic tape (DE), New Motion (COL), Onmyōdō Cassette (US), Grumpy Records (UK), Slowdown Records(JP), and Progressive Form (JP). Cassette Pressing Information: Gray shell cassette tape with black imprinting, housed in a clear norelco box and shrink wrapped. Loaded with FerroMaster C456™ super ferric, ultra-high performance type-1 music grade analog tape. Limited to 100 units. CD Pressing Information: Disc housed in a 4-panel cardstock eco-pack. Eco-pack protected by a clear, re-sealable eco-bag. Printed using green friendly ink. Limited to 100 units. Written and produced by Duenn
Design and assemblage by zaké © Past Inside the Present This is PITP24 | MMXIX PITP.bandcamp.com pastinsidethepresent.com 'Remnants Vol. VI' by Isaac Helsen
Remnants Series | Digital 09/13/2019 ‘Remnants’ by Isaac Helsen has taken several forms over many years: A full-length album and a double album, before it was scrapped entirely; reborn as a four-part series of EPs, and scrapped again; finally, taking form as 'Remnants', an eight-part series to be released over the course of 2019 on Past Inside the Present. The project is both an autobiographical examination of the artist’s struggles with mental health and an attempt to deconstruct the idea of an album, creating a new series of sounds by collecting broken pieces of varying styles and in scattered stages of completion. The individual eight volumes will be released sporadically and unpredictably throughout the remainder of 2019, noting both the sporadic and unpredictable nature of these collections of sound as well as the processes in which they were conceived. 50% of all proceeds for the ‘Remnants’ series will be donated to Active Minds, a charity focused on opening the conversation about mental health through support services and education, aimed at students aged 14-25. Written and produced by Isaac Helsen Layout & design treatments by zakè Artwork captured in 2019 on expired Kodak Gold 200 film by Isaac Helsen -- © Past Inside the Present This is PITP17.6 | MMXIX Vol. VI - Remnants Series PITP.bandcamp.com www.pastinsidethepresent.com Healing Sounds: A Compilation for Hurricane Recovery
By Various Artists PITP-HS01 Digital [donation] 09/09/2019 +++ -featuring- 36 / Olan Mill / zaké / Tyresta / IIm / Phillip Wilkerson / Duenn / Isaac Helsen / Slow Dancing Society / H E A V Y / Saltbreaker / worriedaboutsatan / Wayne Robert Thomas / Dawn Chorus and the Infallible Sea / Gallery Six / Black Swan / The Green Kingdom / Patrick Spatz + Scott Wells / James Bernard / Awakened Souls / Black Brunswicker / Erinome / Echoed Sycamore / Hipnotic Earth / Before Flags / Forrest / Viul / Simon Bainton / Jordan Christoff This compilation is dedicated to the people that have been impacted by Hurricane Dorian in the Bahamas. The immense physical destruction on the Bahamian islands of Abaco and Grand Bahama are only now beginning to grasp the devastating personal toll for families who have lost so much in Hurricane Dorian. The killer storm, the strongest ever to make landfall in the country, destroyed many homes, and in some cases, entire neighborhoods were turned into rubble.Though the Bahamas experiences hurricanes frequently, Hurricane Dorian, which made landfall as a Category 5, has caused "generational devastation." In this era of the 24-hour news cycle, we sometimes can feel overwhelmed and powerless to make a difference, but in reality, it is easier than ever to contribute. We are asking for your help. PITP will provide 100% of the proceeds of this compilation to the Bahamas branch of the International Red Cross. We ask that you donate what you can to help support the disaster relief efforts from the devastating effects of Hurricane Dorian in the Bahamas. All arrangements featured on this compilation belong to the respective copyright holders who graciously provided their arrangement in an effort to raise donations in response to the devastating effects of Hurricane Dorian in the Bahamas. Thank you to all artists and fans alike for the support. -- © Past Inside the Present This is PITP-HS01 | MMXIX PITP.bandcamp.com pastinsidethepresent.com Past Inside The Present is thrilled to release 'Low Priest' by Erinome. These two arrangements from Omaha, Nebraska’s Erinome are at once immersive and vaporous. The tracks on "Low Priest" embody an organic intensity that envelope the listener, allowing them to get lost in the wall of sounds. Multiple layers of manipulated field recordings and guitar work flawlessly converge, producing thirty minutes of all encompassing, angelic drone. Vinyl Pressing Information 155 gram vinyl housed in a full color, matte jacket. Full color labels. Records are placed in white paper innersleeves. Shrink-wrapped. Limited to 75 units on color and 100 units on black. Written and produced by Aaron Ross Hansen
Mixed at Stonewahl Studio (NE) by Reid Otto Mastered at Black Knoll Studio (NY) by Rafael Anton Irisarri Cover photography by ARH Layout & LP assemblage by zakè -- © Past Inside the Present This is PITP-V004 | MMXIX PITP.bandcamp.com pastinsidethepresent.com |
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