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)

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

--

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

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

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

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

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

--

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

--

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


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

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

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

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

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

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

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

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

--

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

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

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

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

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

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

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

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

--

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

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

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

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

--

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

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

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

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

--

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

SHIPPING BEGINS ON 10/31/19

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

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

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

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

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

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

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

Recorded, Mixed, & Mastered in a 48hr sprint by Sean Curtis Patrick.
Vintage Fender Jazzmaster & Jaguar were the primary guitars used.
Album cover is a painting by SCP titled, "The Black & Gold Door".
Layout & assemblage by zaké
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© 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

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© 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.

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© 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
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© Past Inside the Present
This is PITP-V004 | MMXIX
PITP.bandcamp.com
pastinsidethepresent.com

Past Inside The Present is thrilled to release 'Fragments' by James Bernard. In February 2019, James' highly acclaimed effort on A Strangely Isolated Place titled, 'Atwater' was saturated with beautiful sounds emerging from a Moog Mother 32, custom built filters and various Eurorack modular sequencers, modules and effects. James continues his proven and unique efforts in creating ethereal tones on this latest collection of songs. 'Fragments' was created by using a method of composition James has been perfecting where he takes small pieces of unreleased music that he has written stretching over the last 10 years, and runs them through different modes and types of granular stretching and FFT processing. In some cases, the original audio source was no longer than 20-30 seconds long. PITP is honored to share this collection of music.

Cassette Pressing Information
Yellow 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.

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 James Bernard
CD & Cassette design/assemblage by zakè
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© Past Inside the Present
This is PITP21 | MMXIX
PITP.bandcamp.com
pastinsidethepresent.com

Past Inside The Present is thrilled to release a split album titled, 'RÁS' by Wayne Robert Thomas and Isaac Helsen. ‘RÁS’ is derived from a Faroese word, which roughly translates to “a strong current in a narrow passage which links two seas”, mirroring the outcome of Thomas’ & Helsen’s independent arrangements, cultivating a strong bond or link between their compositions.

Wayne Robert Thomas:
'Cantus In Memoriam Mark David Hollis' is a very personal piece that mourns the loss of a very talented human being whose presence will be deeply missed in this world. He's had such a profound influence on me as well as many others and now I feel that his music carries any even greater weight than before when listening to it. This one is for Mark. 'A Grey Morning, Later Lovely Sunshine' was what Alexandra Fyodorovna described the day of July 16, 1918. Unbeknownst to her and the rest of the Russian royal family they were to be brutally murdered late into the night. I felt that this line described perfectly the month of February for me, a month that was full of loss and grief, as it had several overcast days and then sunlight would appear only for something tragic to happen.

Isaac Helsen:
It is often only in hindsight that we are able to fully conceive the spaces we have traversed, notably in those metamorphic shifts of the mind. In looking back, our vision widens and clarifies; the darkness—once so intrusive and internal—is recast. Held against the light, its burden lifts and takes a different shape. The melancholy remains but is buoyed by a new hopefulness, a landscape unfolding, a bright contentment with what is and has been.

Pressing Information
155 gram transparent red vinyl housed in a full color, matte jacket. Full color labels. Records are placed in white paper innersleeves. Shrink-wrapped. Limited to 75 units.
155 gram black vinyl housed in a full color, matte jacket. Full color labels. Records are placed in white paper innersleeves. Shrink-wrapped. Limited to 100 units.

Track 1-2: Composed & recorded by Wayne Robert Thomas at the The Winter Dacha in Fairland, Indiana, February 26-27th of 2019
Track 3: Guitar, piano, tape, and electronics composed and performed by Isaac Helsen. Strings composed and performed by Jeffrey Niemeier. Arranged by Jeffrey Niemeier and Isaac Helsen. Recorded, arranged, and mixed at La Chambre de Rêve by Isaac Helsen in January and February of 2019.
Mastered at Black Knoll Studio (NY) by Rafael Anton Irisarri
Cover photography provided by Isaac Helsen
Layout & LP assemblage by zakè

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© Past Inside the Present
This is PITP-V003 | MMXIX
PITP.bandcamp.com
pastinsidethepresent.com