Andrew Heath has been busy setting up Driftworks the newest Ambient label in town, and sister-label to Whitelabrecs. We're supporting one another as you might expect, chatting over email and Zoom regularly and crossing paths inside our new community the Inner Echo too. However, Andrew has been working hard to establish a brand, identity and his own systems in which Driftworks will operate. I thought it might be interesting for blog readers to delve a little deeper into Andrew and his background, as well as how he came to form a record label.

So I got my thinking cap on and penned ten interview questions in which Andrew can hopefully convey his thoughts to Whitelabrecs blog readers. He sent me images of his first three editions, which are by Andrew himself, Peter Maynard and then some Glåsbird character too... As you'll see, the packaging designs are stunning and you can also take a listen to some of the music here which I've featured throughout this blog. Enjoy!

HT: Could you give the readers an idea of what inspired you to start Driftworks, and how would you say it differs from Whitelabrecs in terms of either its ethos or focus?

AH: I think there are two main pathways that lead me here. One was the increasing amount of collaborative projects I was involved with - not just musical projects like an album project with other musicians - but visual artists as well. I began to enjoy these more and more and found that I was really inspired by the fact that the projects were more than just me. It was the interaction and in some cases, the supporting role that I found myself in, that I found deeply satisfying. Not only from a creative point of view but also from a personal and emotional perspective.

The other thing that just tipped me into this was seeing a wonderful and completely inspiring documentary film about the life and work of American experimental composer, Pauline Oliveros. I didn’t know that much about her, but as the film ran on, I became completely engrossed by what she’d done and who she’d worked with. Towards the end, she talks about not trying to build a career, but rather trying to build a community. So when I put this together with my collaborative work, It seemed to re-enforce the direction I was moving in. I just needed a little focus and a push.

Driftworks will concentrate on small quantities of Special Edition CDs. Different for each release and in a way, a continuation of what I have done in the past for my own solo releases. Other than that, Driftworks will be a smaller affair than Whitelabrecs and will release fewer artists but still act as a supporter for Whitelabrecs as we have done with Inner Echo and maybe other projects.

HT: Can you share a bit about your journey as a musician and how it has influenced the creation of Driftworks?

AH: Ever since I was 11 or 12 years old, I was fascinated by music and sound. Even before that some of my earliest memories are of listening to aircraft flying overhead and being drawn to the sound they made. But in those days, the idea that you could record and produce your own work was for the birds. And so, I dabbled for many years sometimes working with others, sometimes not. I released a few albums with a musician called Felix Jay - we really explored improvisation which was something that I’ve used ever since. There was also a chance meeting and album with Hans-Joachim Roedelius which was great fun. However, it was meetings with Peter Maynard and Toby Marks that really distilled my own work. Peter’s artistically and Toby’s offer of an album release were both milestone events for me.

The last ten or twelve years has been a journey of refining my sound and exploring processes and instrumentation but always around my particular style. It’s led me to work with other artists which I love to do - lots more coming on that - and it’s also given me opportunities to create music for film pieces. One such project was a big undertaking - an episodical film with a wonderful artist based in Manchester. When the project had finished, I set about creating a ‘soundtrack album’ and my publisher said, “you should start a label”. Obviously I thought he was completely bonkers but some of that remark got stuck in my mind and well, here we are.

HT: How would you define the Driftworks sound in terms of the music you’re likely to release in the future?

AH: This is a very difficult question to answer. I like music that is quite minimal, not too electronic but that is intimate. I’ve been very lucky that quite a few people have sent in demos and some of those are great. So I’ve been delighted to have been in contact with some artists to say 'Yes! I’d love to release your work'. I hope that after six months or so, people (including me) will be able to see the emergence of a sort of style but to describe it certainly as ambient but also minimal and electro acoustic.

HT: What does the name ‘Driftworks’ mean to you, and how does it reflect the music the label will release?

AH: People have been really positive about the name Driftworks. For me, it feels like a sort of ambient Bauhaus school - which I love the idea of. And I think if you take that as a sort of starting point it might mean that the music is ‘crafted’ and beautifully designed with perhaps the ‘Drift’ indicating a nod towards those found, serendipitous moments when improvising. I like the idea of it being a factory as well - releasing music instead of cars.

HT: It may be too early to say, but do you see Driftworks evolving in a specific direction over the next few years, or are you keeping an open mind?

AH: Well I’d love to develop further this idea of community. We’ve started it with the links between Whitelabrecs and Driftworks and perhaps this can grow and move into live events or a showcase of artists and label activities. Ultimately though, I’d like to just still be here! I think Inner Echo is a fantastic resource for both artists and fans. A wonderfully friendly and supportive forum that brings people together in ways that current social media just doesn’t. I love the current album project involving members and look forward to seeing the outcome of that and of course coming up with new ideas.

To be honest, with Harry’s immense support and guidance, there’s the possibility to promote artists in a really good way. Far better than I’ve done up to now with my own work and that’s a lovely thing to be able to offer people.

HT: In the first question you talked about some of the differences between Whitelabrecs and Driftworks. How do you see that our labels will compliment one another?

AH: I hope by being seen as linked in some way. Both supporting the other with Whitelabrecs being this amazingly curated catalogue of artists and Driftworks offering some points of difference with the handmade, design led special editions. However, I think fundamentally that both labels do the same thing but that by being linked in people minds, it makes both labels a stronger proposition. So if an artist is looking to release they’ll get the support of both labels. It’s also a great position for both Harry and I as we’re able to bounce ideas and thoughts off one-another and it’s always more fun to go on the journey with someone else.

HT: How will you involve artists in the creative process of designing the special editions?

AH: I’m keen to establish a visual identity for Driftworks but I don’t want to do that at the expense of creating something that is very much in the artists style. I do think it’s possible to do both depending on the artist. For example, Driftworks next release will be Pete Kvidera who creates amazing photographic images and so this will form a key part of the visual side of both the special editions and the standard CDs. I certainly look to the artist to give a concept or direction and it’s my job to respond to that.

To be honest, there’s one artist who’s really important and that’s Zoë, my wife. Amongst other creative sides, she runs an artists books group - not a group that publishes books about artists! These are amazing three dimensional paper sculptures and her ideas are already feeding into the packaging.

HT: How have you found it balancing the creative and business sides of running a label?

AH: There is a lot more admin than I thought there might be! But it’s all necessary really and I’ve been self employed for years and years. So in a way it’s a continuation of my own artistic pursuits. It’s also possibly helped by the fact that we moved house just over a year ago and bought a bit of a project (builders are currently here). It’s a downsize and I’ve lost my wonderful little writing room - in fact my studio is spread across various boxes with the main one, currently under the kitchen table! So I guess it’s not much of a distraction at the moment although I am playing live in a few months (after quite a break) so I will need to get stuck in and work on some new things.

HT: We’re from different parts of the UK and we’ve talked about how the landscapes are quite different; with the hills around you and the flat fens over here. Stroud is quite an artistic hub too. How does your local environment inspire the music you create or the label’s ethos?

AH: I love how different the landscapes are around us both. I love the hills and the beach woods, precariously balanced on steep slopes punctuated with ancient Holloways but I also love the flatlands. I used to so enjoy going to The Netherlands to see Chris Bakker as that big sky was just so dominant but now he’s moved to Norway which is altogether very different! Landscape and weather patterns are a huge influence on me as is the network of local artists all around here. There must be something in the water as you can’t move for creative people here. There’s always an energy and it’s great to feed off that. My wife is a visual artist and has her studio in an old mill with many other artists, sculptors, painters, textile artists and that’s just one of many. There’s always a ‘project’ going on that will inevitably draw in many artists and so I guess it comes back to that idea of community. A big artistic family.

HT: Your special editions will be just that as can be seen throughout this blog post! They're special objects to be cherished and in low numbers. Do you have a favorite object or artifact from your music career that is particularly special to you?

AH: I’m a bit of a collector of odd stuff! My studio / writing room was cluttered with old (but gorgeous) things like slide rules or hotel counter bells (makes a great noise) or old toy robots. Sadly it’s all been put away in boxes so I’m really missing things like those. I wish I had an old instrument or something like that but I’ve always had to sell things in order to fund anything new. Would have loved some of the old things I used to have to be still with me.

If you enjoyed reading this blog post and you're curious to know more, hop over to the Driftworks website HERE where you can find out more. While you're there, why not join Andrew's Driftworks newsletters? They're full of behind the scenes information, include a free EP when you sign-up and then if you're not already in, you can join us inside the Inner Echo.