Coming soon…Ed Cooke – Little Fire

For our 45th limited edition release, which of course is a CDr presented to mimic a ’45’ vinyl record, we welcome aboard Ed Cooke. Ed has released previously with the likes of  Rural Colours, Audio Gourmet and Vent. ‘Little Fire‘ is a warm and exotic blend of guitar and percussion songs, a perfect reflection back over the summer months for those of us with seasons! For Ed, the record is a personal account of his family and work life between Thailand and Malaysia. For the rest of us, this not only serves as a window into this but also, as a sun-bleached transmission of far eastern climes. This one might appeal to those who enjoy Danny Paul Grody, Pullman or Padang Food Tigers.

Whitelabrecs low-run releases will be made available suddenly without official release dates, meaning they’re likely to sell out fast. The best way to keep informed is to join our mailing list which can be located through our website menu.

press release
Ed Cooke is a Londoner currently living in Malaysia and Thailand, who has previous releases on Rural Colours, Vent Sounds and Audio Gourmet. Ed began home recording in the late 1990s, not long after days of performing in a few bands. Ed’s approach begins with experiments with different guitar tunings and a search for a hook or melody which usually contains more sonic elements in the mix. He doesn’t leave things there, once the backbone of a song is created as a lot happens in the production stage, with careful editing of fades and subtly woven Asian textures inspired by his current lifestyle.

We’re informed that Ed has a widespread selection of influences but he cites Bert Jansch, Scott Tuma, Padang Food Tigers and Six Organs of Admittance as primary drivers to his own experiments with guitar and electro acoustic music. ‘Little Fire’ was designed to be meditative and distant and the varying tunings and harmonics help the sound wash over you as you listen. The album is centered around melodic arpeggio hooks on both acoustic and electric guitar, alongside layers of slide guitar and feedback, not to mention Asian Folk rhythms and texture. Wind and percussion sounds were made using local bamboo instruments. The sound structures blend cultures, as the album draws from colourful Eastern and Western Folk sounds and places these against a warmth reminiscent of 70s Dub production.
Little Fire contains autobiographical moments recorded during the first 7 years of Ed’s eldest son’s life. These songs are Ed’s tribute to him and the inspiration he and the rest of the family give him. The track ‘Waiting For Water’ was named because it was recorded when his family’s home was nearly flooded during the Bangkok floods of 2011. His wife also sings vocals on the track ‘Worth’. Some pieces were recorded during a time when Ed had to live away from his family for career reasons. ‘Closer To The Equator’ was made in Southern Malaysia where he felt a long way from his home in Thailand. It is also a tribute to his much missed Thai father-in-law, who sadly passed away during post-production.

Whilst to us the listener the sounds could not possibly map out all of Ed’s journeys and experiences, the tone and presentation of the recordings give an exotic, well-travelled account, which is full of warmth to fuel our own imagination.

credits
Written and produced by Ed Cooke
Mastered by James Armstrong
Photography by Ed Cooke
Artwork by Harry Towell

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Coming soon…dziadosz/mreńca – mirage (reworks)

Next we welcome Polish artists Bartosz Dziadosz and Tomasz Mreńca with Mirage, which is a reissue and adaptation from a release on Taalem last year. The album includes artwork by Peter Nejedly and the album opens with interpretations of the original Modern Classical composition by SpheruleusSven Laux and Giulio Aldinucci. The remastered version of Mirage then closes out this record, with the dark and mysterious listening experience recalling the work of The Frozen Vaults, Erik Skodvin or Max Richter.

Whitelabrecs low-run releases will be made available suddenly without official release dates, meaning they’re likely to sell out fast. The best way to keep informed is to join our mailing list which can be located through our website menu.

press release
Bartosz Dziadosz and Tomasz Mreńca are friends and artists from Poland. They started collaborating on musical projects a few years ago, most notably as part of modern classical group The Frozen Vaults which also include Harry Towell, Yuki Murata and Dave Dhonau. This group saw a far flung collaboration with locations including the United Kingdom, Japan as well as Poland and recordings shared over great distance as the project developed.

In ‘Mirage’ and also the recent ‘Black Lake’, the project sees Bartosz and Tomasz collaborate closer to home. Bartosz records solo material as Pleq and works with sound as part of the theatre whereas Tomasz generates sounds on analog synthesisers and violin. Mirage was originally released as a 3 inch CDr via Belgian label Taâlem last year and we’re pleased to present this piece in its remastered state, alongside reworks and interpretations from Spheruleus, Sven Laux and Giulio Aldinucci. Each of these renowned composers were invited to portray the dark, mysterious passages of Mirage in a different light, making for an album experience rather than a simple reissue with ‘remixes’.

Spheruleus selected a looping section of the original strings in a brooding, dramatic piece steeped in tape decay, Sven Laux has focused more on the timbral quality of the strings whereas Giulio Aldinucci sculpts the piece into a dynamic drone which reaches a subtly noise shrouded crescendo. The reworks are followed by the original, in all its glory.

We’re informed that Mirage was inspired by Witold Lutosławski as Bartosz and Tomasz had listened to his work together.
When they set about composing Mirage, they wanted to create this in their image and since they are so used to each other’s company, they did not need to labour into plans and concepts. Instead, the music flowed freely. The concept became the action of creating itself, in a way which etches a description of the artists themselves, for the listener to decode.

credits
Written and produced Bartosz Dziadosz and Tomasz Mreńca
Mastered by Tim Diagram
Artwork by Peter Nejedly

Out Now! Masaya Kato – Contact

Next up, we’re pleased to welcome Yokohama, Japan based artist Masaya Kato who has previously released with Time Released Sound and Somehow RecordingsContact is an album which focuses on just two elements: subtle drones using Rhodes keys and magnetic noise using tape reel noise, 8mm film, vinyl and VHS noise. The album unfolds subconsciously over 8 movements, with a minimalist approach to production serving as a sleepy listen from start to finish. This might be one for those who enjoy work by Jan Jelinek, Sustainer’s ‘Taps’ or Masayoshi Fujita.

This album was announced to our mailing list last weekend and there are a few copies left at the time of writing. You can listen to the album in full by hitting play above or clicking the link below, where you can purchase a physical or digital version. To avoid missing out on our future releases, you can join our mailing list HERE

https://whitelabrecs.bandcamp.com/album/contact

Whitelabrecs low-run releases will be made available suddenly without official release dates, meaning they’re likely to sell out fast. The best way to keep informed is to join our mailing list which can be located through our website menu.

press release
Masaya Kato is an artist from Japan who has been active since 2011, with previous releases on Time Released Sound and Somehow Recordings. Masaya’s influences tend to be from poetry as well as video and performing arts.

Typically, his compositions will are born out of Fender Rhodes or Piano sketches along with additional sounds of magnetic noises. ‘Contact’ is an album which focuses on two elements: Fender Rhodes keys and layers of magnetic noise derived from tape reels, vinyl, 8mm film and VHS. Masaya has created a body of work that serves to relax, unrest and restore through passages of crackling, unassuming Rhodes drones.

The tone of Rhodes keys is typically an immediate rush of melody, instantly recognisable and usually used in soul, house and jazz genres for its deep tones. When used to create Ambient drones, the feint swells of decaying chords serve as the subtlest blend. Against the hiss, crackle and pop of the magnetic noise sounds, the minimalist melodic textures were created as Masaya has strived to extinguish his body into the empty air around him.
Contact is something that simply exists and seems to transcend time as if dozens of blank audio/visual recording mediums are combined, to reveal lulling caverns of light. If you’ve ever seen dust rise into a room when sunlight appears through partially open curtains, or puddles of water rippling in the rain, you’ll already know how this feels.

credits
Written, produced and mastered by Masaya Kato
Artwork by Peter Nejedly

Coming soon…Masaya Kato – Contact

Next up, we’re pleased to welcome Yokohama, Japan based artist Masaya Kato who has previously released with Time Released Sound and Somehow RecordingsContact is an album which focuses on just two elements: subtle drones using Rhodes keys and magnetic noise using tape reel noise, 8mm film, vinyl and VHS noise. The album unfolds subconsciously over 8 movements, with a minimalist approach to production serving as a sleepy listen from start to finish. This might be one for those who enjoy work by Jan Jelinek, Sustainer’s ‘Taps’ or Masayoshi Fujita.

Whitelabrecs low-run releases will be made available suddenly without official release dates, meaning they’re likely to sell out fast. The best way to keep informed is to join our mailing list which can be located through our website menu.

press release
Masaya Kato is an artist from Japan who has been active since 2011, with previous releases on Time Released Sound and Somehow Recordings. Masaya’s influences tend to be from poetry as well as video and performing arts.

Typically, his compositions will are born out of Fender Rhodes or Piano sketches along with additional sounds of magnetic noises. ‘Contact’ is an album which focuses on two elements: Fender Rhodes keys and layers of magnetic noise derived from tape reels, vinyl, 8mm film and VHS. Masaya has created a body of work that serves to relax, unrest and restore through passages of crackling, unassuming Rhodes drones.

The tone of Rhodes keys is typically an immediate rush of melody, instantly recognisable and usually used in soul, house and jazz genres for its deep tones. When used to create Ambient drones, the feint swells of decaying chords serve as the subtlest blend. Against the hiss, crackle and pop of the magnetic noise sounds, the minimalist melodic textures were created as Masaya has strived to extinguish his body into the empty air around him.
Contact is something that simply exists and seems to transcend time as if dozens of blank audio/visual recording mediums are combined, to reveal lulling caverns of light. If you’ve ever seen dust rise into a room when sunlight appears through partially open curtains, or puddles of water rippling in the rain, you’ll already know how this feels.

credits
Written, produced and mastered by Masaya Kato
Artwork by Peter Nejedly

Out Now! Ashlar – Distant Scenes

Our next release sees the collaboration between Wil Bolton and Phil Edwards (owner of Assembly Field Recordings) continue, under their Ashlar alias. This follows previous material which had appeared on  Time Released Sound (2012) and Hibernate Recordings (2014). Distant Scenes shows a progression in their sound: whilst the previous material was recorded via jam sessions in Liverpool, their latest work was recorded in distant locations after Wil had moved to London. The sound is a beautiful collection of piano and guitar drones, with field recordings also taking centre stage. This might be one for those who enjoy work by Ian Hawgood, David Newlyn or Caught In The Wake Forever.

The vinyl-effect CDr version of this release is unfortunately sold out, however you can listen to a preview of the album by using the Soundcloud player below or grab a digital version by clicking the bandcamp player above or the link below.

This album was announced to our mailing list last weekend and it had completely sold out at source 2 days before release day! To avoid missing out on our future releases, you can join our mailing list HERE

https://whitelabrecs.bandcamp.com/album/distant-scenes

press release
Ashlar are British duo Wil Bolton from London and Phil Edwards from The Wirral, Liverpool. They began collaborating around 2011 ahead of their debut release ‘Saturday Drones’ on Time Released Sound and followed this up with ‘St. James’ Gardens’ on Hibernate Recordings in 2014.

These albums were the result of lazy Saturday afternoons spent in various public houses in Liverpool’s Georgian Quarter which were followed by evenings spent jamming in Wil’s studio. In the early days, both artists were residents of the city, meaning impromptu recording sessions could be arranged with relative ease. However, after the first two albums Wil relocated back to London, which meant that when they began to work together again, a very different approach was necessary. Instead of jamming and producing together, they worked remotely, usually initiated by the sharing of recordings, which were then added to, processed and bounced back and forth until the final tracks emerged.

With ‘Distant Scenes’ most of the sounds began as piano loops (played by Wil) and acoustic guitar parts (played by Phil), which were heavily processed and re-processed several times using both software effects and guitar pedals. Where the first two albums featured environmental sounds from the local area, the field recordings here were made by both artists separately, in wildly varied locations including Japan, Korea and the UK.
Unlike their initial work, this new method of working has taken a great deal longer to fully realise, given that the process was less immediate and more meticulous.

Distant Scenes is an album built around distance, time and space as their different recording locations inspired new but separate ideas. A warm but blurry canvas has been woven over a four year period, as time has rusted the memories of the good old days spent jamming on their earlier albums and newer ideas have been corroded into a melancholic fuzz.

credits
Written and produced by Wil Bolton and Phil Edwards
Mastered by Wil Bolton
Artwork by Wil Bolton

Coming soon…Ashlar – Distant Scenes

Our next release sees the collaboration between Wil Bolton and Phil Edwards (owner of Assembly Field Recordings) continue, under their Ashlar alias. This follows previous material which had appeared on  Time Released Sound (2012) and Hibernate Recordings (2014). Distant Scenes shows a progression in their sound: whilst the previous material was recorded via jam sessions in Liverpool, their latest work was recorded in distant locations after Wil had moved to London. The sound is a beautiful collection of piano and guitar drones, with field recordings also taking centre stage. This might be one for those who enjoy work by Ian Hawgood, David Newlyn or Caught In The Wake Forever.

Whitelabrecs low-run releases will be made available suddenly without official release dates, meaning they’re likely to sell out fast. The best way to keep informed is to join our mailing list which can be located through our website menu.

press release
Ashlar are British duo Wil Bolton from London and Phil Edwards from The Wirral, Liverpool. They began collaborating around 2011 ahead of their debut release ‘Saturday Drones’ on Time Released Sound and followed this up with ‘St. James’ Gardens’ on Hibernate Recordings in 2014.

These albums were the result of lazy Saturday afternoons spent in various public houses in Liverpool’s Georgian Quarter which were followed by evenings spent jamming in Wil’s studio. In the early days, both artists were residents of the city, meaning impromptu recording sessions could be arranged with relative ease. However, after the first two albums Wil relocated back to London, which meant that when they began to work together again, a very different approach was necessary. Instead of jamming and producing together, they worked remotely, usually initiated by the sharing of recordings, which were then added to, processed and bounced back and forth until the final tracks emerged.

With ‘Distant Scenes’ most of the sounds began as piano loops (played by Wil) and acoustic guitar parts (played by Phil), which were heavily processed and re-processed several times using both software effects and guitar pedals. Where the first two albums featured environmental sounds from the local area, the field recordings here were made by both artists separately, in wildly varied locations including Japan, Korea and the UK.
Unlike their initial work, this new method of working has taken a great deal longer to fully realise, given that the process was less immediate and more meticulous.

Distant Scenes is an album built around distance, time and space as their different recording locations inspired new but separate ideas. A warm but blurry canvas has been woven over a four year period, as time has rusted the memories of the good old days spent jamming on their earlier albums and newer ideas have been corroded into a melancholic fuzz.

credits
Written and produced by Wil Bolton and Phil Edwards
Mastered by Wil Bolton
Artwork by Wil Bolton

Coming soon…Francis M. Gri – Apart

We’ve some big news to announce and that’s that Harry (the label owner) will be having a baby in October, so things may slow down just a little towards the end of the year as he adjusts to a few changes…
There’s a lot of the schedule to work to so the plan is step things up a bit so don’t be surprised to see a couple of albums emerge per month from here on in. Stay tuned too for something special to celebrate our 50th release!

Next we head over to Italy to welcome Francis M. Gri, who records under his own name and is based in Milan. Francis runs the KrysaliSound label and is also scheduled to release an album with US label Time Released Sound. His work for us was produced using reworked material assembled from his hard-drive and these are longer pieces than we tend to release. Each piece is completely enveloping, with guitar and synth drones joined by loops, reversing textures and light shards of noise/static. This should grab those who follow Christopher Willits, Fennesz or Leandro Fresco.

Whitelabrecs low-run releases will be made available suddenly without official release dates, meaning they’re likely to sell out fast. The best way to keep informed is to join our mailing list which can be located through our website menu.

press release
Francis M. Gri is a multi-instrumental composer currently residing in Milan, Italy, who also curates the KrysaliSound record label. His previous releases have appeared on his own label as well as Final Muzik and he’s also due an album on US imprint Time Released Sound.
Francis began playing guitar when he was 13 before he also progressed to piano and in time he began to perform as part of his first dark ethereal band ‘All My Faith Lost’. His musical experiences have culminated in his work under his own name since 2010, which straddles the Ambient, Electro Acoustic and Electronic genres. His studio material draws influence from many contemporary artists, such as Taylor Deupree, Ryuichi Sakamoto, Sigur Ros and Ludovico Einaudi.

Apart shares a name with a former production moniker, as Francis compiles recordings made from unpublished works under this name. The material was gathered from a hard-drive backup created between 2003 and 2005 where he found the previously completed tracks would not load due to a technical glitch. Fortunately he had saved the individual sound components so he decided to rework these into new compositions. He decided not to add any additional tracks and set about stretching, detuning, reversing and treating the sounds with effects before he arrived at a set of 2 mid-length pieces. He created a new piece entitled ‘Last’ which was created around the time he was working with ‘In This Room’ and ‘Hidden Reflections’ and originally shared the work as a free download.

Not long after, Francis had sent us his album and we were thoroughly impressed, feeling that these three tracks serve as a cohesive album experience and deserved a physical release.
The longer-form nature of the tracks which loop with folds of subtle emotional detail make for an immersive listening experience that you’ll surely get lost in, as shimmering drones, synth and guitar lines collide effortlessly.

credits
Written, produced and mastered by Francis M. Gri
Artwork by Francis M. Gri