Out Now! Adrian Lane – Missing The Crows


Here’s the second of two new editions for October, with ‘Missing The Crows‘ by Adrian Lane being a fourteen track modern classical album which fuses orchestral strings and piano with a subtle use of electronics. It’s out now in a run of 100 gatefold vinyl-effect CDrs after a short pre-order last week. If you click here: mailing list, we’ll make sure you’re the first to hear.

press release
“Following last year’s release ‘The Fleet’, we welcome back UK based composer and visual artist with a new concept album. Alongside long-since sold-out The Fleet, Adrian also contributed to our Home Diaries series and has recent releases on other UK labels including Preserved Sound and Hibernate. Adrian’s sound is characterised by elegant modern classical arrangements, pairing acoustic instrument textures with a hint of electronics drawing inspiration from composers such as Jóhann Jóhannsson and Max Richter.

In ‘Missing The Crows’ we have what Adrian describes as a follow-up to The Fleet, in terms of the recording process and sound palette used, in that strings and piano dominate. Yet in this new collection of 14 pieces, there is a bit more of an emphasis on synths and light electronic effects. Neither the synthetic, nor the acoustic instrument sounds take centre stage at any given time, with the intention being to paint a coherent whole in which neither taking precedence.

The story behind the title of the album sprang up following regular walks to a local park, where there are always lots and lots of crows. This former Ministry Of Defence land by the sea wall is left to grow naturally and Adrian had decided to go there with his camera to photograph some of these crows, as source material for his visual artwork. On arrival, he realised that he should have taken his telephoto lens, as he kept missing the crows; they’d fly away before he got close enough. He returned on another occasion with the telephoto lens and managed to get some decent images and these appear in the mixed media painting in the album cover artwork.

There is a lot of negative symbolism associated with crows, but they are fascinating creatures; they are intelligent, can problem solve and warn each other of danger. The natural landscape has always been an influence on Adrian’s music and certain specific reference such as the crows appear in the tracks. In another reference, ‘Godeuleum’ (meaning ‘Icicle’ in Korean) was written when it was particularly cold, and his wife (who is Korean) used the word when pointing to them, hanging from the gutters of their home.

Whilst Adrian has never aspired to be a film composer, he does listen to a lot of film/drama soundtracks and he feels this cinematic quality comes across in the music. In film music, themes and phrases are often repeated, with melodies appearing in different forms across numerous tracks. This approach was embraced in sketching out the concept for ‘Missing The Crows’, in the hope that listeners may recognise sections of this album, building a sense of familiarity. The work is both charming and intelligent like the crow, with a character soaring high beyond the mere colour of black and its associated darkness.

credits
Written and Produced by Adrian Lane
Mastered by James Edward Armstrong
Painting by Adrian Lane
Art and Design by Andrew Heath

Out Now! Sven Laux – What Remains


Here’s the first of two new releases out today on Whitelabrecs. This one’s a cinematic modern classical album called ‘What Remains‘ by Sven Laux, combining piano and strings arrangements with sensitively placed electronics. It’s out now in a run of 100 gatefold vinyl-effect CDrs after a short pre-order last week. If you click here: mailing list, we’ll make sure you’re the first to hear.

press release
“Since 2018 we’ve released five albums from Berlin, Germany based composer Sven Laux, including his most recent collaboration with Fione and solo albums ‘Schachmatt’, ‘ODD’, his Home Diaries edition and 2020 and the extended version, Scattered Fragments of Separation (The Complete Story). Sven’s sound design has found its home in short films, advertisement and in audio branding but he also maintains his discography as an artist, focusing on deeply stirring cinematic themes.

A well-balanced contemporary sound awaits you in this latest edition ‘What Remains’ and you are urged by the title to consider what you think about when something is left over? The record uses a depth of sprawling orchestral timbres, across its at-first cryptically titled tracks, to set out the phases of processing an event. At first there is ‘patience’ and ‘hope’, then there is the passing of the event (‘the goodbye’) followed by ‘what remains’; the now. Memory may serve ‘the return’ and perhaps ‘the cohesion’ and for some, there may be ‘the ending’.

You may choose a past experience to relate with these titles or, you might choose to allow it to relate to the present day. It does not matter whether you think positively about something from the past, or whether you mourn something afterwards in a sad or melancholy way. Whether negative, positive or even indifferent, it is the contemplative environment that each track brings which will allow this record to become a thinking space; a ceremonial framework to process events.

credits
Written and Produced by Sven Laux
Mastered by James Edward Armstrong
Artwork by Zoë Heath
Art and Design by Andrew Heath

Coming soon… Adrian Lane – Missing The Crows

Our new release ‘Missing The Crows‘ by Adrian Lane will be available officially in one of our typically low runs of 100 gatefold vinyl-effect CDrs on Saturday the 15th of October after a pre-order for Bandcamp Friday on the 7th of October. If you click here: mailing list, we’ll make sure you’re the first to hear.

press release
“Following last year’s release ‘The Fleet’, we welcome back UK based composer and visual artist with a new concept album. Alongside long-since sold-out The Fleet, Adrian also contributed to our Home Diaries series and has recent releases on other UK labels including Preserved Sound and Hibernate. Adrian’s sound is characterised by elegant modern classical arrangements, pairing acoustic instrument textures with a hint of electronics drawing inspiration from composers such as Jóhann Jóhannsson and Max Richter.

In ‘Missing The Crows’ we have what Adrian describes as a follow-up to The Fleet, in terms of the recording process and sound palette used, in that strings and piano dominate. Yet in this new collection of 14 pieces, there is a bit more of an emphasis on synths and light electronic effects. Neither the synthetic, nor the acoustic instrument sounds take centre stage at any given time, with the intention being to paint a coherent whole in which neither taking precedence.

The story behind the title of the album sprang up following regular walks to a local park, where there are always lots and lots of crows. This former Ministry Of Defence land by the sea wall is left to grow naturally and Adrian had decided to go there with his camera to photograph some of these crows, as source material for his visual artwork. On arrival, he realised that he should have taken his telephoto lens, as he kept missing the crows; they’d fly away before he got close enough. He returned on another occasion with the telephoto lens and managed to get some decent images and these appear in the mixed media painting in the album cover artwork.

There is a lot of negative symbolism associated with crows, but they are fascinating creatures; they are intelligent, can problem solve and warn each other of danger. The natural landscape has always been an influence on Adrian’s music and certain specific reference such as the crows appear in the tracks. In another reference, ‘Godeuleum’ (meaning ‘Icicle’ in Korean) was written when it was particularly cold, and his wife (who is Korean) used the word when pointing to them, hanging from the gutters of their home.

Whilst Adrian has never aspired to be a film composer, he does listen to a lot of film/drama soundtracks and he feels this cinematic quality comes across in the music. In film music, themes and phrases are often repeated, with melodies appearing in different forms across numerous tracks. This approach was embraced in sketching out the concept for ‘Missing The Crows’, in the hope that listeners may recognise sections of this album, building a sense of familiarity. The work is both charming and intelligent like the crow, with a character soaring high beyond the mere colour of black and its associated darkness.

credits
Written and Produced by Adrian Lane
Mastered by James Edward Armstrong
Painting by Adrian Lane
Art and Design by Andrew Heath

Coming soon… Sven Laux – What Remains

Our new release ‘What Remains‘ by Sven Laux will be available officially in one of our typically low runs of 100 gatefold vinyl-effect CDrs on Saturday the 15th of October after a pre-order for Bandcamp Friday on the 7th of October. If you click here: mailing list, we’ll make sure you’re the first to hear.

press release
“Since 2018 we’ve released five albums from Berlin, Germany based composer Sven Laux, including his most recent collaboration with Fione and solo albums ‘Schachmatt’, ‘ODD’, his Home Diaries edition and 2020 and the extended version, Scattered Fragments of Separation (The Complete Story). Sven’s sound design has found its home in short films, advertisement and in audio branding but he also maintains his discography as an artist, focusing on deeply stirring cinematic themes.

A well-balanced contemporary sound awaits you in this latest edition ‘What Remains’ and you are urged by the title to consider what you think about when something is left over? The record uses a depth of sprawling orchestral timbres, across its at-first cryptically titled tracks, to set out the phases of processing an event. At first there is ‘patience’ and ‘hope’, then there is the passing of the event (‘the goodbye’) followed by ‘what remains’; the now. Memory may serve ‘the return’ and perhaps ‘the cohesion’ and for some, there may be ‘the ending’.

You may choose a past experience to relate with these titles or, you might choose to allow it to relate to the present day. It does not matter whether you think positively about something from the past, or whether you mourn something afterwards in a sad or melancholy way. Whether negative, positive or even indifferent, it is the contemplative environment that each track brings which will allow this record to become a thinking space; a ceremonial framework to process events.

credits
Written and Produced by Sven Laux
Mastered by James Edward Armstrong
Artwork by Zoë Heath
Art and Design by Andrew Heath

Out Now! Polaroid Notes – Cloud Anthems

Here’s the second of two releases out now on Whitelabrecs, fresh for September. ‘Cloud Anthems‘ is a set of misty piano and synth vignettes, combining moody compositions with vintage synth abstractions. It’s out now in a run of 100 gatefold vinyl-effect CDrs after a short pre-order on Bandcamp Friday. The best way to keep informed about our low-run releases, is to join our mailing list, and we’ll make sure you’re the first to hear!

press release
“Once again, we’re excited to unveil another Polaroid Notes release, the fourth album by this Germany based artist in our discography. Alongside his side-project as Kraut Sounds, editions have also appeared on labels such as Büro Für Erdrotation, Weber & Alcantu and his own label Drone Works International.

In this latest edition ‘Cloud Anthems’, the music takes influence from the packaging photography, which was taken by the artist one sunny January at the Riegsee, a small lake in front of the Bavarian Alps. The entire lake had frozen over due to low temperatures in the weeks before. Later that afternoon fog rolled in and together with the sun, the frozen lake and leafless trees made a wonderful contrast. The whole scenario lasted only a few minutes before everything disappeared into the clouds of dense fog. As beautiful as the whole day was, those few moments were something very special to behold.

Polaroid Notes enjoys these contrasts, both in nature and in music too. ‘Cloud Anthems’ is a series of unique contrasts that harmonise perfectly, remaining in mind for a while after they have passed. Piano sounds and loops interact with flashes of harsh energy and strange experimental sounds from old analog synthesizers. A particular focus for this record is the VCS3 synthesiser, a portable synth from the late 60s; whilst a digital replica was used here, the artist found this to be the perfect way to express the themes for this record. Sounds and melodies flow into each other spontaneously like colours of an abstract painting, layer by layer.

credits
Written and produced by Polaroid Notes
Mastered by James Edward Armstrong
Photography by Polaroid Notes
Art and design by Andrew Heath

Coming soon… Polaroid Notes – Cloud Anthems

Our new release ‘Cloud Anthems‘ will be available officially in one of our typically low runs of 100 gatefold vinyl-effect CDrs on Saturday the 10th of September after a pre-order on the 1st of September, on Bandcamp Friday. If you click here: mailing list, we’ll make sure you’re the first to hear.

press release
“Once again, we’re excited to unveil another Polaroid Notes release, the fourth album by this Germany based artist in our discography. Alongside his side-project as Kraut Sounds, editions have also appeared on labels such as Büro Für Erdrotation, Weber & Alcantu and his own label Drone Works International.

In this latest edition ‘Cloud Anthems’, the music takes influence from the packaging photography, which was taken by the artist one sunny January at the Riegsee, a small lake in front of the Bavarian Alps. The entire lake had frozen over due to low temperatures in the weeks before. Later that afternoon fog rolled in and together with the sun, the frozen lake and leafless trees made a wonderful contrast. The whole scenario lasted only a few minutes before everything disappeared into the clouds of dense fog. As beautiful as the whole day was, those few moments were something very special to behold.

Polaroid Notes enjoys these contrasts, both in nature and in music too. ‘Cloud Anthems’ is a series of unique contrasts that harmonise perfectly, remaining in mind for a while after they have passed. Piano sounds and loops interact with flashes of harsh energy and strange experimental sounds from old analog synthesizers. A particular focus for this record is the VCS3 synthesiser, a portable synth from the late 60s; whilst a digital replica was used here, the artist found this to be the perfect way to express the themes for this record. Sounds and melodies flow into each other spontaneously like colours of an abstract painting, layer by layer.

credits
Written and produced by Polaroid Notes
Mastered by James Edward Armstrong
Photography by Polaroid Notes
Art and design by Andrew Heath