Out Now! S.hel – Disconnect

For our next release then, we have something truly striking in the form of this debut album by Reykjavik’s S.hel. It will be released on Piano Day, combines piano and strings compositions with electronics and cinematic effects. To my ears, it sits somewhere between the quieter moments of Aphex Twin’s Drukqs, and then the work of composers such as Hauschka, Nils Frahm and perhaps even the artist’s mentor Mikael Lind, who mixed the album. For us, the artwork absolutely sets this album off in a truly unique way, thanks to the work of Sarah Maria Yasdani, helped by Rakel Ýr Stefánsdóttir. It really embodies the concept of this album which is disconnection and questions of origin. We have a feeling it may very well strike a chord with people right now, even though the concept for this album was born long before Covid 19 was a thing and is not actually related! Our message to the world right now is to think of the people all around you and care for one another. Get connected, even if it has to be at a distance. The album was released on Piano Day, Saturday the 28th of March

Disconnect was released to subscribers of our mailing list last weekend, who had the first opportunity to grab one of these 100 CDs. We do have some available however, please note, there will be a delay in shipping following the closure of our post office due to Covid 19. We aim to ship every order as soon as we can but please bear this in mind if you decide to order. You can also stream the album in full on Bandcamp as well as Spotify and of course, you can grab a digital version if you prefer, by clicking the player above or link below. To avoid missing out on future releases, you can join our mailing list HERE: 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 or you can click HERE

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


press release

“There’s a well-known German saying ‘Ich bin Weltbürger: überall zu Hause, überall fremd’ which roughly translates to ‘I’m a world citizen: I am everywhere at home and everywhere a stranger’. S.hel believes this is a phrase which describes him well; London his birthplace, being partly raised in Germany and residing in Iceland.

Disconnect is a debut album by an emerging artist, arriving at a time of uncertainty and disarray, where terms such as self-isolation and social distancing are on everyone’s lips. However, this record’s theme is not born out of the adversity that coined these phrases. Instead, when creating these works the artist was informed by his thoughts around identity and how we perceive it as a whole. Do places of origin matter? He moved around a lot as a child and at times, felt he had no roots which left him feeling very disconnected at times. Some years on and settling in Iceland, he now realises the valuable lessons and skills the experience has brought.

Disconnect follows the self-released EP ‘Lucid’ in 2018 and the primary instrument is the piano. Aptly, we will be releasing this album for piano day as this unique record draws in wide influences including mentor Mikael Lind who mixed the album, S.hel’s piano teachers Sunna Gunnlaugs and Kjartan Valdemarsson as well as compatriots Jóhann Jóhannsson and Hildur Guðnadóttir. Contemporary composers play their part too in the stimulus, such as Nils Frahm, Arvo Pärt and Max Richter. Disconnect flits between intimate and organic piano compositions and granulated or randomised electronic effects, interspersed with swathes of strings and synthesizer. Creaks and pensive moments navigate perceived silence and suspense, whilst the mood switches effortlessly to the grandeur of modern classical orchestration in equal measure.

This striking album package is complete with the wonderful concept artwork of Sarah Maria Yasdani and Rakel Ýr Stefánsdóttir who have also produced and directed accompanying music videos. The concept works hand in hand with the music and the themes of disconnection S.hel portrays and reflects on the loneliness resulting from being part of a society that has lost itself in daily routine. Currently the routine may be all we crave, but maybe amongst all this we can all find some way to connect again.”

credits
Written and produced by S.hel
Mixed by Mikael Lind
Mastered by James Edward Armstrong
Art concept and photography by Sarah Maria Yasdani and Rakel Ýr Stefánsdóttir

Coming soon…S.hel – Disconnect

The world is faced with a huge wave of adversity right now and the uncertainty will continue over the coming months and dare I say, beyond. Uncertainty isn’t anything new of course but I guess many of us get used to the status quo and find our normal. What do these times mean for Whitelabrecs? Well, the truth is – we don’t know in the short term. We’re pretty sure however, that the long term will be fine.
So with the rest of this year’s releases, we’ll be guided by you our listeners and followers and see what happens! For some regions, expect postal delays but for now here in the UK, my trusty postman assures me he still wants my business. So for now until I’m forced to stop, I’ll keep selling CDs and visiting him once or twice a week 🙂

Onto our next release then, we have something truly striking in the form of this debut album by Reykjavik’s S.hel. It will be released on Piano Day, combines piano and strings compositions with electronics and cinematic effects. To my ears, it sits somewhere between the quieter moments of Aphex Twin’s Drukqs, and then the work of composers such as Hauschka, Nils Frahm and perhaps even the artist’s mentor Mikael Lind, who mixed the album. For us, the artwork absolutely sets this album off in a truly unique way, thanks to the work of Sarah Maria Yasdani, helped by Rakel Ýr Stefánsdóttir. It really embodies the concept of this album which is disconnection and questions of origin. We have a feeling it may very well strike a chord with people right now, even though the concept for this album was born long before Covid 19 was a thing and is not actually related! Our message to the world right now is to think of the people all around you and care for one another. Get connected, even if it has to be at a distance.

The album will be released officially on Piano Day, Saturday the 28th of March but if you join our mailing list using the link below, we’ll make sure you’re the first to hear.

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 or you can click HERE

press release
“There’s a well-known German saying ‘Ich bin Weltbürger: überall zu Hause, überall fremd’ which roughly translates to ‘I’m a world citizen: I am everywhere at home and everywhere a stranger’. S.hel believes this is a phrase which describes him well; London his birthplace, being partly raised in Germany and residing in Iceland.

Disconnect is a debut album by an emerging artist, arriving at a time of uncertainty and disarray, where terms such as self-isolation and social distancing are on everyone’s lips. However, this record’s theme is not born out of the adversity that coined these phrases. Instead, when creating these works the artist was informed by his thoughts around identity and how we perceive it as a whole. Do places of origin matter? He moved around a lot as a child and at times, felt he had no roots which left him feeling very disconnected at times. Some years on and settling in Iceland, he now realises the valuable lessons and skills the experience has brought.

Disconnect follows the self-released EP ‘Lucid’ in 2018 and the primary instrument is the piano. Aptly, we will be releasing this album for piano day as this unique record draws in wide influences including mentor Mikael Lind who mixed the album, S.hel’s piano teachers Sunna Gunnlaugs and Kjartan Valdemarsson as well as compatriots Jóhann Jóhannsson and Hildur Guðnadóttir. Contemporary composers play their part too in the stimulus, such as Nils Frahm, Arvo Pärt and Max Richter. Disconnect flits between intimate and organic piano compositions and granulated or randomised electronic effects, interspersed with swathes of strings and synthesizer. Creaks and pensive moments navigate perceived silence and suspense, whilst the mood switches effortlessly to the grandeur of modern classical orchestration in equal measure.

This striking album package is complete with the wonderful concept artwork of Sarah Maria Yasdani and Rakel Ýr Stefánsdóttir who have also produced and directed accompanying music videos. The concept works hand in hand with the music and the themes of disconnection S.hel portrays and reflects on the loneliness resulting from being part of a society that has lost itself in daily routine. Currently the routine may be all we crave, but maybe amongst all this we can all find some way to connect again.”

credits
Written and produced by S.hel
Mixed by Mikael Lind
Mastered by James Edward Armstrong
Art concept and photography by Sarah Maria Yasdani and Rakel Ýr Stefánsdóttir

Out Now! Various Artists – Sleeplaboratory2.0

2019 was a truly landmark year for us, with our new gatefold-LP packaging style being so well received, not to mention all of the support and great feedback we received from fans and the press alike. We started the year with a special compilation album themed on sleep; Sleeplaboratory1.0. We’re delighted to launch a new decade and exciting times ahead with the follow-up to this series, Sleeplaboratory2.0. We’ve been working behind the scenes on this one since last summer and we’re proud of the results in an album which features established artists within the scene, alongside label familiar favourites.

Sleeplaboratory2.0 was released to subscribers of our mailing list last weekend and unfortunately these have now sold out already! You can still stream the album on Bandcamp and of course, grab a digital version by clicking the link below or image above. To avoid missing out on future releases, you can join our mailing list HERE

https://whitelabrecs.bandcamp.com/album/sleeplaboratory20

press release
“Sleeplaboratory is a compilation series that we launched in 2019 and the success of this effectively launched our printed gatefold-LP style CDrs which featured all of last year. The Sleeplaboratory1/.0 compilation was created as a special celebration for our fiftieth release and we enjoyed the concept so much, that we decided to run another one. Sleeplaboratory2.0 continues the themes of sleep, rest and personal reflection, not necessarily aiming to meet the current trend of mindfulness and well-being but instead, it intends to rest the listener in a way that is appropriate to them.

The idea was originally came about after our label owner Harry and his wife had a baby daughter, Isla. Harry curated a full-length compilation to help soothe his daughter to sleep and whilst Isla hasn’t needed much of a helping hand where sleep is concerned, he was keen to continue this project as a series. Throughout much of last year, we have been working on a follow-up, inviting artists to meet this sleepy brief of minimalist Ambient tones. We’ve invited familiar label artists back as well as established names and perhaps you’ll see that the odd one or two go on to have releases with us later this year.

Over the 16 tracks, a serene and enveloping environment is established. The physical product is as usual presented across four printed panels and this time, artwork is provided by Harry’s wife Beth in an image taken on a family day out. As usual, we will not make any recommendation on how our listeners might best enjoy this record and so it’s down to you to choose the best environment to listen, whether this be late at night with headphones, on a loud system or perhaps played through Bluetooth speakers in and around your home.”

credits
Curated by Harry Towell
Mastered by James Edward Armstrong
Cover Photography by Bethany Towell
Packaging design by Harry Towell

Coming soon…Various Artists – Sleeplaboratory2.0


2019 was a truly landmark year for us, with our new gatefold-LP packaging style being so well received, not to mention all of the support and great feedback we received from fans and the press alike. We started the year with a special compilation album themed on sleep; Sleeplaboratory1.0. We’re delighted to launch a new decade and exciting times ahead with the follow-up to this series, Sleeplaboratory2.0. We’ve been working behind the scenes on this one since last summer and we’re proud of the results in an album which features established artists within the scene, alongside label familiar favourites. The album will be released officially on Saturday the 25th of January but if you join our mailing list using the link below, we’ll make sure you’re the first to hear.

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 or you can click HERE

press release
“Sleeplaboratory is a compilation series that we launched in 2019 and the success of this effectively launched our printed gatefold-LP style CDrs which featured all of last year. The Sleeplaboratory1/.0 compilation was created as a special celebration for our fiftieth release and we enjoyed the concept so much, that we decided to run another one. Sleeplaboratory2.0 continues the themes of sleep, rest and personal reflection, not necessarily aiming to meet the current trend of mindfulness and well-being but instead, it intends to rest the listener in a way that is appropriate to them.

The idea was originally came about after our label owner Harry and his wife had a baby daughter, Isla. Harry curated a full-length compilation to help soothe his daughter to sleep and whilst Isla hasn’t needed much of a helping hand where sleep is concerned, he was keen to continue this project as a series. Throughout much of last year, we have been working on a follow-up, inviting artists to meet this sleepy brief of minimalist Ambient tones. We’ve invited familiar label artists back as well as established names and perhaps you’ll see that the odd one or two go on to have releases with us later this year.

Over the 16 tracks, a serene and enveloping environment is established. The physical product is as usual presented across four printed panels and this time, artwork is provided by Harry’s wife Beth in an image taken on a family day out. As usual, we will not make any recommendation on how our listeners might best enjoy this record and so it’s down to you to choose the best environment to listen, whether this be late at night with headphones, on a loud system or perhaps played through Bluetooth speakers in and around your home.”

credits
Curated by Harry Towell
Mastered by James Edward Armstrong
Cover Photography by Bethany Towell
Packaging design by Harry Towell

Favourite Records of 2019

Our label owner Harry Towell has put together a post for the Irregular Crates blog of his favourite albums of the year, complete with a mix. Read below for Harry’s summary of the year followed by the top 20, with links and a brief commentary for each record. Click the image above to listen to the mix Harry has created, which counts down with a track from each of his favourite albums. Alternatively, there’s a player below and you can click play whilst you read…


“2019 has been very much the year of Ambient and Modern Classical for me in terms of my listening habits. I didn’t have as much time to devote to scouring weird and wonderful music across all genres as I usually do and tended to stick to ‘my scene’. I’ve been very busy running Whitelabrecs and so much of my spare time from work and family life has been set aside for working on the 18 album releases we managed this year and I tended to listen to upcoming label releases over and over as I prepared to release them. So my year has very much been soundtracked by my own label but I can hardly announce a best of list of work I’ve been directly involved with!

That’s not to say however, that I didn’t discover some truly breathtaking works from other labels and artists that I admire. I was sent quite a lot of the albums I have charted for a potential review on Irregular Crates and I regret not having the time to put pen to paper and support these albums. I always knew that whatever time constraints I was under, I wanted to give something back and keep these end of lists going, as a recommendation to others to hopefully introduce some wonderful music. I’ve always done it expressly to support labels and artists at the end of the year and I know how special it makes an artist feel, when a music-loving person enjoys their work enough to listen over and over again to the point of labelling it their favourite.

It’s now been 10 years since I got into the modern ambient/home listening scene and throughout the years on my old Audio Gourmet blog and Irregular Crates, I’ve done a ‘Best of’ list every time. After I wrote this article and before I made this year’s mix, I decided to glance back at these lists and skim through some mixes… The nostalgia it brought me is indescribable to the point where I realised that as well as giving something back to music by sharing my thoughts with friends and potential listeners, I am also documenting my life in music. The thought struck me to create a best of decade post or mix, but then I wondered if that might just be too big a task! Perhaps I’ll write a post and link to each of the charts and mixes, where applicable sometime before the year’s out?

Aside from my work on the label and my own production work, I’ve of course got a daughter who is almost 15 months old but also, I started a new job recently and gave up my other two. This has given a work/life balance that I can scarcely remember ever having and it’s given more time and space for music, where I’m now feeling less pressed for time. My work is an hour long commute each way, so five days a week, two hours a day I have a chance to listen to music and I’ve found that Spotify has become a more common platform for me since and I’ve created a few playlists across various genres which I’ve been adding to. I like many musicians never planned to use the service but it struck me that I actually own nearly all of what I listen to physically or at the very least as an mp3. The way I see it, there is actually a place for streaming as a tool of convenience when on the move and it gives artists and labels a chance to effectively keep on earning for every play even after a listener has purchased something. I know not everyone listens in this way, but it’s certainly the case for me. I did a survey of Ambient music listeners earlier this year and now have over 1000 people fill it in, so I look forward to sharing the results early next year!

This year I’ve followed a very similar format to last year’s post – my top 20 albums of the year are listed below along with a few words and the relevant links to check the album out for yourself. Then there”s a one and a half hour mix show too in which I’ve used some countdown vox pops that my wife Beth recorded for me a few years back. The cover artwork this year was taken on our first family holiday in Tenby, Wales as we looked out to St. Catherine’s Island one chilly September evening with the moon sat in the distance just above the sea. The holiday also formed a relaxing bridge between two jobs as I left my previous role of five years for pastures new. A wonderful week of reflection, looking forward to the future and making family memories.


1st:
A Winged Victory For The Sullen
The Undivided Five
Ninja Tunes

This album took me by surprise a little, not that it emerged suddenly as I’d been following the social media developments of the production for this record. But instead, it was the label which surprised me – it’s fascinating to see how Ninja Tunes has evolved; a label I’d explored in my teens for Trip Hop music is still around and still relevant, now working with powerhouses of Modern Classical music. It received considerable hype and I have to say deservedly so. I’ve known people who tend to swerve hyped records doubt it…and then listen and immediately get drawn in. It’s interesting for the Spotify or digital age, who build playlists – tell me how you can listen to a single track on this album? For me, it plays as a whole unit and I’ve simply not been able to put it down once a few notes from ‘Our Lord Debussy’ start. It commands a full listen, to be heard in all its glory. I loved O’Halloran and Wiltzie’s debut but this is their masterpiece and something that’s up there with some of the best music I’ve ever heard.

https://awvfts.bandcamp.com/album/the-undivided-five


2nd:
M. Grig
Mount Carmel
12k

I’ve been in touch with Mike (M. Grig) for a while after he’d contributed a track to the sleeplaboratory1.0 compilation on my label, Whitelabrecs. He announced that he’d be releasing an album with 12k, one of my favourite labels. I was so excited to hear it and when the album came out in May, it truly set me up for the summer. The warm guitars shine in the sun on an album steeped in nostalgia. The liner notes on the release page give further insight into the childhood memories which are woven into this beautiful record which is rounded off perfectly with the evocative painted cover art.

https://12kmusic.bandcamp.com/album/mount-carmel


3rd:
Mikael Lind
Contingencies
Archives

Archives, as they do so regularly, were responsible this year for introducing me to another artist. This time, enter Mikael Lind, whose album is set to a backdrop of the deepest, darkest forest. The artwork grabbed me first and I ordered the CD which has become the most played album in my car this year. There isn’t much written in regards to a concept but the artwork and sound are striking enough for this to still feel complete. Different pianos are played, with careful detail and minutiae embedded into the composition. Every track is a winner but Ideas Fade Away blows my mind.

https://archivesdubmusic.bandcamp.com/album/contingencies


4th:
Hoshiko Yamane and Mikael Lind
Spaces In Between
Time Released Sound

This one’s only recently dropped so I’ve not had long to listen to it. But then, I didn’t need long. It’s not difficult to be bowled over by an album when it’s of this quality. This album navigates the distance between Berlin and Reykjavik, the places in which these two respective artists live. Yamane was a violinist as part of Tangerine Dream and Mikael Lind has been forging his career as a modern composer to great effect. This record is utterly incredible and I wonder whether with a bit of time and space, it might have given A Winged Victory For The Sullen’s record a run for its money in first place….

https://timereleasedsound.bandcamp.com/album/spaces-in-between


5th:
Penguin Cafe
Handfuls of Night
Erased Tapes

Quality output on Erased Tapes is expected and there was no disappointment in their release of the Penguin Cafe’s ‘Handfuls of Night’. It’s a record in which Arthur Jeffes attempted translate his experiences travelling to Antarctica, a land which of course is inhabited by the penguin, and not much else! The album uses modern classical composition inclusive of piano, viola, double bass, violin, cello and percussion to name but a few ingredients, to tell the story of endless space. There is not just the vast open white blank canvas that one might imagine, cold and stark nothingness. Instead, this record is brimming with life and wonderment somehow and, it sounds particularly magnificent on vinyl, through a decent sound system and a bit of volume!

https://penguincafe.bandcamp.com/album/handfuls-of-night


6th:
The Humble Bee and Offthesky
All Other Voices Gone, Only Yours Remains
IIKKI

How do two such revered artists from the same scene combine? Craig Tattersall’s defined a generation through his work as The Boats, his label Moteer and of course, The Humble Bee whilst Jason Corder has been refining his work as Offthesky for the same duration. In a word, the combination blends together effortlessly. Whether that was the case in the studio/in production we may never know but this album is a work of art in every sense of the word. You’re left with half a photograph, evocative track titles and a careful unfurling of fuzzy, warm ambience and electro acoustics. Not to mention, a truly special physical edition by the fine art label IIKKI.

https://iikki.bandcamp.com/album/all-other-voices-gone-only-yours-remains


7th:
Justin Wright
Music For Staying Warm
First Terrace

This record was clearly instantly impressive but I found it move further and further up my ‘chart’ as the year went on. I wonder if it could be the weather? We’ve had quite a bit of wind and rain here in the UK so the title of this one helps it feel like a comfort blanket. Justin Wright has composed a suite of modern classical music, with cello at the centre of the production given that this is his chosen instrument. It is not deep, dark cello – rather, it is warm and uplifting in a strange, melancholy way.

https://firstterracerecords.bandcamp.com/album/music-for-staying-warm


8th:
Vieo Abiungo
The Dregs
Lost Tribe Sound

William Ryan Fritch has very much become the signature artist for Lost Tribe Sound but his other moniker Vieo Abiungo deserves every attention too. This year LTS put out an album with a title which doesn’t exactly have positive connotations. However, this record is everything but – there’s far too much detail and careful attention paid to the production of this percussion and instrument laden album. Across 14 short tracks, Fritch builds an exotic tale of a far away land, perhaps one that doesn’t even exist. It will literally suck you in with tribal tunes and its subtle moments of suspense. I’ve had this one playing in my headphones everywhere from the car to the supermarket. A must listen.

https://williamryanfritch.bandcamp.com/album/the-dregs


9th:
Offthesky
Illuminate
Eilean

With Eilean Recs set to bow out this year, it was exciting to see what records they’d put out to conclude this wonderful series. I was delighted to see the return of Offthesky! Anyone who has read pretty much any of my end of year lists, will have seen this artist’s name crop up time and time again. Indeed, Jason Corder’s work is something I’ve tracked ever since I got into the Ambient side of my musical taste a decade ago. This one’s a beautiful electro-acoustic album, which leans more on the Ambient side, also featuring guest vocals, viola, violin, cello, oboe and sax. Corder manages to concoct this into a liquid mix which flows effortlessly.

https://eileanrec.bandcamp.com/album/illuminate


10th:
Skyphone
Marsh Drones
Lost Tribe Sound

Lost Tribe Sound have had a phenomenal year and an artist they provided two superb vinyl editions for was Danish duo Skyphone. I must admit, I hadn’t heard of them but as soon as I caught a glimpse of the artwork, which for me would have to be the cover artwork of the year, I was always going to listen. Then the press videos of a room full of instruments was enough to get me excited enough to want to like their work… then the vinyl arrived! A superb selection of tracks, which traverse synth, guitar, vocal lines in a post rock meets ambient style. This one isn’t bogged down dreary drone, maudlin classical or grizzly grunge – it’s actually really uplifting and one I reach for time and time again.

https://skyphone.bandcamp.com/album/marsh-drones


11th:
Marek Kamiński
Not Here
Self Released

“Marek Kamiński sent me his self-released album early on in 2019 and I subsequently ordered it on vinyl. I was drawn to the cover artwork to begin with in that it is a good reference point to consider when listening: the tree is clearly no longer there, but there is plenty of evidence that it existed and something so colossal has left its mark. The music in Not Here is a selection of modern classical piano-led melodies, riddled in static and field recordings, reminiscent perhaps of Library Tapes which is no bad thing!

https://marekkaminski.bandcamp.com/album/not-here


12th:
Silmus
Laaksum
Volkoren

I reviewed Silmus’ ‘Shelter’ back in 2014 and it was to become one of my favourite albums for that year and beyond. So I was thrilled when Gert sent me ‘Laaksum’ at the beginning of the year. I regret not being able to review this one, especially given how impressive this album is, which features the cello talent of Guy Gelem. However, it’s a record that again features in my ‘best of’ list and something I’ve listened to over and over this year. If Shelter was one for indoors, Laaksum is an album for cold, wide-open spaces. The title ‘Dancing on the Pier, Discovering the Sea’ is a wonderfully evocative title for a track which fittingly, begins from hushed, slow tones before evolving into something more alive and vibrant against the backdrop of a darkened sky.

https://silmus.bandcamp.com/album/laaksum


13th:
Kira Kira and Hermigervill
Sumarbörn
Time Released Sound

Fine art imprint Time Released Sound continues to share superb material with the world, combining lavish packaging ideas with high quality modern composition, ambient and electronic music. I was taken aback by Sumarbörn by Kira Kira and Hermigervill, which combines glacial ambient and classical music with choral vocals. Doesn’t sound much on paper but it’s difficult to describe, so I strongly recommend you click on the link and sink into this one:

https://timereleasedsound.bandcamp.com/album/sumarb-rn


14th:
anthéne
Lost Channel
Archives

I was lucky this year to work with Brad Deschamps who records as anthéne, as part of a pretty special year for him: three album releases! My pick of the bunch would be ‘Lost Channel’ on Archives, with its warm drones which swell and soar, with the saturated sounds of tired tapes. The whole thing feels like a time lapse low drone-helicopter flight across the globe, with stormy choppy shores giving way to the gaping wide ocean.

https://anthene.bandcamp.com/album/lost-channel


15th:
Sven Laux and Daniela Orvin
The Writings
Dronarivm

Another entry for Dronarivm and a record collaboration between my good friend and collaborator Sven Laux alongside Daniela Orvin. The duo met over several studio sessions and this is their output, a cinematic epic that includes icy cold dramatics, slow and brooding soundscapes, warm and charming ambience and fuzzy orchestration. Check out ‘A Moment Of Silence’ in particular and be prepared to be amazed. What’s particularly impressive here, is just how effortlessly the two styles of these artists combine.

https://dronarivm.bandcamp.com/album/the-writings


16th:
Santilli
Surface
Into The Light

I discovered this one when prowling the feed of new releases on Boomkat and was drawn to the immediacy of this melancholy sound. It was hard to believe that this one’s a debut as it feels like years of honing a craft although, perhaps it is of sorts, since multi-instrumentalist Max Santilli has worked with many acts and artists over the years. I ordered this one on vinyl and have enjoyed the spacey chords, guitar and exotic percussive sounds ever since.

https://into-the-light.bandcamp.com/album/surface


17th:
Aries Mond
Cut Off
IIKKI

“I get sent most IIKKI albums for Irregular Crates and it pains me that I can’t find the time to write more about these works on the blog, as absolutely everything is pristine quality in terms of artwork and curation. This one by Aries Mond floored me the first time I heard it and has the same effect every time – it begins with rustling, prepared-piano style sounds – gentle and unfolding. The live sounding notes blur through reversing and subtle electronic looping and sampling, a truly clever record that never fails to immerse and pull you in, so long as you give it your time.”

https://iikki.bandcamp.com/album/cut-off


18th:
Halftribe
Backwater Revisited
Dronarivm

I’ve been enjoying Ryan Bissett’s work as Halftribe for quite some time now and a jaw dropping moment occurred not long after I hit play on ‘Backwater Revisited’ from the trusty Dronarivm label. The record features synth and electro acoustic tones, drenched in reverb and a tasteful hint of chorus. Plenty of crackle and space between the lines to allow for a glistening, wintry backdrop. The artwork features an adaptation of open source imagery by Mikalojus Konstantinas Čiurlionis from back in 1908 and this rustic, vintage cover fits in perfectly with the blanket-like folds of Ambience Ryan created here.

https://halftribe.bandcamp.com/album/backwater-revisited


19th:
Hampshire and Foat
Saint Lawrence
Athens of the North

I discovered Hampshire and Foat for the first time when I stumbled across their album ‘Saint Lawrence’ which came out on Edinburgh’s Athens of the North label. It was released in March and I grabbed it in the summer, in time to enjoy it in the sun which feels the best setting, particularly whilst driving or walking through the British countryside. The album itself was recorded live during a couple of sunny afternoons spent in churches on the Isle of Wight and whilst this album is truly masterful in its presentation, its recurring themes and acoustic presentation give it a beautifully intimate feel.

https://aotns.bandcamp.com/album/saint-lawrence


20th:
Leo Svirsky
River Without Banks
Unseen Worlds

“US based Russian pianist and composer Leo Svirsky first grabbed my attention via the cover artwork to his album ‘River Without Banks’ which appeared on the Unseen World label. It retains an organic feel to it despite the fact that it’ll probably be filed under Modern Classical; yes the piano pans across the stereo field from time to time, accent notes feel extended into drones and crystalline piano notes hover over one another. But, the piano is undoubtedly the focus throughout, making this one have that live feel. The sound is just magical and I recall many mornings sipping espresso in a coffee shop before work.”

https://unseenworlds.bandcamp.com/album/river-without-banks