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

Drifting, Almost Falling Interview

Harry Towell our label curator was fired a few questions by the Drifting, Almost Falling blog this month, focusing on all things Whitelabrecs. It’s been a while since we’ve done an interview so it’s always nice to check in, talk about how things have been going lately and maybe hint at the odd plan for the future.

You can listen read the interview on the Drifting, Almost Falling site by clicking HERE and perhaps read some of the other articles and musical recommendations whilst you’re at it?

Alternatively, the full interview is included below…

DAF: You record under the Spheruleus name (as well as Magnofon) and run the Tesselate, Audio Gourmet and Warehouse Decay labels while also writing for the Irregular Crates Blog. What was the impetus in starting another label? Are you a workaholic? Are Tesselate and Warehouse Decay still active?

HTI am indeed a workaholic. I have no idea how I find the time. But then I don’t truly see music as work so it’s not hard. With all the labels and pseudonyms, I guess like many artists, I have a habit of starting something new! Some creators end things by closing doors neatly behind them when they intend to open a new one. Others, like me, tend to leave doors open and chop and change between projects. Audio Gourmet for instance could have stopped a couple of years back when I was working more on Tesselate and Warehouse Decay, but I am glad I left the door ajar , as this year I’ve been putting out free EP’s again and really enjoyed it, with some great support.

Currently Warehouse Decay is inactive and I’ve no immediate plans to get it going again. I’ve always loved House music and wanted to be a part of the scene and use my experience running Ambient labels to make a go of it. Unfortunately it proved a tough nut to crack and apart from a few friends who supported it loyally, I felt pretty alone. It’s interesting that Ambient music fans, artists, labels etc have all taken different paths to stumble on the genre, many from Post Rock, Metal or IDM, many from the New Age or ethnic Ambient genres too. It seems that Deep House is not such a conventional route and so I didn’t have as many interested contacts or a connected audience.

Tessellate is not fully closed, despite being inactive of late. I always feel it could be another window if I felt like splashing the cash on some more luxurious packaging but the trouble is the risk as to whether I’d make enough back to justify a bigger release.

I launched Whitelabrecs after an idea which was the blueprint for the packaging and I recalled how well Under The Spire did as a label when starting out, when they released things in simple rubber stamped cardboard packages. I had also recently been reunited with my record collection and was feeling very nostalgic about the days when I’d visit local record stores, purchasing white label vinyl as I got to grips with DJing. Often records would have nothing other than a sticker or rubber stamp, sometimes even just an etching on the black plastic space near the label. So I did the usual, set up a website, a Bandcamp page and started asking around to see if anyone would want to release on this new label of mine. Thankfully there was a lot of interest and here we are today!

DAF: How important is the visual identity to the label? Compared to the Tesselate releases, Whitelabrec’s releases have the hand-made aesthetic. Was it important for the label to have an aesthetic to encompass a concept?

HTFor Whitelabrecs this has become crucially important – it was the idea behind the label and I’ll keep it going for as long as I can. I think this is also why I slowed down with Tessellate, as the packaging is different for pretty much every release and the label never truly found an identity. When the idea struck for Whitelabrecs, I truly connected with it and wanted this to be the plan for all releases on the label. I knew there’d be the odd detour but for general releases, I decided that it was very important to follow the pattern this time so I could build an identity.

DAF: Is the label genre bound or do the releases float over various genres?

HT: The label isn’t genre-bound as it will be rooted in my own music taste which is incredibly varied. So far releases have been generally within the modern Ambient scene, perhaps encompassing most of the sub-genres from floatier drone stuff, to glitch electronics and onto Modern Classical, Folk and even Jazz. This has generally gone down well with listeners. I’m open to pushing the boundaries in the future and taking one or two detours so watch this space! But generally, I’m looking at releasing introspective, thought-provoking music and can’t see that changing. In other words, I’m not likely to rekindle my failed dreams from Warehouse Decay by releasing dancefloor-ready Tech House!

DAF: A glance at the catalog reveals a mixture of familiar names with those that are new (or side projects). How important is it to you to expose people to new artists? Does this become a factor when deciding what to release?

HTI have always worked with both newer names to the scene and more established artists and in the Whitelabrecs catalog there is a blend. I don’t dwell too much on whether an artist has released before, how successful their other work was or how many Instagram followers they have. We’ve only got 50 copies to make and sell, of which the artist gets 10. So I only have to worry about those 40 copies and they tend to shift regardless of how well established an artist is. Sure, it certainly helps to have some familiar names –releases by Tsone, Steve Pacheco and Guy Gelem took little in the way of a push! I’m also delighted to give some other artists their first taste of releasing a physical album however, such as Sea Trials, Ludmila and Ben McElroy. I remember how exciting this felt when I first held a copy of ‘Frozen Quarters’ which I released as Spheruleus on Under The Spire.

Looking at the future of the label there are no plans to just attract well-known artists now it’s a bit more established. We have demos queued up until WLR043 and in that queue we’ve got some well-known artists as well as new comers so the blend will continue.

DAF: You’ve recently done a cassette release and the 20 cdr box set. What other plans do you have for the future? Do you plan quite far in advance?

HTThere’ll likely be another box set for those that don’t mind waiting a year or two to play catch up. I did this so that there’s a way for people new to the label to not miss out completely and also, because I was getting asked about out of print releases. I’ve always said I wouldn’t reissue anything individually, but since box set orders are always likely to be low due to the price tag, I took the decision to do this just so there is a way for new collectors to join in the fun.
I enjoyed making the mix tape too and was surprised at the level of interest having never worked with this format before. I’ll certainly be doing more mix tape releases in the future and perhaps get into the local fields and continue the photography theme for the artwork.

There are no other clear ideas just yet as I’m currently just getting my head down and working my way through the discography queue. I think another compilation could be in order at some point but there’s no overall rush on that. There will be new ideas though – with both the box set and the tape, the ideas struck me suddenly and it doesn’t take me long to pull it all together once ideas such as these set in.

With schedule, I’ll take in demos and add them to the back of the queue once approved. I’ll leave them until I get nearer – perhaps drop in with the artist and have a chat now and again. Some artists are very keen and understandably so, so we organise things well in advance so everything’s ready. Other artists are happy to leave it until the few weeks in the run up to the release and wait for me to get back in touch.

There is a lot to do for each release but we’ve followed a similar formula since the beginning, so I’m quite used to it now, 28 releases in – so the work isn’t too daunting. I guess burning the CDs is the most time-consuming thing but that gives me a chance to work on other things, listen to music and relax bit too.

Whitelabrecs Box Set

We’re busy working behind the scenes on our next release which is imminent, however we’ve had the idea for a long time of putting together a Box Set of our first 20 releases so that there is at least some way of people new to the label being able to get a copy of our many sold out/out of print items.

We’ve made it clear that we won’t re-press any albums as we want to keep things small and collectable but for those looking to either preserve the collection or play ‘catch-up’ if they’ve only recently discovered us we think it’d be cool to make things available as a box set.

The package itself is simple and ‘DIY‘, very much like each of the CDr releases we put out with a card board box being the perfect size to comfortably house the 20 discs. The box will be hand-stamped in an ink colour of your choosing and the vinyl-style CDrs will be contained with a polaroid of the cover artwork and inside card sleeves. Again, you can choose the colour of the sleeves.
You’ll be contacted following your purchase and we’ll consult on your options and then we’ll order the materials, burn the discs and deliver to you securely!

You can visit our dedicated page on the Whitelabrecs Bandcamp site where an order can be placed by clicking below or HERE

https://whitelabrecs.bandcamp.com/merch/whitelabrecs-cdr-box-set-1-20

Out now! WLR021 Various Artists – Whitelabsounds

This is a proud day for us at Whitelabrecs HQ – we’ve been working hard behind the scenes for a while on our very first compilation album and for this, our packaging/design takes a slight turn. This release continues along the lines of vinyl-effect CDrs of course but this time, we’ve splashed out on creating a small scale fine-art vinyl imitation CDr, which is presented exactly as a professional vinyl LP would, only smaller!

The album sees us make good use of the full space on the disc as we’ve approached our own artists, label friends and established artists alike. The final product sees well-known producers such as Offthesky, Darkroom and The Green Kingdom line up alongside our very own David Kolhne, Jose Soberanes and Ondrej Zajac. We couldn’t be happier with the packaging and the quality of the tones contained on the disc and we hope you will be too.

As you can imagine, most of the 100 copies have been gobbled up by our subscribers however, at the time of writing copies of this album are still available – to find out more or grab a copy, you can click the link below or on the image above to listen. To avoid missing out on future releases, you can join our mailing list HERE

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

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
“Since we began running Whitelabrecs in January 2016 we’ve managed to put out 20 albums covering the varied ground of the Ambient scene and featuring artists both new and established. Usually by the time that this many releases have amassed, most labels will have created at least one compilation or sampler but rest assured, we’ve been working behind the scenes for several months on our very own ‘Whitelabsounds’.

Our very first compilation album features a CDr full of top drawer Ambient and Experimental music featuring well known artists in the scene such as Offthesky, Maps and Diagrams, The Green Kingdom, Wil Bolton and Darkroom as well as contributors to our discography and other friends.
The album is presented as a small-scale fine-art vinyl LP imitation package, with a printed outer photographic/graphic sleeve, white card inner sleeve and a printed vinyl-effect CDr. There’s not a rubber stamp or white label in sight, as we wanted to present something truly special and hopefully, the start of a series.

The sounds contained within the disk are to be seen as a mood board of the various shades of modern Ambient music, with darker drones concocted from electronics and light noise sitting alongside beautiful electro-acoustic pieces, framed as a sort of mosaic. Every tile tells a story as each artist’s environment, experience and influence helps shape their sound. Somehow, the whole body of work becomes greater than the sum of its parts and that brings us to the artwork, a photograph of tessellating mosaic tiles taken in Pompeii, Italy.
Some tiles are worn and disintegrated whereas some are smooth and clear, perfectly reflecting the tones that can be heard on this inaugural Whitelabsounds compilation.”

Catalog number WLR021
Mastered by Tim Diagram
Photography by Bethany Towell
Artwork by Harry Towell

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Coming soon…Various Artists | Whitelabsounds

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This is a proud day for us at Whitelabrecs HQ – we’ve been working hard behind the scenes for a while on our very first compilation album and for this, our packaging/design takes a slight turn. This release continues along the lines of vinyl-effect CDrs of course but this time, we’ve splashed out on creating a small scale fine-art vinyl imitation CDr, which is presented exactly as a professional vinyl LP would, only smaller!

The album sees us make good use of the full space on the disc as we’ve approached our own artists, label friends and established artists alike. The final product sees well-known producers such as Offthesky, Darkroom and The Green Kingdom line up alongside our very own David Kolhne, Jose Soberanes and Ondrej Zajac. We couldn’t be happier with the packaging and the quality of the tones contained on the disc and we hope you will be too.

This will be released to our subscribers first, so to avoid missing out be sure to sign up to our mailing list so you hear about it first!

Please note, this is a CDr, not a vinyl record!

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
“Since we began running Whitelabrecs in January 2016 we’ve managed to put out 20 albums covering the varied ground of the Ambient scene and featuring artists both new and established. Usually by the time that this many releases have amassed, most labels will have created at least one compilation or sampler but rest assured, we’ve been working behind the scenes for several months on our very own ‘Whitelabsounds’.

Our very first compilation album features a CDr full of top drawer Ambient and Experimental music featuring well known artists in the scene such as Offthesky, Maps and Diagrams, The Green Kingdom, Wil Bolton and Darkroom as well as contributors to our discography and other friends.
The album is presented as a small-scale fine-art vinyl LP imitation package, with a printed outer photographic/graphic sleeve, white card inner sleeve and a printed vinyl-effect CDr. There’s not a rubber stamp or white label in sight, as we wanted to present something truly special and hopefully, the start of a series.

The sounds contained within the disk are to be seen as a mood board of the various shades of modern Ambient music, with darker drones concocted from electronics and light noise sitting alongside beautiful electro-acoustic pieces, framed as a sort of mosaic. Every tile tells a story as each artist’s environment, experience and influence helps shape their sound. Somehow, the whole body of work becomes greater than the sum of its parts and that brings us to the artwork, a photograph of tessellating mosaic tiles taken in Pompeii, Italy.
Some tiles are worn and disintegrated whereas some are smooth and clear, perfectly reflecting the tones that can be heard on this inaugural Whitelabsounds compilation.”

Catalog number WLR021
Mastered by Tim Diagram
Photography by Bethany Towell
Artwork by Harry Towell

Coming soon… Various Artists | Whitelabsounds

We’re keeping further details fairly close to our chest, but we wanted to share a project that will be ready to drop very soon: our very first compilation album!

This will be released in a bigger run than our usual fifty copies and will include work from Whitelabrecs’ contributors such as Spheruleus, David Kolhne, Ondrej Zajac and La Petite Vague as well as a few friends we’ve drafted in such as The Green Kingdom, Offthesky, Maps and Diagrams and Darkroom.

Out now! WLR011 Spheruleus – Obsolarium

Next up on the Whitelabrecs catalog, we have an album by our label owner Harry Towell under his Spheruleus guise. This record sees our catalog return toAmbient territory but Harry is renowned for creating an Ambient sound that is put together using mainly acoustic sources. ‘Obsolarium‘ is an album inspired by an abandoned Bass Maltings brewery complex with Harry providing photography from the grounds of the Grade II listed building.

Harry’s work is influenced by a variety of genres as his music taste draws in Ambient, Folk, Downtempo Electronica, Jazz, Modern Classical and Deep House to name but a few. Particular artist influences include The Gentleman Losers, Richard Skelton and Offthesky. ‘Obsolarium’ is available now on Whitelabrecsin a very low run of just 50 CDrs.

The album went out to our mailing list subscribers last weekend and most copies have sold – there are just a few left however at time of writing. To find out more or secure your copy, you can click the link below or on the image above to listen. To avoid missing out on future releases, you can join our mailing list HERE

Take a look through this email to find out more or click the link below, or image above.

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

 

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Press release
“Spheruleus is Lincolnshire, UK based sound artist Harry Towell who has previously released work through labels such as Eilean, Home Normal, Hibernate and Under The Spire. Harry has been active as Spheruleus since 2009 with his discography starting on netlabels before progressing to limited edition physical records. Over the years Harry’s musical projects have included blogging, DJing and more recently, running record labels. He is responsible for netlabel Audio Gourmet, occasional physical label Tessellate Recordings and House/Techno label Warehouse Decay.

Harry has been making music one way or another for over 15 years, with early work being more in the Deep House field when he also used to DJ. In his DJing days, Harry’s chosen format was always vinyl which is where the inspiration for his new label for 2016 came from; Whitelabrecs specialises in highly limited edition runs of vinyl-effect CDrs, inspired by some of the white label bootlegs he purchased during the early 2000s. So far we’ve amassed a discography of ten albums varying in style and next, Harry presents an album as Spheruleus entitled ‘Obsolarium’. The record is inspired by the abandoned Bass Maltings complex which is located in Sleaford, Lincolnshire and was formerly used to brew beer up until the late 1950s. The buildings have been pretty much abandoned ever since and due to their impressive stature and Grade II listed status, they have remained an ever present fixture of the landscape surrounding Sleaford, as development or demolition continues to stall.

Harry was simply fascinated by this towering set of buildings and also, its abandoned state of decay which has been a feature in his work for many years. It is not possible to legally enter the premises, so Harry took a series of photos and field recordings standing at the gates and Obsolarium was born. Harry set about weaving decaying sounds of acoustic instruments, samples, drone loops and various lo-fi VST effects. Instruments and sounds used include an out of tune piano at his local village pub, (recorded after everyone had left), a detuned piano at a friend’s house, a violin, classical guitar, voice, harmonica, zither, a warped music box, a cello iPad app and vinyl samples.

Obsolarium tells a story starting with the commercial success of a powerful brewery, the rail links used to distribute the produce before descending into a melancholy reflection of what once was, accompanied all the while with a crumbling disintegration. Whilst everything unravels and fragments, the series of structures remain.”



credits
Catalog number: WLR011
Written and produced by Harry Towell
Mastered by Tim Diagram
Photography by Harry Towell

Coming soon…Spheruleus | Obsolarium

Full steam ahead as usual and next on the Whitelabrecs discography we welcome Spheruleus to the catalog. Some of our followers/fans will know that the man behind the label is Harry Towell who also records Ambient music as Spheruleus and we’re sure they’ll have anticipated a highly limited Whitelabrecs release from Harry at some point. ‘Obsolarium‘ moves us back to Ambient territory with the label but with the acoustic sound sources typical of the Spheruleus sound taking centre stage. Harry’s work here sees piano, classical guitar, violin, voice zither and harmonica recordings woven into a crumbling ten track tapestry inspired by an abandoned brewery complex near to his home town. You can listen to a preview of the album by using the Soundcloud player below or keep a check on our Facebook page to preview the packaging when we share it.

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
“Spheruleus is Lincolnshire, UK based sound artist Harry Towell who has previously released work through labels such as Eilean, Home Normal, Hibernate and Under The Spire. Harry has been active as Spheruleus since 2009 with his discography starting on netlabels before progressing to limited edition physical records. Over the years Harry’s musical projects have included blogging, DJing and more recently, running record labels. He is responsible for netlabel Audio Gourmet, occasional physical label Tessellate Recordings and House/Techno label Warehouse Decay.

Harry has been making music one way or another for over 15 years, with early work being more in the Deep House field when he also used to DJ. In his DJing days, Harry’s chosen format was always vinyl which is where the inspiration for his new label for 2016 came from; Whitelabrecs specialises in highly limited edition runs of vinyl-effect CDrs, inspired by some of the white label bootlegs he purchased during the early 2000s. So far we’ve amassed a discography of ten albums varying in style and next, Harry presents an album as Spheruleus entitled ‘Obsolarium’. The record is inspired by the abandoned Bass Maltings complex which is located in Sleaford, Lincolnshire and was formerly used to brew beer up until the late 1950s. The buildings have been pretty much abandoned ever since and due to their impressive stature and Grade II listed status, they have remained an ever present fixture of the landscape surrounding Sleaford, as development or demolition continues to stall.

Harry was simply fascinated by this towering set of buildings and also, its abandoned state of decay which has been a feature in his work for many years. It is not possible to legally enter the premises, so Harry took a series of photos and field recordings standing at the gates and Obsolarium was born. Harry set about weaving decaying sounds of acoustic instruments, samples, drone loops and various lo-fi VST effects. Instruments and sounds used include an out of tune piano at his local village pub, recorded after everyone had left, a detuned piano at a friend’s house, a violin, classical guitar, voice, harmonica, zither, a warped music box, a cello iPad app and vinyl samples.

Obsolarium tells a story starting with the commercial success of a powerful brewery, the rail links used to distribute the produce before descending into a melancholy reflection of what once was accompanied all the while with a crumbling disintegration. Whilst everything unravels and fragments, the series of structures remain.

Sounds Of A Tired City interview

Sounds of a tired city profile image

Our label boss Harry was recently contacted by Swedish blog Sounds Of A Tired City to put together a mix under his artist name Spheruleus. Naturally he obliged and made a vinyl-only mix, blending Modern Classical and Ambient/Drone records using harmonic mixing techniques. Since Whitelabrecs is inspired by Harry’s love for vinyl, this was a fitting opportunity to chat to SOATC about Whitelabrecs, vinyl and Harry’s other commitments such as the Audio Gourmet netlabel.

You can listen to the mix by clicking HERE or the images above, which features tracks from artists such as Richard Skelton, Peter Broderick and Greg Haines.

SOATCmix

You can read the full interview that was featured below or visit Sounds Of A Tired City site by clicking HERE

SOATC: If we look at your music-related activities, we gotta say you must be a rather busy man! You’ve been prolific with Spheruleus and you’ve been running the Audio Gourmet netlabel for six years now. What can you tell us about these projects?

HT: Indeed, I have no idea how I manage sometimes as I have two jobs too! What I’ve done more recently is slow down a little, take my time with work as Spheruleus and the labels too. Followers of Audio Gourmet will notice that releases are very much few and far between these days, but we’re still going – slowly! I think a lot of artists, labels etc. get to a stage when everyday life ‘gets in the way’ or becomes more important and then they decide the logical thing to do is to just stop. I’ve just made a decision not to be rushed, pushed to deadlines or stress about any of it – as this whole thing is supposed to be enjoyable at the end of the day. So I tend to self-release a lot of my own work these days, or with labels I know well so that I can go at my own pace.

I also suffer from a condition that many artists have – I’m not sure of its name, but it’s basically when you are working on a project and decide to start a new project… so I have 4 labels and a few recording aliases as well as a blog.

I think the main thing that motivates me is making music available to the world, without worrying about what will ‘sell’. This gives me a chance to work with new or unknown artists and if I can move them one step further forward, then the labels are a success.

SOATC: You have the soul of a curator. What are you looking for when you release or write about other people’s music? There is so much to discover constantly, what is that makes something for you more special, different? How can something stand out these days?

HT: For me, when curating it’s best to keep an open mind and listen to lots of different styles of music. Whenever I receive a demo I’ll listen to it with positive thoughts – I tell myself, I want to like this record. If I just can’t, then I have to leave it there. I also try to listen to a record in different contexts: I’ll listen in the morning on the way to work in the car or I’ll listen last thing at night – it’s amazing how much the listening environment can influence on how music is received. For Whitelabrecs, we’ll specialise mainly in ‘Ambient music’ I guess, but I’m more interested in ‘sound art’ – how people express themselves with sound.

The great thing with that, is that this allows for artists who want to do something different – maybe experiment with beats, something dark, a little noise or minimalism. So it’s all about giving new ideas a chance and then packaging them into something that listeners will enjoy or ‘get’. I believe that the sound is only really 80% of the story – good mastering, track titles, artwork and a write up helps bring everything together and can enhance a listener’s experience overall. When I write a press release, I’ll ask the artist a load of questions to get them thinking about their work, their ideas and how they approached the work. Then I’ll put together all the most relevant points. I hate this part of releasing a record but it’s so important

SOATC: You’ve recently launched your new label called whitelabrecs. What do we have to know about it and what are your plans with it?

HT: Yes, yet another project! I guess Whitelabrecs is the label I’ve always wanted to run – it is influenced by my love for vinyl, there are no set rules although the packaging takes a steady format: vinyl effect CDrs inside a vinyl style sleeve, rubber-stamped text and cover artwork as a polaroid photographic print. Everything is hand-stamped, burnt by hand so again, it takes a bit of time but to keep it all manageable I’ve capped the editions at 50 copies for each release. That way, there’s a bit of a collectible impulse from our listeners which means that each release should sell out quickly, meaning I can keep on going! I’ve got loads of demos confirmed and ready to go – I think we’re up to the 15th release behind the scenes, which is fantastic. Genre-wise, I’ve not settled on any particular style and plan to just keep evolving it – who knows what sounds we’ll put out. At the moment everything is pretty much within the Ambient scene with modern classical, drone, field recordings, glitch, folk and electroacoustic music being represented. I’d love to put out some jazz, post-rock, dub techno or trip hop someday! Who knows where we’ll go.

 

SOATC: Could you tell us a bit about the selection of tracks in your mix?

HT: I have quite a large vinyl collection covering all different styles of experimental music and I basically just pulled out my ‘Ambient’ section and selected records that were based around modern classical, drone or electroacoustic elements. I mixed the records using my Technics 1210 turntables through 10 year old styli that are as good as useless – they are worn and tired, so there’s lots of extra crackle and lo-fi texture in the mix that wouldn’t be on there otherwise. I’ve recently purchased some new needles and this mix is the last thing I’ve recorded with the old needles.

When buying vinyl, I only really buy albums that I feel are going to stand the test of time – records I’ll still want to hear time and time again. This is simply down to the sheer price of vinyl these days so I have to choose wisely when buying!

For me, Peter Broderick’s ‘Float’, Richard Skelton’s ‘Marking Time’ and Christoph Berg’s ‘Paraphrases’ are absolutely phenomenal records and these are perfect examples of the ‘quality control’ methods I go through when buying vinyl.

TRACKLIST

01 Taylor Deupree and Marcus Fischer – Cloudline
02 Willamette – At Length And Dead Horse
03 Field Rotation – Swayed By The Wind (Awakening)
04 Goldmund – Getting Lighter
05 Wil Bolton – Blackpoint
06 Scissors and Sellotape – It’s A Long Slog
07 Jared Smyth – Burnout
08 Simon Bainton – Porlock
09 Willamette – Images D’une Longueur de Cheveux
10 Peter Broderick – Another Glacier
11 Greg Haines & Wouter Van Veldhoven – On Waiting
12 Lowered – Lattitude 33 Degrees North, Longitude 40 Degrees West
13 Richard Skelton – Heys
14 Olan Mill – Amber Balanced
15 From The Mouth Of The Sun – Color Loss
16 Christoph Berg – Quiet Times At The Library