Sound In Silence proudly announces the addition of Logout to its roster of artists, presenting his new mini album Instrumentals.

Logout is the solo project of a multi-instrumentalist, born in Athens, Greece, who for over a decade has been producing his wonderful music, ranging from acoustic folk and lo-fi to dream pop and electronica, having released four albums on labels such as Inner Ear and Tiny Room Records. He has collaborated with artists such as Nalyssa Green, Christos Lainas, Orestis Petrakis, Kalliopi Mitropoulou and others, while back in the mid 2000s he was a member of the indie/alternative band The Place Within which was active between 2005 and 2010.

Instrumentals, Logout’s fifth release, finds him returning to the classical guitar, the instrument with which he started his musical training as a kid. While his previous four albums have been focused to songwriting, this is his first release without lyrics. It explores musical themes written in the span of more than twenty years, with the resulting seven tracks ending up somewhere between classical & indie folk genres. On all the tracks Logout is supported by the beautiful violins of Kalliopi Mitropoulou, a classical violinist who also performs in multiple classical and indie projects in Athens and London.
Carefully mastered by George Mastrokostas (aka Absent Without Leave), Instrumentals is a brilliant release that will appeal to anyone moved by the music of artists such as Matt Elliott, Manyfingers and Message To Bears.

More information can be found here.

Sound In Silence proudly announces the addition of Nowherians to its roster of artists, presenting his official debut album That Is Not An Acceptable Lullaby.

Nowherians is an alias created by Crawford Blair, a musician/sound designer who is most well known as a founding member of the band Rothko, a band entirely comprised of three bass players, who coalesced at an unlikely and opportune moment in North London during the late 1990s. With Rothko he released several albums, EPs and singles on labels such as Lo Recordings, Bella Union (the label of Cocteau Twins' Simon Raymonde, with whom they collaborated too) and others, as well as 7” split releases with artists such as Four Tet and Tarentel amongst others, before their original lineup disbanded in 2001. Years later, in 2010, Blair alongside Mark Beazley (also founding member of Rothko) formed Rome Pays Off, at start as a duo project, then later expanded into a trio when Chris Gowers (Karina ESP, Lowered) joined them. Blair has also been a member of several other bands in the late 1990s and 2000s such as Geiger Counter (along with Jon Meade, the third founding member of Rothko, amongst others), Foe and High Above The Storm. Since the early 2010s and under the alias of Nowherians he has released some tracks on various compilations and an unofficial self-released, digital only, compilation of stray tracks in 2012.

Since a move to rural Norfolk in 2018, he has been involved in various musical gatherings and collaborations. These recordings, begun during the spring of 2020, developed from a love of the composer William Byrd and by looking into some of his choral pieces, extracting lines as chords to be used as seeds for further pieces, mostly keyboard sketches. This then led to more thematically similar tunes and with the influence and remote help of fellow musicians Elise Bjarnadóttir (violin, vocals), Olrun Bjarnadóttir (cello, viola), Matthieu Reifler (violin, trumpet, vocals) and Jason Emberton (mastering) throughout the summer months, it was finally finished that December. During that period Blair watched documentaries and read about the eruption of Mount St Helens in 1980, it became an inescapable companion to the making of the album and influenced the sounds, shape and names of some of the pieces.

More information can be found here.

Sound In Silence proudly announces the addition of JARR to its roster of artists, presenting their new album Talking About X.

JARR is a collaborative project between British ambient guitarists Yellow6 and Wodwo.
Jon Attwood started Yellow6 as a solo guitar project in the late 90s, initially inspired by space/post-rock, electronica and reverb soundscapes. From his debut single on the Enraptured label, Attwood’s discography runs to over 150 releases, spanning a wide spectrum of atmospheric post-rock and minimalist ambient music. Throughout Attwood’s illustrious career, his music has featured on The John Peel Show and Resonance FM, has provided the soundtrack to several films and TV documentaries, and found homes on labels such as Make Mine Music, Resonant, Cathedral Transmissions, Silber and Somewherecold.
Wodwo is the alias of Ray Robinson, an award-winning novelist and screenwriter with literary works that have been adapted into major motion pictures. Inspired by artists such as Yellow6, Yutaka Hirasaka and Marcus Fischer, Robinson’s foray into ambient music began in 2018 and his compositions have quickly attracted a blossoming legion of fans.

Talking About X is JARR’s second full-length album, following their debut An Echo In Her Skin, released on Hush Hush Records in 2021 to critical acclaim. Their new album, made up of nine new tracks with a total duration of about 50 minutes, is stylistically different to their debut, being more heartfelt and emotional. Its sound is far more expansive and melodical, while the soundscapes are still solidly post-rock but with a much dreamier, more ambient feel.
Talking About X is a captivating album with a dreamlike quality, carefully mastered by George Mastrokostas (aka Absent Without Leave) and highly recommended for devotees of Labradford, Roy Montgomery and Harold Budd.

More information can be found here.

Sound In Silence is proud to welcome back Test Card, presenting his new album Patterns.

Test Card is the solo project of Lee Nicholson, based in Vancouver, Canada. Nicholson was a member of Preston’s Formula One in the late 1990's and Brighton’s Domestic4 in the early 2000's, releasing albums, singles and EP's on various independent labels such as Kooky, Fierce Panda, Liquefaction Empire, Shifty Disco, Invicta Hi-Fi, Vaclav, and Star Harbour.

Patterns is Test Card's fourth full-length album having released his debut album on Symbolic Interaction (2016) followed by two albums on Sound In Silence (2017 and 2020), as well as an EP release on The Slow Music Movement (2018). Patterns consists of ten instrumental tracks with a total duration of 45 minutes blending laid back retro beats, shifting guitar patterns, melodic ambient, subtle piano riffs, and analog synth-scapes. Imagine if you will Hood meeting July Skies at an autumn BBQ hosted by Durutti Column with Labradford flipping the burgers and Epic45 making the mulled wine. 

More information can be found here.

Sound In Silence proudly announces the addition of The Kids And The Cosmos to its roster of artists, presenting his debut Ambient Mixtape Vol.1.

The Kids And The Cosmos is the alias of British producer/composer Justin Lee Radford. He is already known as one half of the ambient/electronic duo HIN, along with Jerome Alexander (Message To Bears), having released their highly acclaimed debut Warmer Weather EP on Sound In Silence in 2019. Radford has cultivated extensive collaborations with film makers, environmentalists, astronauts, scientists and social activists whilst composing music for film, VR, commercials, art installations and theatre. In late 2018 he released a 2-track single of solo piano pieces under his own name and, along with his childhood friends Jerome Alexander (Message To Bears) and Maximilian Fyfe (Paint Splat Faces), he is also member of the project Human Suits composing original scores for the documentaries of Planetary Collective.

Ambient Mixtape Vol.1 is made up of five soothing tracks, with a total duration of about 28 minutes. Ambient Mixtape Vol.1 is a slow and meditative exploration into the life and spirit cycle of a human being. The roots of these tracks grew when Justin held his Nan’s hand as she died, a powerful and transcendent moment he has carried with him ever since.
Utilizing crystalline electric piano chords, delicate electronic textures of calm synth-tones, subtle beats and choral voices, enhanced by the additional mixing and vocals by Jerome Alexander (Message To Bears) and cello performances by James Gow, The Kids And The Cosmos creates a wonderful debut release of warm ambient and dreamy electronica.

More information can be found here.

Sound In Silence is proud to welcome back Sweeney, presenting his new album Stay For The Sorrow.

For over twenty years Jason Sweeney, based on Kaurna Country in South Australia, has been composing and recording either solo under his own name, in various electronic bands (Other People’s Children, Pretty Boy Crossover) and under the composer alias of Panoptique Electrical.

Stay For The Sorrow, Sweeney’s fourth full-length album under his own name, consists of ten emotional songs, carefully mastered by Antony Ryan of ISAN, with a total duration of about 38 minutes. The album’s instrumentation is centered on Sweeney’s fragile vocals, wistful piano lines, warm synths, acoustic guitars and minimal beats, enhanced by saxophone performances by Melinda Pianoroom, while subtle electronic glitches, vocal samples and field recordings perfectly fill the background atmospherics.
Stay For The Sorrow is a collection of queer, melancholy, ambient pop tunes that traverses the tender territory of companionship lost whilst searching for a brave new heart.

In Sweeney's words:
A heart broke open.
A queer melodrama.
An album was written.
A house was not a home.
But then a landscape appeared.
And in the midst of melancholy there was another love.
He might be replaced with another him but the heart remains true.

More information can be found here.

Sound In Silence is happy to announce the return of Julien Demoulin, presenting his new album Everything Forgotten, Everything Remembered.

This is his third release on the label after the two already sold out albums, Floods by Silencio in 2013, and his debut full-length, under his own name, Loose Ends in 2015.

Julien Demoulin, born in France and currently based in Brussels, Belgium, has done many releases since 2004, initially with his Silencio project and later under his own name and his other project Pandorama. With Silencio he has released six albums, one remix album, two EPs and two singles, under his Pandorama project he has released one album, while under his own name he has released two albums, six EPs and collaboration albums with artists such as Christophe Bailleau, IA and Ross Copeland. His music has been released on many labels, including Audio Gourmet, Resting Bell, Basses Frequences, Time Released Sound, Three:Four Records, Duotone Records, Healing Sound Propagandist and his own Eglantine Records.

Everything Forgotten, Everything Remembered consists of seven compositions of warm ambient, with a total duration of about 43 minutes. Compared to his previous, more upbeat and rhythmic, albums his new one has a more focused compositional approach. Blending dense, breathing electronic sounds, layers of serene drifting synths and delicate loops of hypnotic melodies, with field recordings provided by Frédéric Dufourd (one half of the lo-fi duo Donna), vocal drones provided by Alex Copeland (aka IA) and ethereal vocals by Maryam Sirvan (one half of the electronic duo NUM), Demoulin creates one of his best albums to date.
Everything Forgotten, Everything Remembered is a sublime album of mesmerizing textures and evocative soundscapes, exquisitely mastered by George Mastrokostas (aka Absent Without Leave), which appeals to all fans of artists such as Harold Budd, Stars Of The Lid and A Winged Victory For The Sullen.

More information can be found here.

Sound In Silence is happy to announce the return of øjeRum, presenting his new album Støvfald.

This is his second album on the label after the highly acclaimed Alting Falder I Samme Rum in 2019.

øjeRum is the solo project of musician and collage artist Paw Grabowski, based in Copenhagen, Denmark. For over a decade, he has been producing his sublime music, ranging from atmospheric ambient to experimental folk, having released several albums and EPs on labels such as Fluid Audio, Eilean Rec., Shimmering Moods Records, Champion Version, Unknown Tone Records and many others.

Støvfald consists of two long-form compositions of dark ambient, with a total duration of 60 minutes, captivating the listener with its atmospheric textures and hypnotic soundscapes. The album, built around layers of swelling hypnotic drones and minimal guitar melodies, started taking shape last year on Grabowski’s birthday when he was watching Andrei Tarkovsky's Stalker while playing and recording some music inspired by the film.
Støvfald is an evocatively atmospheric album with a dreamlike quality, carefully mastered by George Mastrokostas (aka Absent Without Leave) and highly recommended for devotees of Windy & Carl, Eluvium, Benoît Pioulard and Fennesz.

More information can be found here.

Sound In Silence is proud to welcome back Panoptique Electrical, presenting his new album Decades (2001-2021), an era-spanning compilation of ambient works, experimental scores and soundtracks.

This is his fourth album on the label after the highly acclaimed Disappearing Music For Face in 2016, Quiet Ecology in 2017 and Five Pianos in 2020.

For over twenty years Jason Sweeney, based on Kaurna Country in South Australia, has been composing and recording either solo, in various electronic bands (Other People’s Children, Pretty Boy Crossover) and under the composer alias of Panoptique Electrical. He has also been directing and creating interactive works for the internet, making experimental films, curating projects for galleries and theatre spaces and has collaborated with and composed for some of Australia’s leading performing arts companies, artists and organisations.

Decades (2001-2021), Panoptique Electrical’s eighth full-length album, spans 20 years of compositions over 70 minutes and 31 tracks. Starting in 2001, with pieces made from lo-fi synth drones, sampled loops and broken pianos, taking us through to more recent works featuring layered atmospheric strings, processed piano, field recordings, cinematic cello performed by frequent collaborator Zoë Barry and cut-up vocal pieces performed by Caroline Daish, Decades (2001-2021) perfectly blends melancholic ambient music, modern classical composition, experimental electronics and evocative soundscapes.
Exquisitely mastered by Room40’s Lawrence English, Decades (2001-2021) is an epic, but personal, record that takes us into the emotional landscape of Sweeney’s compositional world.

More information can be found here.

Sound In Silence is happy to announce the return of SineRider, presenting his new album A Familiar Light.

This is his second album on the label after the highly acclaimed Four Years Away in 2018.

SineRider is the solo project of Berklee College of Music composer Devin Powers, based in Norwood, Massachusetts. For over a decade, he has been producing his sublime music, ranging from ambient and electronica to shoegaze and post-rock, having many releases on labels such as Sun Sea Sky, Archives, Dronarivm and others, or self-released. He has also recorded instrumental music of a variety of genres like indie, slowcore, lo-fi, dubstep and 8-bit, under many different aliases such as Senseed, Bleepy Bloopy, Hooting Everywhere and Reanu Keeves, while he is also one half of the projects Lakewaves and Introspecter, along with Graham Marlowe and Brian Stegmann, respectively.

A Familiar Light, SineRider’s new full-length album, features eleven new compositions of ambient soundscapes, calming atmospheres and blissful melodies. Powers blends seamlessly soothing pad layers, warm synths, delicate piano melodies, dreamy chimes, hypnotizing drones and warped tape loops, to create A Familiar Light, a captivating album which appeals to all fans of ambient pioneers such as Brian Eno, Harold Budd and Steve Roach, and beatless Boards Of Canada and Helios.

More information can be found here.

Sound In Silence is proud to welcome back Western Edges, presenting his new album Dependency.

Western Edges is the ambient/electronic solo project of Richard Adams, founder member, alongside his brother Chris, of the legendary Leeds band Hood. Since Hood went on hiatus in 2005, Richard Adams has recorded his music under the moniker of The Declining Winter, either solo or with help of friends such as Martin Cummings (Northerner), Paul Elam (Fieldhead), Mick Harrison (Prolapse, National Screen Service), James Yates (Seamajestea), Barrie Cummings, Joanne Ellis and many others, having released several sublime albums, EPs and singles on labels such as Home Assembly Music, Rusted Rail, Monopsone, Mobeer and Rural Colours, amongst others. He is also member of several other projects such as Memory Drawings, Great Panoptique Winter and Northern Exchange, along with friends such as Joel Hanson (Judgement Of Paris), Sarah Kemp (Brave Timbers, Last Harbour), Gareth S Brown (Hood), Chris Cole (Manyfingers, Movietone), Jason Sweeney (Panoptique Electrical) and others.

Dependency, Western Edges’ second full-length album, consists of nine new tracks, ranging from soothing ambient to dreamy lo-fi electronica and minimal techno. Adams continues exploring the world of ambient and electronic music, blending ethereal pad washes, eerie synth melodies, shimmering electronics, slow moving drones, dubby bass lines and crunchy rhythm patterns, nicely into a fluid mix creating another wonderful album.
Dependency is a re-imagining of the sound of ‘90s garage, techno and ambient music coming out a car radio on an eclectic pirate radio station mixing in with the buffeting air around the hills and valleys of Yorkshire and Lancashire, UK... a journey through remote moorland after a ‘90s rave.
Expertly mastered by George Mastrokostas (aka Absent Without Leave), Dependency is an impressive album, full of blissful soundscapes, gently repetitive motifs, delicate textures, rhythmic electronic impulses, hazy nostalgia and deep heartfelt emotions, which appeals to all fans of DeepChord, Aphex Twin, bvdub, Space Afrika, Boards Of Canada and late-period Hood.

More information can be found here.

Sound In Silence is happy to welcome back Yellow6, presenting his new album The Cloud Factory.

Yellow6 is the solo project of Jon Attwood, based in Leicestershire, UK. During the last two decades he has established himself as one of the foremost purveyors in the ambient/post-rock scene, having released his music on labels such as Enraptured, Make Mine Music, Resonant, Cathedral Transmissions, and his own Editions6, amongst many others. Since 1998 he has played many shows in Europe and North America, and has collaborated with many other artists such as Portal, Thisquietarmy, Absent Without Leave, Caught In The Wake Forever, David Newlyn, Charles Atlas, Stafrænn Hákon and many others too.

The Cloud Factory is made up of ten new tracks with a total duration of about 67 minutes. All tracks were recorded at home between March and May 2021, and were expertly mastered by George Mastrokostas (aka Absent Without Leave).
The past year has been a busy one for Yellow6, with a number of album releases, exploring variations in composition and instrumentation, along with two collaborative projects. After completing For The First And Last, and material for a forthcoming album for Enraptured, both being more focused on beats and distorted guitars, Attwood decided to shift the focus, in part inspired by recent work by Warren Ellis and Nick Cave’s soundtrack work, and the varied minimalist approach of Philip Glass and Burial among others. Rather than the previously used approach of anchoring each tune on arpeggiated and delayed guitars to set the tone, these tracks have a greater focus on more abstract and heavily effected loops, topped with repeating intertwining clear and clean guitars, which was helped by a change to a more minimal effects board.

More information can be found here.

SISTERS WITH TRANSISTORS is the remarkable untold story of electronic music's female pioneers, composers who embraced machines and their liberating technologies to utterly transform how we produce and listen to music today.

The film maps a new history of electronic music through the visionary women whose radical experimentations with machines redefined the boundaries of music, including Clara Rockmore, Daphne Oram, Bebe Barron, Pauline Oliveros, Delia Derbyshire, Maryanne Amacher, Eliane Radigue, Suzanne Ciani, and Laurie Spiegel.

The history of women has been a history of silence. Music is no exception.

As one of the film's subjects, Laurie Spiegel explains: "We women were especially drawn to electronic music when the possibility of a woman composing was in itself controversial. Electronics let us make music that could be heard by others without having to be taken seriously by the male dominated Establishment."

With the wider social, political and cultural context of the 20th century as our backdrop, this all archival documentary reveals a unique emancipation struggle, restoring the central role of women in the history of music and society at large.

With Laurie Anderson as our narrator, we'll embark on a fascinating journey through the evolution of electronic music. We’ll learn how new devices opened music to the entire field of sound, how electronic music not only changed the modes of production but in its wide-ranging effects also transformed the very terms of musical thought.

SISTERS WITH TRANSISTORS is more than just the history of a music genre: it's the story of how we hear and the critical but little-known role female pioneers play in that story.

More information can be found here.

Midwife is the moniker of multi-instrumentalist Madeline Johnston. She lives and works in San Miguel, New Mexico by way of Denver, Colorado, where she spent the better half of the past decade developing her experimental pop project. As a self taught guitarist and recording engineer, Midwife explores dark subject matter in her anthemic, soft-gaze hits. Self-described as "Heaven Metal," or emotive music about devastation - catharsis.

When 2020 began, Johnston had several national and international tours planned, but the pandemic shifted her focus back to recording, and back to her internal landscape. Midwife’s third full length record, Luminol, was written and produced during quarantine.

Luminol is a chemical used by forensic investigators to reveal trace amounts of blood left at a crime scene. When it reacts with blood, luminol emits a chemiluminescent blue glow that can be seen in a darkened room. In the same way this chemical reveals evidence at a scene, Midwife is interested in profound truth - turning trial and tribulation into sources of light.
Luminol navigates themes of incarceration, locus of control, clarity, self harm, confinement, agency, and truth-seeking, all erupting in a bioluminescent Rothko color-field of blue.

The Luminol album cover shows a dark figure standing at the edge of a body of water. It symbolizes the way humanity had been on a precipice throughout 2020, to later find out they had been there all along. Being one of Midwife’s most personal records, Luminol's cover artwork is a picture of Madeline Johnston's mother taken in the 1980s, when she was the same age as Madeline at the time of recording. By redacting the figure, Johnston hopes that anyone could see themselves there, by the water, as a form leftover when all the elements of their lives are stripped away and what is left is a host.

Out July 16, 2021 on The Flenser.

Angel Bat Dawid
Harkening Etudes

Chicago-based Angel Bat Dawid has proven a fluid and electric artist, working largely in the realm of jazz. Her first love however was for Mozart, and with Harkening Etudes, the revelatory composer and soothsayer offers a suite for clarinet and piano rooted in classical music, while also showing her place at the forefront of modern, free-thinking jazz. Full of ecstasy, intrigue and character across its three movements, it is surprising, or unsurprising work from Angel, depending on your view of her elastic approach.

"I wanted to include breath as part of the listening process. I really want folks to inhale and exhale and then go on a ride of different sounds. Breathe into your ears…they need air too." -Angel Bat Dawid


Theodore Cale Schafer
It's Not a Skill, it’s a Curse

Detroit's Theodore Cale Schafer says his piece It's Not a Skill, it’s a Curse is "a handful of ideas," but this casual inference belies his gift for distilling abstraction into disarming emotion.

"I usually try not to talk too much about my own music. I feel like it has a face value and everything else drawn from it is reflection. It has personal meanings, but in a way that is abstracted and singular." Theodore Cale Schafer


Judith Hamann
Hinterhof

Cellist, performer and composer Judith Hamann has worked with the likes of Eliane Radigue, La Monte Young and Alvin Lucier, and similarly these artists all invite great a curiosity and compulsion in their works. The fascinating Hinterhof is a recording of the porous spaces around Hamann's Berlin apartment. Hamann interacts with her space, creating a kind of collectivity within the reduced environment.

"I had been thinking about the idea of collapse in relation to sound fields…days into days, different kind of spaces and weather and time into each other, and whether that can create a new imaginary listening space…can you consider yourself part of a community that is framed only by a shared listening experience?" -Judith Hamann


r beny
we grow in a gleam

Finally, r beny is the project for Northern California's Austin Cairns, finding resonance for his work in the idea of nature as an imagined entity and not just part of the physical world. We Grow In A Gleam has a patient, sustaining measure that mirrors this sense of escape.

"This piece of music is a map. Tones, textures and echoes representative of a geography and a time." -r beny

More information can be found here.

Indeed, You ARE hallucinating but you have absolutely nothing to fear. Just 'go with the flow.'

This small but wildly colorful monument will emerge in 3 different formats in the months to come. Vinyl and cassette will be courtesy of Witch Cat Records in Denver. The double CD will materialize via The Dots' own Terminal Kaleidoscope label.

Erik Drost - Guitars, Bass;
The Silverman - Keyboards, Devices;
Edward Ka-Spel - Voice, keyboards.

Special guests:
Patrick Q. Wright - Violins, keyboards on 2;
Quentin Rollet - saxes, sopranino sax on 1,4,5,8,9.

Produced and Engineered by EK.
Cover concept and photography by Alena.

More information can be found here.

Sound In Silence is proud to welcome back Sweeney, presenting his new album Misery Peaks.

For about twenty years Jason Sweeney, now based on Kaurna Country in South Australia, has been composing and recording either solo, under the alias of Panoptique Electrical, Other People’s Children and Simpático, or with friends in various musical projects like Pretty Boy Crossover, Sweet William, School of Two, Luxury Gap, Par Avion, Great Panoptique Winter, Mist & Sea, Winter Witches, GIRL and many others. He has also been directing and creating interactive works for the internet, experimental films, projects for galleries and theatre spaces and has collaborated with some of Australia’s leading performing arts companies and organizations.

Misery Peaks, Sweeney’s third full-length album, consists of eight highly emotional songs with a total duration of something more than 38 minutes. Constructed around Sweeney’s fragile vocals, layers of string section drones, slightly processed piano, cinematic cello samples performed and recorded by his frequent collaborators Zoë Barry and Jed Palmer respectively, minimal beats, subtle electronic glitches, other odd noises and field recordings, Misery Peaks perfectly blends melancholic songwriting, modern classical, electronic textures and ambient soundscapes.
Carefully mastered by George Mastrokostas (aka Absent Without Leave), Misery Peaks is a wonderful personal album about relationships, intimacy, brokenness and romanticism, highly recommended for devotees of Scott Walker, David Sylvian, Anohni and the quieter moments of Depeche Mode.

More information can be found here.

Sound In Silence is happy to announce the return of The Green Kingdom, presenting his new album Solaria.

The Green Kingdom is the solo project of Michael Cottone, a sound artist and graphic designer based in Michigan, USA. Interested in creating compositions which blur the lines between soundscape and structure while keeping a sharp focus on melody, his pieces are crafted using a variety of instruments, electronic sources, sampled textures and field recordings.
Since 2006 he has released several wonderful albums and EPs on labels such as Lost Tribe Sound, Dronarivm, Home Assembly Music, Hidden Vibes, Past Inside The Present, Rusted Tone Recordings, Nomadic Kids Republic, Own Records and many others. He has also put out two releases, an album and an EP, with his dub techno/ambient side-project Dustcraft and a self-released single with his solo acoustic guitar side-project Pinesong.

Solaria is an evocative album of eight new tracks with a total duration of about 40 minutes. Blurring the line between soundscape and structure, Cottone skillfully utilizes a variety of electronic and acoustic elements, including textures of electric guitar swells, soothing synth pads, warm drones, shimmering melodies, twinkling chimes, ringing acoustic guitar arpeggios and minimal lulling beats, to create one of his most charming works to date.
Expertly mastered by George Mastrokostas (aka Absent Without Leave), Solaria is a beautiful album of floating ambience, gentle rhythms and contemplative atmospheres which appeals to all fans of artists such as Helios, Federico Durand, July Skies and Epic45.

More information can be found here.

A boxed set compiling the series of inter-related releases that Late Music put out in 2020 - the double studio album Cantus, Descant, the two-disc live set Figures In Open Air, and Laurus, an extended EP of early sketches for the music fully realized on Cantus, Descant. Five discs in individual card wallets with 16-page accompanying booklet that details the compositional and recordings aspects of each release, housed in a rigid slipcase.

More information can be found here.

The years between Graham Lambkin’s tenure with the legendary Shadow Ring and his more recent improvisational duos mark a distinct period of creative production within the artist's insular career. Living with his family in Poughkeepsie, NY, from 2001 through 2011 Lambkin recorded and self-released four solo albums that valorized mundane domestic situations while reveling in the liminal spaces between the acts of listening, recording, and producing. Created through an ingenious economy of means, these solo records are as beguilingly seductive as they are uncanny. Perpetually laughing in his own duplicitous face, Lambkin breathed new life into musique concrète and sound poetry, giving outmoded forms a contemporary consciousness while setting the gold standard for a continuously unfolding canon of 21st century tape music.

Poem (For Voice & Tape), Salmon Run, Softly Softly Copy Copy, and Amateur Doubles are now remastered and finally back in print, with Salmon Run and Softly Softly Copy Copy available on vinyl for the first time. This deluxe boxed set of Graham Lambkin's first four solo records includes an expansive 42-page book featuring unseen photos and reproductions of artworks as well as essays and anecdotal recollections providing fresh insight and divulging hermetic secrets by Ed Atkins, Mark Harwood, Matt Krefting, Lawrence Kumpf, Samara Lubelski, and Adrian Rew.

Graham Lambkin (b. 1973, Dover, England) is a multidisciplinary artist who first came to prominence in the early '90s through the formation of his experimental music group The Shadow Ring. As a sound organizer rather than music maker, Lambkin looks at an everyday object and sees an ocean of possibility, continually transforming quotidian atmospheres and the mundane into expressive sound art using tape manipulation techniques, chance operations, and the thick ambience of domestic field recordings. His Kye imprint, founded in 2001, was an instrumental platform for the dissemination of and dialogue between work by an intergenerational cast of artists using sound, including Henning Christiansen, Anton Heyboer, Moniek Darge, and Gabi Losoncy. He began showing his visual art in 2014 with Came To Call Mine, an exhibition curated by Lawrence Kumpf and Justin Luke at Audio Visual Arts in conjunction with the publication of Lambkin’s children’s book (for adults) of the same name, and has since exhibited his work at 356 Mission, Künstlerhaus, PiK, and Blank Forms.

More information can be found here.