‘His Many Seas’ is a personal voyage, as the artist’s father was suffering from cancer at the time of the album being written. A well-travelled man, ‘His Many Seas’ sets sail to quietly conquer and navigate another unexplored, painful continent: the frightening landmass of coming to terms with his father’s illness, steering through the trials of life as well as acting as a dedication to his father’s love of travelling. The illness itself heralded the beginnings of a new journey. Recalling the feel of the Arctic Ocean, ‘His Many Seas’ thematically revolves around exploration, and the release includes vintage nautical Nories tables, Elisha Kent Kane – Arctic Exploration inserts along with ‘famous explorer’ double side prints.
Made by hand,
Hand made book-bound CD covers (1260 g/qm FSC certified), lined inside / outside with luxury Italian paper from Florence, glass mastered CD (not CDR), vintage nautical Nories tables (circa. 1920) resting inside old glassine bags, vintage Elisha Kane Arctic Exploration inserts (circa. 1869), a collection of 9 x double sided A6 ‘Hassan’s Greatest Explorers’ prints, dried flowers. All rests inside luxury hand cut envelopes. Individually numbered / stamped.
Stepping bravely out into icy waters and leaving behind a port always known, that being a lifetime of familiarity, comfort, and love, Moss Covered Technology paints a cold sea composed of blue tones, the chilled air seeping into the cabins of the heart through cracks in its frost-rimmed windows. Through this crack, feelings of sadness, anxiety and hopelessness slither in, making a nest in the heart of the ship. Some of the background textures clink and creak, like the breaking of ice, and the record charts a melancholic course. ‘His Many Seas’ is the sound of an ending, but it’s also a maiden voyage.
Soaked textures and sparse, frostbitten melodies loop in the frigid air, almost as if they can’t remember their place, or where they are in relation to everything else. The grey sea looks the same. Its horizon never differs. But music can act as a compass, a North Star, in times of trouble, during tempests and unquiet seas, and this ambient Polaris guides the artist back home. Music can return a soul to safe shores after a period of brokenness.
Age of Insects is the result of a series of visits made by Mark and Laura to Stephen’s studio in Virginia between May 2009 and January 2010.
The three improvised around common interests in analog electronics and digital manipulation, field recordings and instrumental performance practice. These recordings presented here feature only minimal editing and post-production, with a primary intent of capturing shared moments of listening and response.
The titles refer to extinct insects—the imagined hum and flutter of their calls, flight and communication.
The compilation features 12 tracks from some of the globe’s most talented sound-designers. It is a subtly rewarding headphone listen from start to finish; curated and ordered to purposefully induce a state of sleep. Starting off minimally, gradually gathering tone and atmosphere, the experience goes on without ever boiling over or reaching a crescendo. Parts of the album are light and restful whereas traces of it tread darker territory. All in all, the imagery that the album conjurs sits perfectly as a soundtrack to the dreams one experiences during a nights sleep.
Named after a Hitchcock-esque nightmare in which he was set upon by a pair of hard-winged, marauding cuckoos, David A Jaycock’s second album is step forward from the pastoral motifs of his debut, incorporating an expansive country-folk sound alongside the indigenous qualities and general oddness that have made his name.