New Album Subterranea – Out Now via Castles in Space’s new CD imprint Lunar Module

STREAM OR BUY CD & DIGITAL DOWNLOAD

Order the CD at the following record shops/websites:
[UK] Norman Records, Rough Trade, Head Records, Juno Records, Banquet Records, HMV
[EU] Sound Ohm, WOOK, FNAC, E.Leclerc
[USA] Forced Exposure

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I’ve always tried to make my music about things. My hope is that it gives a reason for each track to exist in the context of an album, making the record greater than the sum of its parts. My first two albums, The Daily Exorcises (2016) and Moorbound (2022) started from ideas. The former was a break-up album through the lens of plunderphonics, an attempt to reclaim the music I thought I’d lost to the pain of the relationship’s ending. The latter was a love letter to Nun’s Moor, an area of green open space to the north of Newcastle that drew me to the area and provided a sanctuary during the Covid pandemic. I knew when I started Subterranea it was going to be about stability and the value I assign to consistency and predictability in my own life.

Subterranea started life as a set of demos I sent off to Gordon (Warrington Runcorn Newtown Development Plan) after we’d played on the same bill at The Cumberland Arms in Newcastle. When he asked me to send some tracks over to him and Colin of Castles In Space, I was over the moon. The demos largely all started life on my synth wall, bouncing sounds in and out of samplers and guitar pedals before building grooves. I’d record those ideas as audio and midi into the computer and set to work re-orchestrating themes, carving out space, always cutting back before adding. I was building on the techniques I’d developed on Moorbound, focusing on the interplay between rich acoustic sounds and electronic textures, taking generatively-composed themes and motifs and developing them on traditional instrumentation. I was trying to step further into the world of my inspirations: Hans Zimmer, Tim Hecker, Ben Frost, Hannah Peel and William Basinski.