The small village of Tyneham, on the beautiful Isle of Purbeck, in Dorset, was once a thriving little community – that is until the British Government requisitioned it for training manoeuvres and other ‘strategic purposes’ in the run up to WWII. This was supposed to be a temporary measure, but the area remained in military possession long after hostilities had ceased, causing distress among former inhabitants, many of whom were farmed out to prefabs in nearby Wareham and Swanage. 

Tyneham was characterised by its red telephone box, a tiny parade of shops – Post Office Row – and a grand country pile which stood about half a mile away from the village: Tyneham House. The army removed the building’s oak panelling and ornate decorative details and promptly set about using it for target practice. So great was the shame expressed locally about the damage inflicted upon one of Dorset’s grandest houses that the powers that be decided to grow a copse around the remains of the structure to give the impression that it was no longer there. Despite this, a substantial part of the structure remains intact, including its Saxon hall. 

Land access around Tyneham was opened up in the 1970s, but admission to the house remains strictly verboten. Those who’ve been found around the premises, especially anyone wielding a camera, have felt the full weight of military trespass law. Tyneham today is regarded as a nature reserve by some – as a national embarrassment by others. It’s still a political hot potato, in Dorset at least.

The pastoral, wistful yet ineffably disquieting music of Tyneham House is made by artists who have previously graced Second Language releases, but who wish to remain anonymous here, save for their eponymous title. The musicians are happy, however, to let it be known that these recordings have been around for some years (many of them complied from old cassettes) and that they take inspiration from the 1960s/’70s/’80s work of the Children’s Film Foundation – a body who really ought to have made a film about this mysterious West Country curio. At least now we have its endlessly poignant soundtrack. 

This release was beautifully illustrated and printed throughout by award winning artist Frances Castle of Clay Pipe Music.  The cassette of bonus material : A: A School Holiday, 1977 
B: May Day, 1981.

This is SL015/Pipe003

www.secondlanguagemusic.com
www.claypipemusic.co.uk

Tyneham House (bonus cassette tape)

Covers of every song from Pete Astor's 'Songbox' album (Second Language, 2012).  CD now deleted but available on all good digital platforms.  For more info on 'Songbox' go here : http://www.secondlanguagemusic.com/SL012.html

Pete Astor 'Songbox' covers

A compilation of some of our favourite tracks since our inception in 2009.  Have we missed anything? 

www.secondlanguagemusic.com

Second Language Music 2009 - 2024 (work in progress)

The new album, out now on Second Language Music.  www.secondlanguagemusic.com

There's not just a brutalism about Cumbernauld, the Scottish "new town" in North Lanarkshire, developed ostensibly to catch the population overspill from neighbouring Glasgow in the 1950's but also a melancholy, almost tangible banalism.  According to brothers Phillip and Peter Walker, collectively operating under the moniker of P60, the lack of any discernible activity, cultural or otherwise, has resulted in a "blank society" which practically revels in its stagnance.  "If you Google images on Cumbernauld," says Phillip, you'll notice a distinct dearth of people in the photos.  Everyone just stays at home watching tv." But look very closely and you'll notice that something is happening behind the concrete and steel facade.  

 “We got into this by default," says Peter. “Our uncle Jim, died about 5 years ago and they found all these old synths and stuff in his attic which obviously, he’d never used. Some of them were wrapped up in bin liners and bits of carpet so the rain wouldn’t get at them.  Nobody wanted them so at first I thought let's just stick them on eBay or something."

Phillip, however, had other ideas. “I used to be in a band (the equally reclusive Glasgow post-punk outfit, Knives Replace Air) which was all guitars but I knew we could do something if we applied ourselves. It’s taken 2 years to actually start making tunes we’re happy with.  Before, it was just press a key, twist some knobs and see what comes out.  We’re still not exactly Depeche Mode.”
  
It’s this rudimental, even naïve approach to their somewhat rusty analogue palette that makes P60 stand out.  As Phil says, “Most people with a few synths and a drum-machine would go, ‘Let’s make dance music’ but between us, we literally have no interest in club culture.  We’re much more interested in the voice of the instruments." 

But why P60?  “Both our names start with P obviously but in one of the binbags with all these synths was a little black box held together with duct tape and someone’s Dymo’ed ‘P60’ on it.  There’s an input and an output and we’ve had it apart but we’ve still got no idea what it does!  It’s literally a little black box that does nothing.  It seemed very apt.  We aren't going to play live or have our photos taken.  We want to stay anonymous.  In the current celeb-obsessed climate, that's about as punk as I can imagine.”  

P60 'Models' comes in a semi-transparent glassine envelope with postcard, sanding disc, tachograph, hand-stamped litmus paper and electrical resistor.  Limited edition of 300 copies.  

This is SL031, the thirty-first release on Second Language.  For more info, contact : second-language@hotmail.com





P60 - Models

From 'Music & Migration III' (SL025) out now on Second Language Music.  
Illustration by Frances Castle.  
Info/buy : www.secondlanguagemusic.com

ISAN - Kirkeskov

From our new feather-friendly, 'Music & Migration III' compilation, Lisa Knapp's mesmirising rendition of Lal's Waterson's 'Fine Horseman.'  
http://www.lisaknapp.co.uk/

Lisa Knapp - Fine Horseman

From 'Tombola' : http://www.secondlanguagemusic.com/SL01.html

Now deleted.  

Textile Ranch - Speckled Heart

From 'Vertical Integration' : http://www.secondlanguagemusic.com/SL06.html

Now deleted.  

Our Broken Garden - Share

From 'Serenades & Serinettes' : http://www.secondlanguagemusic.com/SL08.html

Available now on iTunes : https://itunes.apple.com/gb/album/serenades-serinettes/id660186855

Klima - By My Side

Adieu À L'Écurie - D.Rothon

Life Without Buildings in session and interview with Sean Hughes on Greater London Radio, 19th March 2000.  Digitised directly from cassette tape.  

Tracks : 'Envoys' and 'The Leanover' (both acoustic).  
The band : Sue Tompkins, Robert Johnston, Chris Evans, Will Bradley.  

This recording has been posted partly as a cultural document of the band/time but also as a homage to the late, great Sean Hughes with the deepest respect.  
If you wish to lay legal claim to the exclusive rights in this recording, please contact second-language@hotmail.com and evidence of that claim supported, we will remove this recording.

Life Without Buildings (Sean Hughes GLR session/interview, 19/3/00)

From the album, 'Public Flowers,' out now on Second Language Music  : http://www.secondlanguagemusic.com/


Robin Saville - In Konik Mokkin

Free to Second Language subscribers with Robin Saville's ‘Public Flowers' album came a bonus disc, 'Hybrids,' featuring 5 remixes of tracks from the album by Loscil, P.Manasseh, Dollboy, Clouds and Mugwood.   'Hybrids' since deleted but more about 'Public Flowers' here/buy : http://www.secondlanguagemusic.com/SL028.html

Tracklisting : 

1. A Fail All Girl (Loscil Flagra Flagri Mix)
2. Hilary And Dave's Piano # 2 (P. Manasseh Mix)
3. Bryophyte Society Annual Picnic (Dollboy Bones Mix)
4. All Who Are Not On The Rock Are In The Sea (Clouds Mix)
5. The Long Walk From Sallowes Church (Mugwood Hither And Zither Mix)

www.secondlanguagemusic.com

Robin Saville - All Who Are Not On The Rock Are In The Sea (Clouds Mix)

Robin Saville expands on the influences behind his new album, ‘Public Flowers’ in this exclusive mix for Second Language.  

Robin : “I'd like to think that all of these tracks have informed "Public Flowers" to a greater or lesser extent.  They're mostly things that have had a place in my heart for many years and for that reason it seemed appropriate to mix them from vinyl.  I make no apologies for the pops and crackles which result from this decision ;)

1. Marc and the Mambas - Untitled.  I just love the overall aesthetic of this song.  The mix is really strange, Marc's vocal is oddly distant and the bass just wanders around vaguely..  the playing is incredibly loose which is interesting as it's all done by Matt Johnson.  Both of the Mambas' albums feel like they're always on the verge of overreaching themselves with constantly stunning results.

2. Mrinal Sen Gupta/Lateef Ahmed Khan/Tirath Ajmani ?– Rupak Dal (excerpt).  I really like how the melody part of this is a simple seven note arpeggio and the tabla just dances around it.  Without the sarod part the track would just fall apart, but it's a nice inversion that the melody provides the stable element whilst the rhythm part is so wayward.  Also, fact fans, this was produced by Joe Boyd.

3. To Rococo Rot - Mit Dir In Der Gegend.  Just because of the elegance of the arrangement.  Such a simple and exquisitely balanced track, where every sound seems to provide a springboard for every other.  The tiny variations feel very witty and human.

4. Piero Milesi - Modi II (excerpt).  I like to imagine that the recording of this involved many musicians playing one note each at odd intervals according to some arcane mathematical formula.  But unlike so much music which might be described that way, this is just beautiful.  A complicated interlocking puzzle of sound.

5. Mimi Majick - Utilities 4.  I bought this record many years ago from the bargain bin in a record shop in Southend.  It has a lovely warm, understated sound, really unhurried and assured.  She's not done anything else although Irdial claim there's an unfinished album which might see the light of day eventually.  I live in hope.

6. Penguin Cafe Orchestra - Rosasolis.  I've never been a huge fan of the idea of dividing music into genres, but Penguin Cafe Orchestra seemed to break down the barriers between pop music and classical in a much more approachable and witty way than the prog bands who tried to do the same thing from, arguably, the other direction.  Also, this is one of their tracks which features an Omnichord, underpinning everything with a cheery synthetic bounce which I can't resist.

7. Casino vs Japan - From Rouge.  Erik Kowalski is a genius at constructing rich and moving pieces from the barest ingredients, creating something here which totally envelops the listener in a soundscape both lush and unsettling.  Indespensable.

8. Cluster - Es War Einmal.  So gentle and relaxed, it's easy to imagine that this is being played under a tree beside a lake at sunset..  Soundtrack for a techno-agrarian utopia.

9. Isan - Candidate.  If there's one musician who's influenced me over the last twenty years it'd have to be Antony Ryan, my partner in Isan.  I'm still surprised by they way he constructs tracks and this is a lovely, simple piece which is, typically of him at his best, far more than the sum of its parts.

10. Scritti Politti - The Sweetest Girl.  I wanted to include something by Robert Wyatt, and also something with a drum machine (I can't resist drum machines).  So, since he plays keyboards on this and it has a lovely drum machine, this beautiful cloud of sugary nothingness will do nicely.”

Buy ‘Public Flowers’ by Robin Saville here : http://secondlanguagemusic.com/



Robin Saville - 'Public Flowers' Influences

Future Conditional - Demolitions(feat. Bobby Wratten & Beth Arzy)

From Theory Of Ghosts 'EP1' : https://secondlanguagemusic.bandcamp.com/album/theory-of-ghosts-ep1

When The Rain Stops

From the album, 'Music & Migration' (Now deleted).
More info : http://www.secondlanguagemusic.com/SL02.html

Vashti Bunyan -  Here (Demo)

From the album, 'South Wind,Clear Sky,' out now on Second Language Music.  www.secondlanguagemusic.com

Perhaps still most widely recognised for Dreaming With Alice, his 1972 psych-folk debut for RCA Italy as a 19-year-old art student-troubadour, Mark Fry has been turning his creative gaze on the world, and alchemising its elements into shimmering, quietly visionary works of art, ever since. Certainly not an artist who dances to the music of time in any conventional sense, Mark, a respected, and collected, painter, most often to be found holed up in his Normandy farmhouse studio, allowed more than three decades to glide by before recording Alice’s follow up, 2008’s Shooting The Moon. His subsequent musical activity has been frenetic by comparison.

Mark’s beguiling, Arcadian-flavoured 2011 Second Language album, I Lived In Trees, recorded in collaboration with The A. Lords – musicians from a more recent generation of psychedelic-folk experimenters – proved a major critical hit, demonstrating that Mark Fry’s musical stock lay not only in the Paisley-hued haze of his Aquarian Age youth, but also in the full glare of the postmodern, internet-facilitated present. A series of concerts in Japan and Scandinavia, and a widely reported ‘supergroup’ London showcase, featuring members of Mercury Rev, Super Furry Animals, Tunng and Lemon Jelly, further evinced the subtle but inexorable diffusion of the Mark Fry legend, something abetted by BBC Radio 4’s Today programme airing an interview with Mark in the wake of Trees’ release.

All of which brings us to Mark Fry’s latest, most exquisitely realised musical offering to date, South Wind, Clear Sky. Sung with that now familiar alloy of cool restraint and wondering innocence, and passingly reminiscent of the kind of English pastoralism associated with the likes of Kevin Ayers or Bill Fay, the album’s leanly arranged yet immersive songs are propelled by Mark’s glinting, plangent guitars and deliciously embroidered by John Parker’s double bass, Angèle David-Guillou’s piano and backing vocals and Katie Lang’s French horn, all bound together by producer Guy Fixsen (My Bloody Valentine, Stereolab) into a delightfully iridescent whole. For all its finely honed arrangements, and the translucence of its recording, South Wind, Clear Sky is still very much the work of the man who made Dreaming With Alice; the mature Mark Fry’s feeling for wonderment and magic, for the dreamlike and the innocently surreal, is just as pervasive, and persuasive here, only more focused, and etched against a more luminous, even heavenly canvas.

Where the lyrics on his last album found Mark reaching up through the summer branches toward an azure sky, here that celestial dimension provides the focus for eight shimmering chamber-folk essays whose wistful narratives of flight and fancy and empyrean romance purr and soar with a stately grace, like the ‘Aeroplanes’ of the album’s richly melodic opening track.


Mark Fry - Aeroplanes

Cédric Pin/Glen Johnson - Prick

Listen to our various artist label sampler from 2012.

TRACKLISTING :

1. The Cloisters - The Lock Keeper
2. Richard Moult - Song For Mourie
3. Memory Drawings - Heptonstall
4. Mark Fry/The A Lords - Even The Sky Goes Blue
5. Directorsound - I Hunt Alone
6. Tyneham House - The Ragged Cat
7. Piano Magic - St Martin-in-the-Fields
8. Klima - Kourouma
9. Glen Johnson - Kurelek
10. The Home Current - Fyrfalden
11. Áine O'Dwyer - A Prayer Before Bedtime

More info/download the whole album from our Bandcamp page here : https://secondlanguagemusic.bandcamp.com/album/end-of-a-season-a-second-language-label-sampler

Various Artists - End Of A Season - A Second Language label sampler

The new album, out now on Second Language Music.  www.secondlanguagemusic.com

There's not just a brutalism about Cumbernauld, the Scottish "new town" in North Lanarkshire, developed ostensibly to catch the population overspill from neighbouring Glasgow in the 1950's but also a melancholy, almost tangible banalism.  According to brothers Phillip and Peter Walker, collectively operating under the moniker of P60, the lack of any discernible activity, cultural or otherwise, has resulted in a "blank society" which practically revels in its stagnance.  "If you Google images on Cumbernauld," says Phillip, you'll notice a distinct dearth of people in the photos.  Everyone just stays at home watching tv." But look very closely and you'll notice that something is happening behind the concrete 
and steel facade.  
 “We got into this by default," says Peter. “Our uncle Jim, died about 5 years ago and they found all these old synths and stuff in his attic which obviously, he’d never used. Some of them were wrapped up in bin liners and bits of carpet so the rain wouldn’t get at them.  Nobody wanted them so at first I thought let's just stick them on eBay or something."
Phillip, however, had other ideas. “I used to be in a band (the equally reclusive Glasgow post-punk outfit, Knives Replace Air) which was all guitars but I knew we could do something if we applied ourselves. It’s taken 2 years to actually start making tunes we’re happy with.  Before, it was just press a key, twist some knobs and see what comes out.  We’re still not exactly Depeche Mode.”  
It’s this rudimental, even naïve approach to their somewhat rusty analogue palette that makes P60 stand out.  As Phil says, “Most people with a few synths and a drum-machine would go, ‘Let’s make dance music’ but between us, we literally have no interest in club culture.  We’re much more interested in the voice of the instruments." 
But why P60?  “Both our names start with P obviously but in one of the binbags with all these synths was a little black box held together with duct tape and someone’s Dymo’ed ‘P60’ on it.  There’s an input and an output and we’ve had it apart but we’ve still got no idea what it does!  It’s literally a little black box that does nothing.  It seemed very apt.  We aren't going to play live or have our photos taken.  We want to stay anonymous.  In the current celeb-obsessed climate, that's about as punk as I can imagine.”  

P60 'Models' comes in a semi-transparent glassine envelope with postcard, sanding disc, tachograph, hand-stamped litmus paper and electrical resistor.  Limited edition of 300 copies.  This is SL031.



Intervale

Deco Nude

Kronecker Product

From the album, 'Models,' out now on Second Language Music.  www.secondlanguagemusic.com

There's not just a brutalism about Cumbernauld, the Scottish "new town" in North Lanarkshire, developed ostensibly to catch the population overspill from neighbouring Glasgow in the 1950's but also a melancholy, almost tangible banalism.  According to brothers Phillip and Peter Walker, collectively operating under the moniker of P60, the lack of any discernible activity, cultural or otherwise, has resulted in a "blank society" which practically revels in its stagnance.  "If you Google images on Cumbernauld," says Phillip, you'll notice a distinct dearth of people in the photos.  Everyone just stays at home watching tv." But look very closely and you'll notice that something is happening behind the concrete 
and steel facade.  
 “We got into this by default," says Peter. “Our uncle Jim, died about 5 years ago and they found all these old synths and stuff in his attic which obviously, he’d never used. Some of them were wrapped up in bin liners and bits of carpet so the rain wouldn’t get at them.  Nobody wanted them so at first I thought let's just stick them on eBay or something."
Phillip, however, had other ideas. “I used to be in a band (the equally reclusive Glasgow post-punk outfit, Knives Replace Air) which was all guitars but I knew we could do something if we applied ourselves. It’s taken 2 years to actually start making tunes we’re happy with.  Before, it was just press a key, twist some knobs and see what comes out.  We’re still not exactly Depeche Mode.”  
It’s this rudimental, even naïve approach to their somewhat rusty analogue palette that makes P60 stand out.  As Phil says, “Most people with a few synths and a drum-machine would go, ‘Let’s make dance music’ but between us, we literally have no interest in club culture.  We’re much more interested in the voice of the instruments." 
But why P60?  “Both our names start with P obviously but in one of the binbags with all these synths was a little black box held together with duct tape and someone’s Dymo’ed ‘P60’ on it.  There’s an input and an output and we’ve had it apart but we’ve still got no idea what it does!  It’s literally a little black box that does nothing.  It seemed very apt.  We aren't going to play live or have our photos taken.  We want to stay anonymous.  In the current celeb-obsessed climate, that's about as punk as I can imagine.”  

P60 'Models' comes in a semi-transparent glassine envelope with postcard, sanding disc, tachograph, hand-stamped litmus paper and electrical resistor.  Limited edition of 300 copies.  This is SL031.



P60 - Broken And Unbroken

The Reception

From the album, 'Anteros,' out now on Second Language Music.  

www.secondlanguagemusic.com

Tullia Benedicta - Beats Or Silence

East London fairy tale

PM 25th april09new song

Song A - G

pm sept2008 tribal Jam

Dcd with Jess April09 Demo-mix1

I Walked to the Station 8june09

Dcd Hurdy 4pile up track

dcd guitar demo 1

nightmare...

Part of new songA.G   FEAG FEAC

you'v never loved this city

Pity the Man 8june09

The Nightmare that you are Demo13mars09

Nightmare you are Aiff 13mars2009


The small village of Tyneham, on the beautiful Isle of Purbeck, in Dorset, was once a thriving little community – that is until the British Government requisitioned it for training manoeuvres and other ‘strategic purposes’ in the run up to WWII. This was supposed to be a temporary measure, but the area remained in military possession long after hostilities had ceased, causing distress among former inhabitants, many of whom were farmed out to prefabs in nearby Wareham and Swanage. 

Tyneham was characterised by its red telephone box, a tiny parade of shops – Post Office Row – and a grand country pile which stood about half a mile away from the village: Tyneham House. The army removed the building’s oak panelling and ornate decorative details and promptly set about using it for target practice. So great was the shame expressed locally about the damage inflicted upon one of Dorset’s grandest houses that the powers that be decided to grow a copse around the remains of the structure to give the impression that it was no longer there. Despite this, a substantial part of the structure remains intact, including its Saxon hall. 

Land access around Tyneham was opened up in the 1970s, but admission to the house remains strictly verboten. Those who’ve been found around the premises, especially anyone wielding a camera, have felt the full weight of military trespass law. Tyneham today is regarded as a nature reserve by some – as a national embarrassment by others. It’s still a political hot potato, in Dorset at least.

The pastoral, wistful yet ineffably disquieting music of Tyneham House is made by artists who have previously graced Second Language releases, but who wish to remain anonymous here, save for their eponymous title. The musicians are happy, however, to let it be known that these recordings have been around for some years (many of them complied from old cassettes) and that they take inspiration from the 1960s/’70s/’80s work of the Children’s Film Foundation – a body who really ought to have made a film about this mysterious West Country curio. At least now we have its endlessly poignant soundtrack. 

This release was beautifully illustrated and printed throughout by award winning artist Frances Castle of Clay Pipe Music.  The cassette of bonus material : A: A School Holiday, 1977 
B: May Day, 1981.

This is SL015/Pipe003

www.secondlanguagemusic.com/www.claypipemusic.co.uk



A: A School Holiday, 1977

B: May Day, 1981

01 Dollboy - Dead Trumpets

02 Let's Wrestle - Tiny Town

03 Darren Hayman - The Ride

04 Comet Gain - Four Letter Word

05 Pete Greenwood - Slip Away

From the forthcoming album, 'I Feel Nothing Most Days,' out 26th April 2019 on Second Language Music.  Pre-order here : https://olivercherer.bandcamp.com/

Oliver Cherer - Weight Of The Water

From the album, 'The Cloisters,' out now on Second Language Music : http://www.secondlanguagemusic.com/SL019.html

The Cloisters - The Lock Keeper

From the album, 'I Hunt Alone,' out now on Second Language Music : http://www.secondlanguagemusic.com/SL020.html



Directorsound - I Hunt Alone

All songs (C) Cecile Schott 2013
www.secondlanguagemusic.com
http://colleenplays.org/

Colleen - 03 Geometria del Universo - excerpt

From the new album, 'A Few Scattered Hours,' out now on Second Language Music.  Info/listen here : https://memorydrawings.bandcamp.com/album/a-few-scattered-hours

Memory Drawings - The Same Indifference (Brendan Perry Remix)

From the album, 'Anything bright or startling?' out now : http://www.secondlanguagemusic.com/SL022.html


Áine O Dwyer - Falcon

This one has been a long time coming.  In 2014, debut album in the can, Silver Servants, a loose collective of Second Language artists, commenced work on a Winter-themed recording.  For one reason or another, what was meant to be one, gapless sonic tapestry, never made it to full fruition but you can hear the fruits it did produce, here on ‘Drifts & Flurries.’  With the creative success of the ‘Avenue With Trees’ album, we decided to take those Silver Servants tracks as a starting point for a new compilation, inviting old ghosts and new friends to contribute.

Mark Brend aka Ghostwriter, was one of the very first artists to release something on Second Language – ‘The Continuing Adventures Of The Strange Sound Association album,’ came out in 2010, when we were less than a year old.  His specially-commissioned work here forms pillars throughout this record, accompanied by Katie English (Isnaj Dui, Littlebow, Silver Servants).  The Declining Winter featured on our first ‘Music & Migration’ compilation from the same year.  Here, in true ‘Servants style, they collaborate with Clay Pipe fellow, David Rothon and Glen Johnson, a Servant, himself.

ISAN first featured on a Second Language compilation in 2011, if only for a minute (‘Minute Papillon’).  You can also find them on our second ‘Music & Migration’ compilation and the duo’s Robin Saville released his solo album, ‘Public Flowers,’ on the label in 2013.

Oliver Cherer (in his Dollboy guise) was also an early 2L attendee.  He’s omnipresent here, voicing Ghostwriter tracks, moonlighting as a Silver Servant and offering an icy take on Nico’s ‘Frozen Warnings.’  Newer to our fold are the London-based Japanese composer, Yumi Mashiki and Paul Tornbohm’s Alter Later project, voiced here (on a splendid Yazoo cover) by Amanda Butterworth of Mücha.  The French field recordist, Marc Namblard, exposes the secret sounds of frozen lakes, Scot electronicists P60 team up with Finnish guitarist, J. Luneburg for a secular dance and Sea Glass, formed from the ribs of The Leaf Library and Firestations, take on Movietone’s ‘Blank Like Snow.’ David Rothon offers a beautiful paean to the Welsh hill and battleground, Bryn Glas.  

‘Drifts & Flurries’ includes a bonus disc, ‘The Frosted Pane,’ by Johnson and the Bulgarian violist, Raisa Zapryanova.

This is SL042.

www.secondlanguagemusic.com

Sea Glass -  Blank Like Snow

Independent record label based in London.  2009 - present day.

Second Language Music

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