Kraut Sounds is sort alias for an artist that followers of Whitelabrecs will recognise; South Germany’s Polaroid Notes. This project is reserved for more electronic, purer ambient explorations having been initiated in 2012. Previous releases have featured on Büro für Erdrotation, Stellar Transitions, Diametral and Drone Works International.

This digital-only edition is a debut under this name, for Whitelabrecs and clocks in at just over 35 minutes of audio. Silence is a peaceful journey through quiet and meditative soundscapes, based on personal studies about sleep, subconsciousness and higher awareness, in combination with a deep interest in old electronic sounds from the past century.
It is an attempt to play less, in order to gain more. Like minimal music with repeating and shifting multi-layered soundscapes. Like slow motion sound painting, with a curious view of how things evolve naturally.

All five tracks are based on improvisations, following no specific rules or schemes. Everything flows in way that works uniquely for you, as you drift along in sound and time.

Written and produced by Kraut Sounds (while the cat gently slept beside)
Recorded February/April 2021
Mastered by James Edward Armstrong
Photography by Kraut Sounds

Links:
https://krautsounds.bandcamp.com/
https://soundcloud.com/kraut-sounds
https://www.facebook.com/krautsounds/

wlrep006 Kraut Sounds - Silence

artist: spheruleus
title: inaugurate
catalog: eR001
release date: 26th of february 2022

release type: ep
series: eRecords digital series
playing speed: 45rpm

written and produced by: harry towell
mastered by: james edward armstrong
cover photography by: harry towell

https://whitelabrecs.com/erecord-series/

eRecords are a series of digital editions which aim to transform the digital format into something that can be experienced in a similar way to a listener’s interaction with a real, whitelabel vinyl record. Each edition includes a special PDF scrapbook including polaroids and liner notes and you will only be able to find out more about the themes and ideas about each record, once you’ve downloaded them.

Inaugurate

eR001 spheruleus - a blank horizon

In this edition we welcome back Anne Chris Bakker, a musician and composer from the Netherlands. Some may recall 2021’s collaboration with Andrew Heath, with their album ‘How To Breathe Like A Stone’ and we are pleased to be able to present this solo record, ‘A Sketch in Leaving’.

Anne Chris Bakker’s music makes use of electro acoustic sound sources, to create minimal and experimental ambient music. Releases have been made available through labels such as White Paddy Mountain, Dronarivm and Unknown Tone, as well as a further collaboration with Andrew Heath on Rusted Tone Recordings. There were also recordings as Kleefstra|Bakker|Kleefstra on labels which include Low Point.

Bakker typically starts with small compositions created with guitar and for A Sketch in Leaving, a new approach was forged by using a piano and samples so that a new experimental path could be explored. Inspiration has been drawn from long walks in the Norwegian mountains and this album is in part based upon these experiences. The immense landscape, battered and bruised by the elements represents change and loss, as well as the emergence of freshly formed details. The titles of the album are mainly of places, people and concepts all set to the vast Scandinavian landscape, which is placed as a focal point within the packaging artwork.

A Sketch in Leaving

wlr115 Anne Chris Bakker - A Sketch in Leaving

Slow Heart Music is the acoustic side project of ambient and drone musician Ben Rath. Based in Manchester, UK, Ben has released music under his own name with labels including Sound in Silence, Unknown Tone Records, Eilean Rec., Cathedral Transmissions, Moonswing Netlabel, Triple Moon Records and Whitelabrecs. As Slow Heart Music, Ben focuses more closely on solo acoustic guitar instrumentals and has released albums exclusively through Whitelabrecs.
The majority of Ben's musical output finds its home in the rich and diverse territory of experimental ambient and drone music. Ben creates compositions using original recordings of guitar, keyboard, and piano, as well as samples, field recordings, and digital synthesizers. These sounds from various sources are then moulded, transformed, and edited together to form instrumental arrangements which span a wide variety of styles, tones, and emotional registers, with inspiration drawn from pioneers in the genre such as Tim Hecker and Lawrence English, the early ambient works of artists such as Sean McCann and Colleen, and the emotional weight and resonance of Constellation Records greats such as Godspeed You! Black Emperor and Esmerine (among many others).

Under the Slow Heart Music moniker, Ben strips things back to explore the simple joy of the acoustic guitar. His playing, influenced by the likes of Eric Chenaux and Richard Dawson, as well as the gentle beauty of solo piano works from artists such as Nils Frahm and Olafur Arnalds, combines a sense of playful and spontaneous improvisation with arrangements and compositions that often express a gentle and tender emotion.

For his new album ‘Hope’, Ben returns to the artful acoustic arrangements and soulful guitar playing that marked his debut as Slow Heart Music, ‘This Body Is Not Me’ (2017). Armed with the same £5 half-size classical guitar which was used to record the first time around, Ben adds a second classical acoustic borrowed from his girlfriend in the spirit of using whatever was to hand to create with. He had a vision for the sound he wanted to achieve, which builds on influences from artists that embrace the mournful and melancholic, but also find beauty and uplift amidst the sadness. As Ben explains, “I’ve struggled with my mental health ever since adolescence, and music was the thing that often provided me with the most solace and comfort. The artists that inspired me were those who were expressing something that felt real to my experience, that taught me that I was not as alone in my feelings of deep sadness and anxiety as I often felt, and that meaning and beauty could still be found and expressed in the midst of it all.’’

Those who know him would describe Ben as a quiet, calm, and reserved person, but his music is the space where he is able to express himself more fully. ‘Hope’ is a collection of soft and minimal pieces, steeped in emotion and feeling, at times mournful, at others uplifting, but never seeking to prematurely soothe or distract from the suffering of the world, instead sitting in the mud of it all, and seeing what can be created from there. It is Ben’s sincere hope that his music may help some other lonely soul feel that little bit more connected and understood.

Hope

wlr161 Slow Heart Music - Hope

Mardit B. Lleshi is a cellist and composer from Tirana, Albania, who previously released an album on Whitelabrecs in 2023 as part of a duo with Bledi Boraku for an album called Saggio. He has been immersed in music since the age of seven and his journey in composition began in 2006, leading him to explore a diverse range of sounds and styles. Over the years, he has released music on various international labels, including Interpretnull (Czech Republic) and PMG Record (North Macedonia). His approach to music is multifaceted, combining software, hardware, and both acoustic and electric instruments to create distinctive soundscapes. Lleshi’s influences are broad, spanning classical and contemporary music, minimalism, rock, and darkwave. He draws inspiration from legendary composers such as Mozart, Rachmaninov, John Tavener, Arvo Pärt, and Schnittke, as well as iconic artists such as Pink Floyd and Massive Attack. Known for his preference for live performance, Lleshi has been presenting his work under his real name since 2012, having previously recorded under a pseudonym. He has also composed music for several films including an album that was part of a VICE series documentary by Ben Anderson on the humanitarian crisis in Burkina Faso.

In this album, entitled ‘Monumenta’ Mardit has created a deep and enveloping album, characterised by themes of deep, dark space, and melancholy. This project was shaped by a blend of software, hardware, and a variety of instruments, resulting in a rich and textured sonic landscape. The creation of the album was heavily influenced by the artist’s account of a natural disaster; the 2019 earthquake in North West Albania. These emotions are deeply embedded in the music and separately, his sister created the cover artwork to reflect upon the same events. Though this album is not structured as a traditional concept album, the profound events culminate into a combined audio-visual experience in which the painting and soundtrack convey something bigger than can be described into words. Something monumental.

Credits:
Written and produced by Mardit B. Lleshi
Mixed at Studio Projekti, Tirane, Albania
Mastering by Michael Haves (Berlin) and Red Red Paw (Denmark)
Executive Mastering by James Edward Armstrong
Cover painting by Blerida Lleshi
Art and design by Andrew Heath

Monumenta

wlr170 Mardit B. Lleshi - Monumenta

Feeling Flying are a duo from Wellington, New Zealand, comprised of Andrew Thomas and Bevan Smith. The two artists – whose solo projects have been released on labels such as Kompakt, !K7, Air Texture, Carpark Records and Hotham Sound – have collaborated since the turn of the millennium, often helping each other out behind the scenes. For Feeling Flying, Andrew and Bevan combine their unique approaches to composition and improvisation to produce music neither could have made alone. Using a four-track tape recorder and the classic Roland D-550, they build soundscapes that draw inspiration from modern classical, jazz, and a wide spectrum of electronic music. The first Feeling Flying album was released by UK label Handstiched* in early 2024. This latest release, ‘Spirit Level’, is a further exploration in minimalism and immersive sound design.

‘Spirit Level’ was produced instinctively by Andrew and Bevan, who used a set method and basic tools, making space for a flowing approach to collaboration. The process started with Andrew improvising piano pieces and sending them to Bevan, who slowed them down by 400% and manipulated the sounds using the Roland D-550. The results were a series of atmospheric and meditative pieces, some of which originated as 45-minute compositions, before being edited into their final forms. On writing ‘Spirit Level’, Andrew and Bevan said “when we started to build out the sound world, it became apparent this work was evoking ideas of transformative and expansive experiences. Of moving through space, without time. Our immersion and connectedness with nature. How we position ourselves in the world, both physically and spiritually.” These emotive and spiritual concepts are beautifully captured in the album’s cover image by Philip Kelly, who presents listeners with a range of moods and metaphors that allows them room to make their own interpretation.

Credits
Written and produced by Bevan Smith and Andrew Thomas
Mastered by Bevan Smith
Photography by Philip Kelly
Art and design by Andrew Heath

Spirit Level

wlr173 Feeling Flying - Spirit Level

Calm Pieces is a València-based musician named Rafa Ramos Sania, who has a background in Jazz, Experimental, and Ambient music. He has collaborated with different artists and has previously released music on labels like Cuneiform Records and Archives. Some may recall Rafa’s collaboration with Edu Comelles for the 2022 Whitelabrecs album ‘de camp’ as well as double bass contributions on Edu’s 2020 album Línia Pedra Paisatge Solc. Rafa was a double bass player for the jazz trio Naima and his journey as a musician began in his teens with electric bass, followed by explorations in guitar, piano, and music production. As Calm Pieces, Rafa distils his work into softer, more ambient compositions, creating a sound that is both intimate and enigmatic.

Singles' is Calm Pieces' debut album, characterised by a serene and introspective sound, crafted through a blend of modern and traditional techniques. Rafa recorded acoustic instruments such as double bass, cello, classical guitar, and acoustic slide guitar, blending them with a digital sound palette into dynamic and textural cinematic soundscapes. Each track conveys a sense of calm and expressiveness, with melodies emerging naturally from improvisation. The album marks Rafa’s first solo physical release on a label, and Whitelabrecs is honored to share this evocative, minimalist journey with the world.

Credits:
Written and produced by Calm Pieces
Mastered by James Edward Armstrong
Cover artwork by David Linuesa
Art and design by Andrew Heath
Calm Pieces is a project by Rafa Ramos Sania.
Some of the sounds were created together with Edu Comelles

Singles

wlr176 Calm Pieces - Singles

Sven's compositions often transport listeners to inspiring, ethereal realms. Cellos and pianos paint soft, contemplative landscapes, tinged with underlying angst and longing, showcasing Sven's talent for translating life stories into relatable and evocative music.

With 'The Undefined Feeling of Discomfort', Sven presents an album this time brimming with anxiety, fear, and anticipation. Struggle permeates the music, enhanced by distorted vocals, acoustic guitars and drone pads. Sven once again evokes deep emotions, guiding the listener through a powerful sonic journey.

The album opens with a floating, introspective tone. The atmosphere is dark, and an anxious feeling gradually emerges. As the first city lights appear from afar, a tumultuous force sweeps everything away, like an undertow shattering waves on a coastline. Moving on, choir-like vocals bring in a biblical aspect, adding darker, soul-wrenching depth. It feels like a scream from the abyss, leaving an empty shell resonating with its vastness. Soft guitar notes offer hope, but the passage ends with intense anxiety, and feelings of rapid flashes before one's eyes throwing us off balance.

Further along, a rise from uncertainty hints at a resolution. It starts with a sense of battle and resistance illustrated with hopeful strings and a heartbeat-like backbeat. A force emerges from the dark sonic cloud pierced by a tenacious sun. The second half brings resolution and lightness, offering hope and comforting certainty amidst the alarming tension of this transitional phase. The album leaves us feeling chaos after the storm, atoms crushing into one another. With a calmer end, as if the initial rumble had passed, a scar remains. The memory lingers, but things move forward. 

The Undefined Feeling of Discomfort

wlr180 Sven Laux - The Undefined Feeling of Discomfort

eRecords is a digital record series created by Whitelabrecs, to run alongside our physical releases. These editions aim to transform the digital format into something that can be experienced in a similar way to a listener’s interaction with a real, white label vinyl record. Each edition includes a special PDF scrapbook including polaroids and liner notes.

We do not publish details about the concepts or production methods of a release, so that the liner notes and content in each scrapbook will give you the background of each edition in the series.

catalog: eR035
artist: brannan lane
release title: rain nap
runtime: 58:18
location: florida, united states

Rain Nap

Brannan Lane - Rain Nap (Excerpt)

The Bird’s Companion is the Ambient project of Casey van Wensem, a musician based in Victoria, Canada. Having first explored music through piano lessons as a child, his passion for creating original compositions has helped him  hone a sound that blends elements of minimalism, modern classical, and post-rock, drawing inspiration from the likes of Steve Reich, Nils Frahm, and Mogwai. Since adopting The Bird’s Companion moniker in 2015 with a self-released EP called After the Fire, Casey has released music on 1631 and, some may recall his debut EP for Whitelabrecs ‘The Edge of the Sea’. He also collaborates widely across genres in his local scene.

A Place Outside of Time is a collection shaped by dreamy, cinematic nostalgia. The album was crafted using a range of acoustic and electric instruments including piano, electric guitar, baritone guitar, banjo and various synths. Plucked piano strings and layered guitar feedback provides a tapestry of sound that feels both intimate and expansive, evoking lost memories and distant places.

At the heart of this record lies a meditation on memory and the fragility of tradition. Inspired by a chapter from Gabriel García Márquez’s One Hundred Years of Solitude, where an entire town succumbs to amnesia, the album imagines music as a vessel to retrieve what’s slipping away. Track titles such as The Memory Machine hint at this deeper narrative, as Casey reflects on the fading wisdom of elders and the challenge of preserving their stories in an age dominated by rapid digital change. Casey reflects “Many of the titles on the album are taken directly from the text of this chapter. For example, The Memory Machine is a reference to the machine built by Jose Arcadio Buendia – a machine that spins images of a person’s entire life before their eyes, so they can retrieve their memories in the midst of their amnesia. I was also thinking a lot about my family when making the album, especially my grandparents and my wife’s grandparents, who have had a major influence in my life”.

When we feel lost, we can return to our memories as a source of hope by remembering the miracles and joys of our past and of our ancestors. Through its layered melodies and wistful textures, A Place Outside of Time invites listeners into a world where memories are treasures to be unearthed; an act of quiet rebellion against forgetfulness, and a journey back to the roots of who we are.

Credits:
Written and produced by Casey van Wensem
Mastered by James Edward Armstrong
Photography by Casey van Wensem
Art and design by Andrew Heath

A Place Outside Of Time

wlr183 The Bird's Companion - A Place Outside of Time

Tides is an Ambient artist originally from the South East of England, now residing in Aberdeenshire, Scotland, where the rugged landscapes and serene beauty deeply inspire both his music and photography. Having previously released on labels such as Dewtone Recordings, Shimmering Moods Records, Mystery Circles, and SoundGhost, Tides has spent years refining a sound that blends organic instrumentation, experimental processing, and deeply personal themes. With early days spent with Jazz, Funk, and even Deathcore, his journey toward Ambient music has been shaped by a lifelong passion for sound and recording.

Where Her Flowers Still Bloom is a deeply personal exploration of memory, grief, and healing, written as a response to witnessing his mother’s battle with early-onset dementia. As words failed to capture the weight of this experience, music became an outlet for reflection, with each track serving as a sonic expression of love, loss, and fading recollections. Through a delicate interplay of electric and acoustic guitar, piano, field recordings and granular synthesis, Tides crafts an album that is both intimate and expansive, drawing listeners into a world of nostalgia and emotional depth.

The album’s sound design is built on a fluid creative process that blends traditional recording techniques with experimental methods. Intricate textures were sculpted which blur the boundaries between composition and sound manipulation. With a young family, his workflow has been built around short bursts of time, balancing music with family life. This allows him to continuously sample, resample, and refine sounds into deeply immersive atmospheres.

Beyond its musical elements, Where Her Flowers Still Bloom is also a reflection on personal growth and transformation. Over the past year, Tides has embraced trail running, minimalism, and mindfulness as ways to navigate mental health challenges and to break cycles of consumerism and addiction. Inspired by artists like Austin Cairns (r beny), whose story of personal recovery resonated deeply, Tides has found balance through creativity and nature, shaping an album that is as cathartic for him as it is moving for the listener.

Credits:
Written and produced by Samuel Death
Mastered by James Edward Armstrong
Photography by Samuel Death
Art and design by Andrew Heath

Where Her Flowers Still Bloom

wlr184 Tides - Where Her Flowers Still Bloom

Henrik Meierkord is a Swedish artist based in Stockholm. His main instrument is the cello, although his work often incorporates viola, double bass, guitar and subtle electronic elements too. His sound blends the emotional pull of classical music with the meditative depth of Ambient and Henrik’s intuitive creative process draws inspiration from film scores, minimalist composers like Pärt or Ligeti, and Ambient pioneers such as Popol Vuh and Biosphere.

Italian composer Marco Lucchi from Modena brings plenty of experience to this collaboration, having been active in experimental and Ambient music since the late 1980s. A former music teacher and scholar, Marco's approach is grounded in kosmische music, minimalism and Ambient styles. In this album, he joins Henrik in a continuation of their longstanding creative dialogue. Swedish flautist and producer Pawel Kobak adds a third strand to this project, layering processed flute textures into some of Henrik and Marco’s evolving pieces.

The Book of Dreams explores themes of sleep and dreams. What began as a collaborative piece for the Sleeplaboratory5.0 compilation grew into a fully realised collaboration. Henrik and Marco exchanged ideas from across the borders, building lush, drifting pieces through a process of inspiration and response. Pawel's flute recordings, gently pitched, time-stretched, and transformed, were later woven into the fabric of this album. The result is an album that lives between the conscious and the unconscious, where layered strings, gentle drones, and evolving Ambient passages unfold slowly like distant memories.

Themes of restlessness and retreat run throughout the album, echoing the growing tension many of us can feel in modern life. It acts as both an ode and antidote to sleeplessness, intended not just for passive listening but as a contemplative aid. Whether heard during late-night solitude or the quiet morning hours, The Book of Dreams offers a space to wander, drift, and dissolve into stillness.

The Book Of Dreams

wlr185 Henrik Meierkord, Marco Lucchi & Pawel Kobak - The Book Of Dreams

eRecords is a digital record series created by Whitelabrecs, to run alongside our physical releases. These editions aim to transform the digital format into something that can be experienced in a similar way to a listener’s interaction with a real, white label vinyl record. Each edition includes a special PDF scrapbook including polaroids and liner notes.

We do not publish details about the concepts or production methods of a release, so that the liner notes and content in each scrapbook will give you the background of each edition in the series.

catalog: eR038
artist: the deccan traps
release title: sentinel of the moors
runtime: 45:12
location: high peak, uk

written and produced by phil frodsham
mastered by james edward armstrong
artwork by phil frodsham
art and design by harry towell

Sentinel of the Moors

The Deccan Traps - Mellor Moor

Wandering Mind, Drifting Weather is a cross-border collaboration between Norwegian composer and pianist Julia Gjertsen and Swedish trombonist and sound artist Gustav Davidsson. Both artists have a classically trained background, and are known for their improvised sound and Ambient compositions. Between them they’ve released on labels such as Moderna Records, Constellation Tatsu, Bigo & Twigetti and Blue Spiral Records. While Julia is known for her emotive piano-led pieces and evolving electronic textures, Gustav brings his unique approach to the trombone, treating it as both a melodic and atmospheric instrument. They reside in separate but neighbouring countries with Julia in Oslo, Norway and Gustav in the village of Ljungskile near Gothenburg in Sweden.

This album was created as a slow and intuitive exchange of sketches, sent back and forth between these two artists over the course of several months. The result is an immersive suite of compositions which place the piano and trombone front of stage, enhanced by subtle restrained pads, Wurlitzer tones and gentle electronics. Each piece represents a different time of day and evokes a mood akin to weather in motion such as shifting light, drifting clouds or a sudden breeze. The title Wandering Mind, Drifting Weather reflects the intuitive progression of these works, where ideas and improvisations gradually shaped a harmonious collection. Thematically, it paints nature as both a setting and a metaphor; the way a setting can be transformed by meteorological elements, and how thoughts, just like weather, pass with their own emotional charge.

Rather than follow a rigid structure, the music here exists in a space between composition and spontaneity, often capturing a moment rather than refining it. Julia’s minimal and expressive piano sketches form the structural foundation, while Gustav explores the trombone’s many voices not just as a lead instrument, but as a background hum, gentle harmony, or a shadowy atmosphere

Written and produced by Julia Gjertsen and Gustav Davidsson
Mastered by Gustav Davidsson
Photography by Julia Gjertsen
Art and design by Andrew Heath

Wandering Mind, Drifting Weather

wlr187 Julia Gjertsen & Gustav Davidsson - Wandering Mind, Drifting Weather

eRecords is a digital record series created by Whitelabrecs, to run alongside our physical releases. These editions aim to transform the digital format into something that can be experienced in a similar way to a listener’s interaction with a real, white label vinyl record. Each edition includes a special PDF scrapbook including polaroids and liner notes.

We do not publish details about the concepts or production methods of a release, so that the liner notes and content in each scrapbook will give you the background of each edition in the series.

catalog: eR039
artist: akira film script
release title: live at the modern
runtime: 1:44:03
location: san francisco, usa

Akira Film Script - V

Gamardah Fungus is the collaborative project between Ukrainian musicians Igor Yalivec and Sergio Berry, based in the city of Dnipro. Since forming in 2009, the duo has explored the intersections of Ambient, drone, and experimental music, releasing on many labels including Flaming Pines, Polar Seas Recordings, and Hidden Vibes. Their sound world is informed as much by cinema, folklore and mysticism as by music itself, drawing from classical, jazz, noise and minimalism, with influences that include Eric Satie, Krzysztof Penderecki, Fennesz, Stockhausen and Bohren & Der Club of Gore. Over the years, Gamardah Fungus have built a reputation for their atmospheric live performances and conceptual studio work, often inspired by the landscapes and cultural heritage of their homeland.

Trees and Roots marks a significant shift in the duo’s creative process. For the first time, they abandoned the guitar that had been central to their previous work and here they embraced a more tactile, exploratory approach. Sergio used a series of custom electroacoustic instruments using unconventional materials: wooden and plastic boxes, strings, stones and even paper envelopes fitted with piezoelectric sensors. These objects were manipulated, processed through pedals, and layered into intricate textures. Alongside these are Igor’s immersive Ambient drones created by using Eurorack modular synthesizers. Field recordings gathered across Ukraine from over the years add another dimension of intimacy, anchoring the album in the natural and cultural environments that inspired it. No virtual instruments were used; the entire project was captured, mixed and mastered in the analog domain.

Written during an ongoing time of conflict in Ukraine, this album carries with it a deep emotional and cultural resonance. Rather than respond to these challenges directly, Igor and Sergio chose to look inward toward the enduring symbols of their heritage. Trees and Roots is dedicated to the mythology, folklore and natural beliefs of their ancestors. Trees have long been sacred in Ukrainian culture, representing strength, wisdom and spiritual continuity. Each track bears the Latin name of a tree revered in these traditions, reflecting both its physical roots and the metaphorical roots of identity and belonging. In this sense, the album is both a personal and cultural statement: a meditation on resilience, memory and the quiet power of nature to heal and sustain.

The sound of Trees and Roots is meditative yet charged with a fragile tension, balancing organic resonance and abstract tones. Drones swell like distant winds through the forest while percussive textures suggest movement beneath the surface. It is an album of layers and spaces, inviting deep listening and reflection. At its heart lies a quiet determination: to preserve the stories and symbols that shape a people, even in times of uncertainty and upheaval.

Credits:
Written, produced and mastered by Gamardah Fungus
Cover photography by Anton Pavlyukov
Artist photography by Yuriy Bulychev
Art and design by Andrew Heath

Trees and Roots

wlr190 Gamardah Fungus - Trees and Roots

Partial Holograms is the latest album by US-based artist Todd Gautreau, who records under the moniker Tapes and Topographies. Since launching the project in 2014, Todd has crafted a distinct form of Ambient music which is built around quietly expressive and cinematic textures. He has released on respected imprints such as Past Inside the Present, Dronarivm, Rohs!, Shimmering Moods his own label Simulacra Records. This is his third record for Whitelabrecs, following Amplitudes (2021) and Floating World - Reflections on 36 views of Newland Island (2022) in which he collaborated with painter Jonathan S Hooper. His practice blends analogue and digital processes, drawing from a background in guitar, hardware pedals and synthesizers. His artistic worldview is shaped by the shadowy, poetic sensibilities of filmmakers like Ingmar Bergman and Jean Cocteau.

In Partial Holograms, Todd shifts his usual methods by intentionally removing one of his most familiar tools: the guitar. Though there are timbres that mimic stringed instruments, none were recorded in the traditional sense. Instead, this work leans more heavily into software processing, filtering Ambient textures and melodic fragments through a deliberately limited palette. This approach is typical of Todd’s ethos which is to change direction from one project to the next, by excluding previously used techniques. This creates a sense of evolution without abandoning the core aesthetic of Tapes and Topographies.

Initially, Partial Holograms was conceived as a more melodic record, one that incorporated piano, strings and even brass. This was the version which reached the mixing stage, but something essential felt absent; its atmosphere, its texture. Most of the material was set aside, with only two tracks surviving into the final sequence. What emerged from the second attempt was more immediate, with ideas flowing freely and a final product that strikes a thoughtful balance between melody and abstraction.

While there was no set narrative concept guiding this album, recurring themes began to surface during its creation, of isolation, dreams, memory and loss - all hallmarks of the Tapes and Topographies’ sound. Sometimes these themes are consciously woven in and at other times, they only become apparent in hindsight, or through the interpretations of others. As with his previous work, Partial Holograms invites the listener to drift between real and imagined spaces, forming connections in the half-light of memory and meaning.

Credits:
Written and produced by Todd Gautreau
Mastered by James Edward Armstrong
Artwork by nkl
Art and design by Andrew Heath

Partial Holograms

wlr191 Tapes and Topographies - Partial Holograms

eRecords is a digital record series created by Whitelabrecs, to run alongside our physical releases. These editions aim to transform the digital format into something that can be experienced in a similar way to a listener’s interaction with a real, white label vinyl record. Each edition includes a special PDF scrapbook including polaroids and liner notes.

We do not publish details about the concepts or production methods of a release, so that the liner notes and content in each scrapbook will give you the background of each edition in the series.

catalog: eR040
artist: orfin
release title: toi
runtime: 40:11
location: kremenchuk, ukraine

written and produced by danya tkachenko
mastered by james edward armstrong
cover artwork by ruslana shamrai
art and design by harry towell

Mariia Koliadina:
track 1 - violin
track 4 - violin and voice
track 7 - voice and divya
track 8 - voice and accordion

Orfin - Chases the Flickers

Euan Alexander Millar-McMeeken is a Scottish composer originally from Dundee and now living on the south coast of England. Euan began composing in the late 2000s, but it was in 2010 after the dissolution of his band, that his solo work as Glacis took shape. Left with just his piano, this became an outlet for creativity during a period of solitude. Over the years, his music has been released by labels such as Fluid Audio, Oscarson and Lost Tribe Sound, and he’s also built a reputation as a prolific collaborator with projects including Gallowglas, Civic Hall (alongside Craig Tattersall) and The Dead Bell (with The Green Kingdom), as well as work with artists including Satomimagae, Gavin Miller and Adrian Lane. Euan has become a familiar figure with Whitelabrecs over the years.

Polaroid Notes is the work of a German artist called Andreas, who is based in the countryside between Munich and the Alps. Initially known for his Ambient dub electronic work as Kraut Sounds, Andreas began Polaroid Notes over a decade ago as a contemporary classical side project. In recent years, this has become his primary project and perhaps the pseudonym that he’s best known as. His music has appeared on labels including Driftworks, Büro für Erdrotation, Weber & Alcantu, Licht-ung and his own Drone Works International imprint. He has released five solo albums with Whitelabrecs, as well as releases on Whitelabrecs’ predecessors Tessellate Recordings and Audio Gourmet.

Both of these artists are regulars on Whitelabrecs and to our fans and followers, these artists will need no introduction. Euan and Andreas first connected around the release of Cloud Anthems, though they’d admired each other’s work for much longer. Since then, their friendship has grown through conversations about music, life and family. In autumn 2022, they began exchanging ideas and sound fragments, a process that unfolded naturally over the next two years. Both artists’ work is rooted in the piano, but this album reaches beyond, blending modern classical composition with experimental textures, shifting from light-filled passages to shadowy tones; from deep melancholy to moments of sublime beauty.

This album which is called ‘Time Is Coming To An End’ was created without a strict concept. It was born out of a simple shared sense of curiosity and the joy of surprising each other through sound. Work began in the winter of 2022, with long pauses and returns when the time felt right. The result is an evocative, layered collection of pieces, greater than the sum of its parts.

Earlier this year, the pair offered a glimpse of their collaboration with the 5-track EP Reflections, self-released for Piano Day. Now, ‘Time Is Coming To An End’ reveals the full scope of their Scottish-Bavarian partnership in all its depth and detail, tied together with the evocative title and its striking artwork concept of Meike Pfitzner. 

-credits-
Written and produced by Euan Millar-McMeeken & Polaroid Notes
Mastered by James Edward Armstrong
Artwork by Meike Pfitzner
Art and design by Andrew Heath

Time Is Coming To An End

wlr192 Glacis & Polaroid Notes - Time Is Coming To An End

David Cordero is an artist based in San Fernando, Cádiz, on the southern coast of Spain. His work has appeared on many of the Ambient scene’s favourite labels including Home Normal, Dronarivm, Archives, Polar Seas, and Past Inside The Present, among others. He also released ‘Restless Nature’ on Whitelabrecs back in 2024. Having made music since his teens, David began releasing solo material in 2016 after years spent performing as part of a Post Rock band. His music draws inspiration from Ambient pioneers such as Brian Eno and Steve Roach, as well as the Japanese school of minimalism led by the likes of Satoshi Ashikawa and Hiroshi Yoshimura. Nature and everyday life play a central role in his compositions, which are crafted through long hours of experimentation in his home studio. A curator of Ambient and experimental music events in Spain, David remains deeply engaged in fostering the scene while continuing to explore new sonic ideas.

Anthéne is the project of Toronto-based musician Brad Deschamps, who has been releasing music since 2015. Known for his hushed, melodic guitar-based soundscapes, Brad has released on respected imprints such as Home Normal, Oscarson, and Past Inside The Present, as well as through his own label, Polar Seas Recordings. His influences span from the spacious, slow-moving worlds of Stars of the Lid to the delicate intimacy of Julie Byrne, with a constant leaning toward minimalism and melody. In addition to his solo work, Brad is an active collaborator, creating music as Rosales (with Ian Hawgood) and Citrine (with Phoebe Dubar), among other projects.

Their second full-length collaboration is called ‘Let One Bird Sing’ and follows 2023’s ‘Lost Under The Sea’ on the Home Normal label. The two artists began by patiently exchanging small musical sketches, allowing each to build upon and reshape the ideas in their own way. Layers of guitar, modular tones and textures were gradually woven together into a seamless whole. It was an unhurried process where space and subtlety were as important as melody. Both artists have a deep respect for detail and restraint, and this shared affinity is evident throughout this album.
Brad was inspired to choose the album’s title based on a line in a poem by Faiz Ahmad Faiz, which speaks to a hope for freedom. This is something Brad connected not only to humanity but also to the natural world. The pieces on ‘Let One Bird Sing’ carry a sense of openness and quiet reverence for nature, reflected in their unforced, drifting structures and gentle interplay of tones. The artist’s intention was to create a space for calm and reflection, inviting either attentive listening or moments of stillness and detachment. 

-credits-

Written and produced by David Cordero and Brad Deschamps
Mastered by Ian Hawgood
Cover photography by April Suen
Additional photography by Brad Deschamps
Art and design by Andrew Heath

Let One Bird Sing

wlr193 David Cordero & Anthéne - Let One Bird Sing

eRecords is a digital record series created by Whitelabrecs, to run alongside our physical releases. These editions aim to transform the digital format into something that can be experienced in a similar way to a listener’s interaction with a real, white label vinyl record. Each edition includes a special PDF scrapbook including polaroids and liner notes.

We do not publish details about the concepts or production methods of a release, so that the liner notes and content in each scrapbook will give you the background of each edition in the series.

catalog: eR040
artist: louis gardner
release title: the lake
runtime: 22:57
location: cheltenham, uk

Louis Gardner - The Lake (excerpt)

Whitelabrecs presents the debut album by pianist and composer Catherine Tang. She was born in Basel, Switzerland to a Serbian mother and Chinese father, and her music reflects this richly varied cultural background. Beginning with classical piano at the age of four, Catherine later discovered Jazz in her teens, a path that led to studies at the Jazzcampus in Basel where she completed both her Bachelor’s and Master’s degrees. Catherine has since established herself as an active presence within the Swiss Jazz scene, performing at major festivals including Montreux Jazz Festival, Gurtenfestival and Offbeat Jazz Festival. Beyond her role as a pianist and composer, she is also bandleader of the quintet ASRA, whose debut album Nocturnal Journey was released by Berlin’s XJAZZ! Music.

Catherine’s work is characterised by an emotional sensitivity to atmosphere and texture, inspired by her surroundings and daily life. Speaking about her process, she explains: “I draw inspiration from the people and everyday moments around me. Simple melodies often come to me through my voice - it’s my way of capturing fleeting ideas and emotions. My approach to composing is very emotional; I need to live and experience things deeply before I can translate them into music. For me, music is a way to process life, to turn raw emotions and experiences into something tangible and meaningful.”

‘Where Do Your Dreams Fly?’ marks Catherine’s first solo release under her own name. Recorded at CopShop studio in Berlin over three days with producer Michael Haves, the sessions centred around an old upright piano which imbued its warm and intimate character throughout the record. Rather than polishing away imperfections, Catherine embraced the mechanical noises of the piano and even the creak of the chair, giving the listener a sense of being present in the room. Additional layers came from expressive synthesizers including the Osmose, Moog Grandmother and Prophet Rev2, carefully woven into the arrangements to expand the depth of the recordings without losing their human touch.

The title was inspired by a line encountered in Shirley Horn’s ‘I Watch You Sleep’ which became the album’s guiding theme. For Catherine, Where Do Your Dreams Fly? is about letting go of self-doubt and external expectations, allowing the music to follow its own path. That openness also found its way into the recording process; the album’s closing piece ‘Nocturnal Returnal’ was captured spontaneously in a final take at the end of the session. It may have been completely unplanned but it became one of Catherine’s favourite pieces for its raw honesty.

Dreamy, textural and immersive, this debut showcases the full extent of Catherine’s deeply personal artistry. It invites the listener into an intimate space that balances fragility with expansiveness, whilst quietly posing a central, open-ended question: where might your own dreams take you, if you were given the freedom to fly? 

Credits
Written and produced by Catherine Tang
Recorded, produced and mixed by Michael Haves at The Cop Shop, Berlin
Mastered by Martin Ruch, at the Control Room in Berlin
Photography by Jérémie Luke Dubois
Artwork by nkl
Art and design by Andrew Heath

Realised with the support of GGG Kulturkick and Sulger-Stiftung.

Where Do Your Dreams Fly?

Learn More

wlr195 Catherine Tang - Where Do Your Dreams Fly?

The Volume Settings Folder is the work of Italian artist M. Beckmann from a small town on the outskirts of Padua, in the country’s North-East. His musical journey began in 2004 following two parallel paths; a brief flirtation with progressive and nu-metal and a more enduring exploration into Folk Electronica and Post Rock sounds, gradually leading him to Ambient and Drone music. In 2011 he launched The Volume Settings Folder, self-releasing and also appearing on Organic Industries, EKAR Records, Oscarson, Fallen Metropolis and Whitelabrecs, with the 17th edition of Home Diaries back in 2017. The project has drawn inspiration from an eclectic palette; from Electronica giants such as Aphex Twin, Boards of Canada and Autechre to the Scandinavian nu-jazz of Arve Henriksen and Nils Petter Molvær; drone pioneers such as Rafael Anton Irisarri and the Modern Classical works of Max Richter and Nils Frahm.

The creative process remains rooted in improvisation. Tracks often begin with fragments of guitar, samples, field recordings or synths, layered live using looping techniques, hardware and pedals. Recording is immediate, committing ideas in the moment with minimal post-production. For this latest album entitled ‘Corporate Shamanism’, sessions took place throughout 2023 and 2024, using an array of instruments and tools including acoustic and electric guitar, kalimba, cassette and reel-to-reel tape, hardware including an OP-1 Field, monome norns and a carefully curated chain of pedals and effects. Recordings were captured to handheld devices before being shaped in Ableton Live with only subtle adjustments.

This provocatively titled album ‘Corporate Shamanism’ is free from a strict concept, yet the album carries with it a strong sense of place and time; an impressionistic reflection of autumn and winter by the sea, filtered through nostalgia and calmness. Polaroid photographs from these colder seasons inform the mood, with the music evoking shifting coastal light, perishing temperatures and quiet transformation.

For the artist, these pieces trace connections to landscapes tied to childhood memories and the way they shift with the changing seasons. The result is a deeply atmospheric work that invites stillness, contemplation, and a lingering sense of the familiar. The title ‘Corporate Shamanism’ hints at the pressures of modern life which is a striking contrast to the nostalgic warmth of Polaroid photographs and reel-to-reel tape. Yet in many ways, this album seeks to offer a quiet antidote to an overstimulated world.

Credits
Written and produced by M. Beckmann
Mastered by James Edward Armstrong
Photography by Filippo Bordigato
Artwork by M. Beckmann
Art and design by Andrew Heath

Corporate Shamanism

wlr194 The Volume Settings Folder - Corporate Shamanism

Emotionally Suited To Be A Solo Pianist is an album by pianist and composer Louis Gardner, a singer-songwriter and artist based in London, UK. Louis began improvising at the age of 12, writing songs by 15 and recording at 18, steadily developing a practice rooted in instinct and exploration. His music sits somewhere between Modern Classical, experimental Folk and lo-fi songwriting, drawing influence from key musical figures such as Morton Feldman, Arthur Russell and Elliott Smith.

Louis’ creative process begins in solitude, often at the piano or guitar, where ideas emerge freely without preconception. “Everything begins in a place of improvisation and exploration” he explains. “I try to capture my ideas as fresh as possible, often using the first take and not scrutinising my playing.” This unfiltered approach has become central to his identity as an artist, reflecting an affinity for raw expression and imperfection over gloss and polish.

Recorded in a studio session during a long winter in London, Emotionally Suited To Be A Solo Pianist began as a single three-hour piano improvisation, completed just after his girlfriend had returned home to America. The album unfolds as both a document of that moment and a reflection on distance, solitude and emotional unravelling. The opening track preserves the first 15 minutes of the improvisation in full, with its unedited flow capturing this sense of isolation that defined the recording period.

Between these piano passages, Louis wove intimate songs for guitar, dulcimer and accordion - all recorded with AKG pencil microphones and performed on what he calls his 'special guitar', an old instrument passed down from his father. Louis recalls “it was the first guitar my father gave me which he used to learn Nick Drake songs, it’s strings have not been changed in decades”. Vocals were later added at home using an Aston Spirit microphone, their soft, unguarded delivery providing a fragile counterpoint to the instrumentals.

In his own words, “I was excited to make a Christmas album that, instead of expressing the normal joyful feeling of winter time, expressed feelings of hollowness and solitude.” The result is a deeply personal collection that feels timeless; a quiet, human account of being alone in a season usually filled with togetherness, where warmth and melancholy coexist in equal measure. The album draws to its conclusion ‘I can't wait to see you this Christmas’ as the melancholy is underpinned with a sense of hope, reflecting on being reunited at last for Christmas.

Emotionally Suited to Be a Solo Pianist

wlr196 Louis Gardner - Emotionally Suited To Be A Solo Pianist

eRecords is a digital record series created by Whitelabrecs, to run alongside our physical releases. These editions aim to transform the digital format into something that can be experienced in a similar way to a listener’s interaction with a real, white label vinyl record. Each edition includes a special PDF scrapbook including polaroids and liner notes.

We do not publish details about the concepts or production methods of a release, so that the liner notes and content in each scrapbook will give you the background of each edition in the series.

catalog: eR043
artist: HERE
release title: the colour of snow
runtime: 24:33
location: london, uk

credits
written and produced by simon vince
mastered by james edward armstrong
cover artwork by jeffrey czum
additional photography by andreas ebner
art and design by harry towell

The Colour Of Snow

The Colour of Snow

Anthéne is Toronto, Canada based artist Brad Deschamps who has been recording Ambient music since 2011, after also forming part of the duo North Atlantic Drift for which he’d performed alongside artists such as Benoit Pioulard and Bing and Ruth. Solo releases have emerged on leading labels such as Hibernate, Sound In Silence and most recently Home Normal, who released ‘weightless’ only last month which label boss Ian Hawgood describes on the website as ‘warm analog sleep echoes’. Brad also runs the magnificent Polar Seas Recording label, which has released material from artists such as Mikael Lind, Celer and Andrew Tasselmyer.

We’re pleased to present the next release in Brad’s catalog, which is entitled ‘asymmetry’ as he strived to explore different depths of sound. The title of the album was born out of his idea of recording in different ways to create narrow, saturated recordings as well as widescreen ambience yet trying to blend these works together as a cohesive whole. Guitar and effects pedals, synthesizers and field recordings are some of the elements that form the basis of this dynamic yet minimal range of compositions but a simple yet key ingredient can be heard in the warm and gentle tape hiss which underpins the record.

Whilst Brad’s ideas are rooted in joining disparate, unrelated textures, the resulting record is something that makes sense; the seven pieces have been lovingly mastered by Ian Hawgood, the sheer patience of each gently unfolding track will comfort even the most restless of soul and the packaging design features artwork from Peter Nejedly. Somewhere, unintentionally, an indescribable theme emerges from nothing to blanket your eyes and ears.

Asymmetry

wlr053 anthéne - asymmetry

Logic Moon is Tobias Lorsbach, an artist from Mainz, Germany. His previous releases have appeared on labels such as Archives, Archipel and his own spontanMusik imprint across all physical and digital formats. He spent many years in the minimal techno scenes since the early 2000s and whilst out on a field recording excursion, he fell upon the idea of layering some Ambient drones. From here, his debut album as Logic Moon was born, Herbst11. 

Tobias’ musical background has drawn in a widescreen of genres with him having performed guitar in a death metal band, embarked on a DJ career and now as an Ambient musician. His varied experiences have only served to give birth to a range of ideas which are evident in his latest album ‘I See Planets’, clocking in at just over an hour. 
Compositions typically start life as a sketch on guitar before synth and additional components were added to build an environment. 

Retro-futurism is the over-arching concept to I See Planets, something which Tobias does not map out for you the listener to read so you’re clear. Instead, this bewildering atmosphere is a heady journey that requires the time and space for it to unfold carefully. 
The title track opens proceedings over 8 minutes, taking its time to wash over science fiction tales from the 70s. ‘Somnia’ follows, hinting of a drowsy night’s gaze into the black sky above as you imagine all kinds of stars, galaxies and planets. Fleeting moments of warmth are interspersed with themes of artificial intelligence, comprehension of time and darkness. 

We’ve teamed up with Thomas Easton for the artwork, who produces retro-futuristic collages. We discovered his work through Instagram and we’re pleased to find a work of art which truly encapsulates the tales of I See Planets.

Written, produced and mastered by Tobias Lorsbach 
Artwork by Thomas Easton 
Packaging design by Harry Towell

I See Planets

wlr059 Logic Moon - I See Planets

Gray Acres are brothers Michael and Andrew Tasselmyer, whose debut album was released last year on Sound In Silence. The project began in 2017 as another creative avenue for these two artists, who are already established as Hotel Neon as well as working on other collaborations and solo ventures. Andrew records under his own name as well as working with Tobias Hellkvist as Mordançage whereas Mike records under the alias Transient Sounds.
The brothers are originally from Baltimore in USA and whilst Mike still lives there, Andrew moved a hundred miles or so away to neighbouring city Philadelphia. Their work is initially created independently by building ideas, loops and recordings and these are realised into full tracks once they get together in person.

Material Forces became the name of the follow-up to last year’s eponymous unveiling, a dense but physical drift session which is as tactile as it is lulling. They did not initially have a clear vision on what this record would eventually become and much of it was performed live, with limited post-production. A key element is some field recordings taken in Asia, which provided the influence for the concept as they were all selected specifically for their powerful, intense characteristics. Rushing water, thunder claps, rock, earth and other heavy materials helped inspire the title ‘Material Forces’ as these field recordings become a focal point in which the power of the natural world collide with softer, processed guitar and synth drones to mimic the undeniable beauty that is left behind by nature as it shifts and evolves.

Material Forces

wlr064 Gray Acres - Material Forces

For our next release, we are pleased to present Luis Miehlich, an artist based in Heidelberg, South Germany. Luis has contributed compilation pieces to labels such as Eilean and Dronarivm as well as an EP on Kage Recordings and most prominently, his debut album Silences on Archives. Whilst he is relatively young when compared with many of his Ambient peers, Luis has been performing music since the age of five thanks to a musical household and over recent years has drawn influence from composers Jean-Michel Jarre, Steve Reich and Béla Bartók as well as Ambient labels such as Hibernate, Home Normal and Archives.

In 'Timecuts' we have the follow-up record to 'Silences' which builds upon some unused/rediscovered material from between 2013 and 2015. These were heavily processed and then expanded upon with additional compositions and instrument sounds. The reworking of past material became a concept of sorts, as matching the old with the new became an important part of the process. Luis decided to extend a wider invitation to adapt these works to other artists, with a brief to reinterpret rather than simply remix. Erder and SineRider were logical participants, after both having featured in the 'Silences' album. Then our own Glåsbird as well as Gallery Six joined to complete the line-up.

Timecuts clocks in generously at just over an hour, starting with Luis' seven pieces. Everything from bells, drones, static, guitar, piano and radio static becomes a woven fabric to this beautfiully varied album which is a tapestry of short dreams. The invited artists were given the stems from the original works rather than Luis' own recreations, to help give further room for experimentation. The remixes add an extra dimension, which becomes every bit as crucial a part of a record steeped around themes of adaptation.

Timecuts

wlr066 Luis Miehlich - Timecuts

Blochemy is an artist from the Czech Republic, with previous releases on labels such as Clean Error Records and Sun Sea Sky Production. The latter release featured remixes by Halftribe, Sinerider and Stray Theories. Blochemy has been making music one way or another since the late nineties, following the Ambient and IDM scenes, informed by the likes of Warp and Ghostly International. His current sound is inspired by labels such as Home Normal, Spekk, Dronarivm and 12k.

His work is produced in a small home studio, as a form of escapism from the daily routine; for relaxation and self-expression.
We’re pleased to welcome the Blochemy sound to Whitelabrecs with his new album ‘Nebe’, which translates to sky in Czech. The album was created using a combination of software and hardware and is a beautiful blend of lo-fi Ambient drones, full of rich melodic tones.

Nebe expresses into sound a fascination of the variability and complexity of the sky. Its form and tone constantly evolve, as shapeshifting clouds decorate the full spectrum of blue hues. Sometimes, they disappear completely and sometimes, darkness is dotted by glittering stars.

Written and produced by Blochemy
Mastering by James Edward Armstrong
Artwork by Peter Nejedly

nebe

wlr070 blochemy - nebe

The fictitious tour of far-away lands continues, as anonymous artist Glåsbird follows the scratchy, folk-ambience of Norskfjǫrðr with a return to lonely arctic-island sounds. Novaya Zemlya is a Russian-owned island, stretching from just off the mainland between the Kara and Barents seas, with two islands split by the Matochkin Strait.

The Southern island Yuzhny is the home of a few inhabitants whereas the Northern counterpart Severny is pretty much all glacier. The added complication of sea-ice during Arctic winters have made certain parts of this land very difficult to navigate. There are accounts stretching back to the 16th century when explorer Willem Barentsz died on an expedition and his body is rumoured to have been buried on Severny.
Into more recent times, Novaya Zemlya has been a sensitive military area throughout the cold war as well as a nuclear testing site. In 1961 the world's most powerful nuclear weapon was detonated, the 'Tsar Bomba'.

In this album, Glåsbird composes a soundtrack which transcends the years of history, combining themes of explorers and Barentsz's tragic demise, isolation, climate change and polar bears, underpinned by radio broadcasts to give a slightly unsettling undercurrent, hinting back to the cold war. The track Vanya is named after a code name the Russians had for the Tsar Bomba detonation project and this piece sits at the centre of this album, in some of the most dramatic soundtrack work this artist has made to date.

The cover artwork and bonus images within the CD packaging were taken by photographer Uliana Prokhorova, who visited a few locations on the island. As always, this album uses the sounds, photography and track titles to build an imaginary soundtrack in your mind as you listen and immerse yourself in this latest sonic exploration.

Credits:
Written and produced by Glåsbird
Mastered by James Edward Armstrong
Photography by Uliana Prokhorova
Packaging Design by Harry Towell

Novaya Zemlya

wlr080 Glåsbird - Novaya Zemlya

Whitelabrecs was set up by Harry Towell in late 2015 as another outlet to put out experimental electronic/acoustic music. It followed Harry’s previous labels Audio Gourmet, Tessellate and Warehouse Decay and focuses on a collectable series of highly limited edition vinyl-effect CDr packaging, with the first 50 releases influenced by white label vinyl records. The label also runs a digital only series called eRecords, with each of these releases including a special PDF booklet.

https://www.whitelabrecs.com
https://whitelabrecs.bandcamp.com/

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