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My exclusive track Persimmon is included on the new Time Released Sound compilation TRUST. 

Available soon is the reworked release that has now become TRS023. After the unfortunate fiasco that accompanied what was to be the original release, this is now an absolutely fantastic compilation featuring 12 amazing artists…some of which TRS has released previously, some of which are new to the label… but all of which should be familiar to most or all of you. With exclusive tracks all around, this will be available only in one deluxe limited version of 100 copies. Only 50 of these will be available from the website, but upon possibly selling out, some few copies may be obtained from some of the artists involved in the project. This album has been mastered by Rudi Arapahoe… with huge thanks!!! There may be a picture sleeve version of this release available somewhere down the line…

Following is the list of the artists involved, with track titles, in the order it will be heard. Attached is a picture of the front outer sleeve, each of which contains an individually collaged, stenciled, and stamped fold open photographic mini posters, w/factory pressed discs in sleeves, and accompanying paper ephemera. All tied up with red Indian thread…and sporting a hand stamped and distressed TRS tag…

01 – The Frozen Vaults – Cloak Of Lingering Fog
02 – David Newlyn – Strange The Things I Remember
03 – Strie – Pomsta Jelenov
04 – Rudi Arapahoe – Double Bind
05 – Thomas Bel – The Late Evening Hours
06 – Wil Bolton – Persimmon
07 – The Humble Bee – It’s Good To Bee Wrong
08 – Antonymes – Time Reversed
09 – Sonmi451 – Helder
10 – Maps and Diagrams – The Icy Clasp Of Loneliness
11 – Fescal – Morning in Burma
12 – Richard Moult – A Nameless Hill


“What would you do if you had spent untold hours on a project, pouring your time, your heart and your ideas into its gestation, only to have the project pulled at the last minute?  This is what happened to Colin Herrick of Time Released Sound, who was ready to release TRS023, a hundred different handmade copies surrounding a single set.  But the artist changed his mind after the announcement was made, and Herrick was left holding the bag.  So – when your trust is broken, what do you do?  Most would withdraw, dust themselves off, perhaps say, “I’m not doing that again anytime soon”.  But the old adage says, “If you fall off a horse, get right back on again”, and this is the path that Herrick chose.  TRS023 is now Trust, a project no less remarkable for its contents than for its origin.

In creating Trust, Herrick reached out to artists who had previously appeared on the label, as well as a few friends.  The twelve artists each submitted a track which would be accepted for the compilation without being previewed.  In other words, Herrick said to these artists, I’ve just been burned, but I’m going to trust you.  I should be trusting less, but I’m going to trust more.  The result is a surprisingly unified album, flowing track to track as if pre-planned, a sunset of timbres fading into each other in preparation for twilight.  The album is thoughtful and ponderous, dense with classical elements and slow-tumbling moods.  The benefit of signing like-minded artists is well-displayed here; the tracks, rather than the artists, come across as friends.

Before playing favorites – an inevitable reaction to a compilation – it’s important to note that every track is strong enough to be somebody’s favorite.  My ear is drawn first to the work of Strië, because I trust her; I know that everything she produces will be worth buying, from the string arrangements of Greg Haines’ last album to her own stellar Ohtul.  It is an honest pleasure to hear “Pomsta Jelenov”, a dark, string-laden track that seems perfectly suited for Halloween, offering a low rumble of suspense, as opposed to a cheap jump-from-the-closet scare.  Strings also feature strongly in The Frozen Vaults’ sublime opener “Cloak of Lingering Fog”, while crackle and hum add light texture.  Rudi Arapahoe’s “Double Bind” surprises with time-stretched thunder and light siren calls.  Arapahoe also deserves credit for mastering the entire set, which is crisp and clear from start to finish.

The second half of the album is more ambient in nature: restrained, subtle, quiet but substantial.  Many listeners will adore the one-two punch (or perhaps tap) of Wil Bolton and The Humble Bee, followed by the docks and chirps of Antonymes.  By the closing track – Richard Moult’s ivory and golden “A Nameless Hill” – the soft slip into darkness is complete.  In the metaphorical sense, the light has disappeared, but in the spiritual sense, it has been restored: Herrick’s trust has been rewarded in a manner that should encourage artists and labels everywhere.” – A Closer Listen

“Trust is a 12-song compilation from Time Released Sound that brings together a group of key players from the world of minimal electronic music. Making a compilation record brings with it some challenges: the biggest being that you want to find something, some modus operandi to create cohesion. In this case, despite the different backgrounds and palettes of the artists, they do all come together to create something that sounds as cohesive as any solo record.

The Frozen Vaults get things started with menacing bass notes on piano and some fluttering strings with a strong Eastern influence to them. This opening piece features the album’s boldest strokes, which is fitting since it is meant to grab the listener.

Next up is David Newlyn who immediately slows things down and favours texture over placing one particular instrument right at the front of the mix. Piano is still present, but in Newlyn’s hands it is much more sparse. A second piano seems to be layered in the background occasionally eking out a space for itself. It seems like an odd choice at first to begin to strip the album by only the second composition, but Trust has a blue print…

Strie takes things even more minimal, creating a track out of processed sounds that make it difficult to discern a single instrument. The composition is quickly paced but built out of thick layers of drone. Slowly, what sounds like a violin creeps in to ground the piece. These fist three compositions set in place a broad template for the album: a composition with bold strokes comes into give the album an organic feel and then more minimal, electronic deconstructions set the listener adrift again.

By the time Rudi Arapahoe appears for the fourth piece, we are back into that realm of bolder strokes. This time, human voice enters to really give the listener something organic to grab on to. Mournful violins and piano fill out the composition, but again, they are bolder than on the Newlyn or Strie pieces. In a way, this is a huge tribute to Arapahoe (who mastered the entire album) in that he was able to create these anchors within the narrative of the album to really ground the listener. As a whole, it gives Trust a context, and without it the whole album may have felt listless and somewhat meandering.

Thomas Bel and Will Bolton take things more minimal again, but both bring guitar into the fold and lend the album some levity. The Humble Bee and Antonymes set us even further adrift again into a world of micro processed sounds where the melodies are much gentler and the source sounds much harder to identify. Somni451offers up the next in the series of bolder/anchor pieces with what sounds like processed vibraphone. Maps and Diagrams and Fescal take us back into more ambient territory for the next two pieces before then Richard Moult wraps things up with the album’s most organic sounding composition, a piece that mostly relies on some big sounding piano work.

Whether a deliberate strategy or not, having 3 or 4 anchor pieces to hold the album together is the key to what gives Trust a sense of continuity and narrative. The album gets the mixing just right, allowing things to breathe while keeping the highs and lows to a minimum. Trust pulls off just the right balance to offer the listener a cohesive listening experience. Even better, when you listen to it out of order, each composition still has strength to stand on its own.” – Fluid Radio