Introducing The Borderlands

Over the past six weeks I’ve reissued 30 of my past releases on CDr, including the bulk of my solo material, plus all of my collaborative albums as part of Captain Busby, Sturmazdale and Winter of the World. These will be available for the foreseeable future on my Bandcamp. It’s been nice revisiting my back catalogue, as there are many albums here I’d not listened to in a few years. In particular it was enjoyable going back over the collabs – I think those Sturmazdale and Winter of the World albums are unfairly overlooked, by myself as much as anyone. Some music I’m really proud of there.
During the brief period that I was considering doing more fleshed out, expanded reissues, I began to work on some tentative liner notes to accompany them. Getting back into the headspace that accompanied these old albums played a big part in my decision to make my forthcoming album Holosphere the last International Debris album. Just over four years ago I wrote about feeling ready to get back into making expansive electronic music again after spending a few years mostly working with low-scale, acoustic based ruralist ambience. Since then I’ve recorded Bathe in the Lights of Distant Cities and the Sphere trilogy, the latter being basically the albums I dreamed of making for years. With this achieved, I’m heading off into different territories and a new project.
One specific thing I got from delving back into past headspaces was the desire to have my own musical language. I remember, when I was working on Purlieu in late 2002, I actually put the four-to-the-floor kick in ‘Tsohg’ as a joke, to see how people would react to having an overtly dancey sound in my music, and also a nod to the fact that I’d started out making eurotrance type material. There was a fairly conscious decision on Purlieu to move away from beats and dance music, and during the initial planning sections for Vacuum Road Songs, the album was going to be almost entirely beatless ambience. Due to the creative block leading to the absorption of several projects into that album, it ended up being mostly rhythmic, and owing much to various existing genres. This inadvertently ended up shaping much of my music over the following ten years, and while I’m very happy of most of my beat-based material, I always find it sounds less individual or unique to myself, like I’m speaking somebody else’s musical language. So I decided to take the mindset I was in back in 2003 as a jumping off point for the future, exploring possibilities of where I might have headed had I continued the stylistic path I’d begun. It’s not an attempt to re-write history, but an opportunity to take my music in new directions. There are hints of this in what I’ve made since then – Leaf Pass and East of Evening feel close – but it will be different to the bulk of my material from 2007 onwards.
This is all the context with which I announce that, from here on, my solo electronic / experimental music will be released solely under the name The Borderlands.

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