Timothy Fairless

I’m honored and thrilled to have joined the @dragonseyerecordings roster for a release this year. This is a label that champions values I care about through releasing music by incredibly diverse artists. This photo by the unrelentingly talented @thomas__oliver , and shot @kepk_space .

Thanks to @headphonecommute for kind words and hosting the video premiere of “Tullamarine”, the first track on my upcoming album. The 🔗 is up there in the bio. Go give it a watch! Imagine taking everything you’ve ever thought or felt and mulching it into a paste. Imagine that paste still has some crunchy bits, but barely resembles what it was before. I’d like to announce my new album, which is basically that, will be out June 20 on @dragonseyerecordings . This is a release with just my name on the cover, but these things don’t happen alone. I have immense gratitude to the following people for their contributions to this project: Yann Novak @dragonseyerecordings is releasing it Lawrence English @room40shoots mastered the album at Negative Space Aaron Perkins @ey.ey.ar.oh.en and Emmalyn Hawthorne @emphaticallyem provided the creative context for the inception of this work, and Aaron graciously titled “Emanation of Smut” And as always, Mark du Potiers @blisteredhand for advice, counsel, and (specific to this project) designing, making and playing “Master”, the disorientated character appearing in the video for “Tullamarine”.

Imagine taking everything you’ve ever thought or felt and mulching it into a paste. Imagine that paste still has some crunchy bits, but barely resembles what it was before. I’d like to announce my new album, which is basically that, will be out June 20 on @dragonseyerecordings . It’s called Keep Talking to Me. This is a release with just my name on the cover, but these things don’t happen alone. I have immense gratitude to the following people for their contributions to this project: Yann Novak @dragonseyerecordings is releasing it Lawrence English @room40shoots mastered the album at Negative Space Aaron Perkins @ey.ey.ar.oh.en and Emmalyn Hawthorne @emphaticallyem provided the creative context for the inception of this work, and Aaron graciously titled “Emanation of Smut” And as always, Mark du Potiers @blisteredhand for advice, counsel, and (specific to this project) designing, making and playing “Master”, the disorientated character appearing in the video for “Tullamarine”

Drone Prompts II collaborator focus - @timothyfairless . Check out their enveloping track ‘Mirage’ everywhere now.

For a decade and a half I’ve made music almost exclusively without the human voice. But I’ll admit I’ve become a little vocal-curious over the last couple of years, and contemplated collaboration with singers once more. So it’s fortuitous timing, yet wholly unexpected, thatVintage Credenza’s Drone Prompts would be the project to throw the timbres and textures of voice back at the centre of my music making. This new work, Mirage, derives from a giant hulk of voice-like ambience - an unrelenting density oscillating between serene and harrowing. I’ve come to believe it modulates through all known harmonic combinations across its 2 hours! Seems a natural fit for my part in this to twist the structures of both harmony and rhythm - a torsion adding and releasing tension. Forever in motion; always in-between. The spiralling voice-like pads and fragments aren’t just there for ride either; they’re the source of the chaos, and I can’t envisage this work emerging without being granted such a vast playground of source material. I’d challenge anyone to fix their eyes on the horizon for this 6 and a half minutes, and not see things that aren’t really there. Drone Prompts II is out now on @4000records , and features my new work alongside new pieces from: Ghostwoods - @ghostwoods_music , ff8282 - @_aprilemily_ , and Chris Perren.

For a decade and a half I’ve made music almost exclusively without the human voice. But I’ll admit I’ve become a little vocal-curious over the last couple of years, and contemplated collaboration with singers once more. So it’s fortuitous timing, yet wholly unexpected, thatVintage Credenza’s Drone Prompts would be the project to throw the timbres and textures of voice back at the centre of my music making. This new work, Mirage, derives from a giant hulk of voice-like ambience - an unrelenting density oscillating between serene and harrowing. I’ve come to believe it modulates through all known harmonic combinations across its 2 hours! Seems a natural fit for my part in this to twist the structures of both harmony and rhythm - a torsion adding and releasing tension. Forever in motion; always in-between. The spiralling voice-like pads and fragments aren’t just there for ride either; they’re the source of the chaos, and I can’t envisage this work emerging without being granted such a vast playground of source material. I’d challenge anyone to fix their eyes on the horizon for this 6 and a half minutes, and not see things that aren’t really there. Drone Prompts II is out now on @4000records , and features my new work alongside new pieces from: Ghostwoods - @ghostwoods_music , ff8282 - @_aprilemily_ , and Chris Perren.

For a decade and a half I’ve made music almost exclusively without the human voice. But I’ll admit I’ve become a little vocal-curious over the last couple of years, and contemplated collaboration with singers once more. So it’s fortuitous timing, yet wholly unexpected, thatVintage Credenza’s Drone Prompts would be the project to throw the timbres and textures of voice back at the centre of my music making. This new work, Mirage, derives from a giant hulk of voice-like ambience - an unrelenting density oscillating between serene and harrowing. I’ve come to believe it modulates through all known harmonic combinations across its 2 hours! Seems a natural fit for my part in this to twist the structures of both harmony and rhythm - a torsion adding and releasing tension. Forever in motion; always in-between. The spiralling voice-like pads and fragments aren’t just there for ride either; they’re the source of the chaos, and I can’t envisage this work emerging without being granted such a vast playground of source material. I’d challenge anyone to fix their eyes on the horizon for this 6 and a half minutes, and not see things that aren’t really there. Drone Prompts II is out now on @4000records , and features my new work alongside new pieces from: Ghostwoods - @ghostwoods_music , ff8282 - @_aprilemily_ , and Chris Perren.

Very humbled to be sharing the second iteration of my Drone Prompts EP series today! Rather simple concept: I make a nice lil drone/soundscape and send it to a clever friend, who then creates something new based on my prompt. The results have been incredibly inspiring and the process has been really rewarding. Immense love to this EP’s participants: @ghostwoods_music @timothyfairless @_aprilemily_ (ff8282) Chris Perren Get it everywhere (except for Spotify 👎) Photography by Joshua MacGregor Design by @twocratestudio and me Mastered by @gartr0n 🌻 Oh and those floppy disks are real. You can buy one for $4 if you want!!!

Performing @kepk_space for @yearnsmusic ’s album launch (with @mnigro and @unregistered_master_builder ). Photo by @blisteredhand .

“No 4am Phone Call From Tokyo”. I always love showing this film and playing its soundtrack live. First shown @kepk_space at their opening in 2020. Most recently performed @kepk_space last weekend to support @yearnsmusic ’s album launch (with @mnigro and @unregistered_master_builder ). This shot by the unstoppable @blisteredhand .

Beautiful night @kepk_space last Saturday with @mnigro and @unregistered_master_builder in support of @yearnsmusic ’s new record (out now via @room40shoots ). Thanks to everyone who said no to fireworks and warplanes and said yes to ambient music instead.

Good friends and composers @timothyfairless and @madeleine.cocolas have a cross continental chat about their latest album releases, Timothy’s Keep Talking to Me (out now via Dragon’s Eye Recordings) and Madeleine’s Syndesis (out now 1 on Room 40). “As a creator, it’s quite exciting though that we never know how a listener will experience our work. And despite the myriad pitfalls of the commodification of our art form, I love that mostly anyone who’s invested in the work will have the means to hear it with focus and quality.” - Timothy Fairless Read the interview here: /pub/inresonance/p/resonance-interview-timothy-fairless?r=3avth&utm_campaign=post&utm_medium=web&showWelcomeOnShare=true