{"title":"Unheard Of Hope","description":null,"products":[{"product_id":"forgetting-you-is-like-breathing-water","title":"Forgetting You Is Like Breathing Water","description":"\u003cp\u003eForgetting You Is Like Breathing Water, the self-titled debut from the duo of trumpeter Will Evans and guitarist, synthesist, producer and multi-instrumentalist Theo Trump, arrives like a vault revelation. It feels like a decades-old yet newly unearthed masterwork of gorgeous ambient improvisation, the sort of thing scholars live to research and shepherd into deluxe reissue.\u003c\/p\u003e\u003cp\u003eThe patient, crystalline chords that swell and resonate like a series of confessions; the textured brass murmurs that suggest a ’60s or ’70s Fire Music master at their most poignant. Provocative found-sound experiments threading arcane religious recordings through dystopian soundscapes. Ear-shattering free-noise tumult. Where and when did this music come from? Who are these voices?\u003c\/p\u003e\u003cp\u003eAs it turns out, Forgetting You Is Like Breathing Water springs from an engrossing human story, though it isn’t necessarily the one you’d expect. This work of stunning maturity is in fact an entrance by two little-known explorers in their early 20s, who grew up together in Virginia, in the shadow of the Blue Ridge Mountains. It documents one of those perfect, sparkling moments in post-adolescence when big decisions and responsibilities are right around the corner, but for a spell, two young artists are able to create among the comforts and nostalgia of their shared past.\u003c\/p\u003e\u003cp\u003eIt also represents a reunion of sorts, as Evans and Trump connected as toddlers, became inseparable as boys, then pursued independent lives and creative paths as young adults. “Theo is my oldest friend,” Evans says, “and I feel like that’s what this band is — us meeting right in the middle of our interests.” \u003c\/p\u003e\u003cp\u003eNow, having conjured this magic, they’ve detached once again: Evans, whose other works include the indie\/avant-jazz unit Angelica X, is currently based in New York City. Trump recently moved to England, where he’d participated in his family’s theatre company, to go to school and further his solo ambient project. “This album didn’t start out as something super ambitious,” Evans explains. “It was more just an excuse to spend time together again and make music.”\u003c\/p\u003e","brand":"Unheard Of Hope","offers":[{"title":"Black LP","offer_id":50505206530379,"sku":"2225643","price":26.99,"currency_code":"GBP","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0867\/1120\/6219\/files\/f1c5bc3a-0ce5-5598-f827-69d450f93074_322d05bd_thumbnail_4096.png?v=1727813609"},{"product_id":"scarred-for-life-5","title":"Scarred For Life","description":"\u003cp\u003eMilitary Genius (aka songwriter\/producer Bryce Cloghesy) releases his new album \u003ci\u003eScarred for Life\u003c\/i\u003e via Unheard of Hope. The follow-up to his atmospheric 2020 debut \u003ci\u003eDeep Web, Scarred for Life\u003c\/i\u003e is a genre-flexing mix of bass-heavy R\u0026amp;B, spaced dub, and jazz that is newly grounded within a more traditional rock framework and centered on lyricism. \u003cbr\u003e\u003c\/p\u003e","brand":"Unheard Of Hope","offers":[{"title":"Black LP","offer_id":50532221976907,"sku":"2221004","price":27.99,"currency_code":"GBP","in_stock":true},{"title":"Clear LP","offer_id":50532222566731,"sku":"2221005","price":27.99,"currency_code":"GBP","in_stock":true},{"title":"CD","offer_id":50532221813067,"sku":"2221001","price":14.99,"currency_code":"GBP","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0867\/1120\/6219\/files\/a25342c2-1ad4-b27a-160d-27fa00e68484_69106b55_thumbnail_4096.jpg?v=1728116902"},{"product_id":"song-of-the-night-mists","title":"Song of the Night Mists","description":"\u003cp\u003e\u003cem\u003eSong of the Night Mists\u003c\/em\u003e, the new album by post-classical composer Stefan Wesołowski, often feels it draws on Sebald’s premise.\u003c\/p\u003e\n\u003cp\u003eOn a simpler plane, the one where the market dictates the neatly ordered information we consume, Song of the Night Mists can be described thus: recorded in the main by Stefan Wesołowski in Gdańsk, both in his studio and in Saint Nicholas' Basilica, the album incorporates acoustic instruments - piano, violin, double bass - and classic synthesizers such as the Roland Jupiter-8, the Soviet Polivoks. A Roland Space Echo RE-150 tape delay was also pressed into service as an instrument. We also hear the basillica’s organ and field recordings from the Tatra Mountains. Other musicians were Maja Miro, who played the flute parts on ‘Glacial Troughs’ and brother Piotr Wesołowski, who played the organ on ‘Wilhelm Tombeau’. Sound engineer was Marcin Nenko, who was also on hand to record the basilica organ parts. The album was mixed in New York by Al Carlson (Oneohtrix Point Never, Jessica Pratt, Zola Jesus, Lady Gaga, and Liturgy) and Rafael Anton Irisarri handled the mastering.\u003c\/p\u003e\n\u003cp\u003eOstensibly, \u003cem\u003eSong of the Night Mists\u003c\/em\u003e is the last in a trilogy, following on from albums Liebestod (2013) and Rite of the End (2017). All three deal with existential matters such as love, death, decay and “an ultimate end”; apocalyptic and Promethean in spirit, and betraying very human conceits. The Sebaldian nature of the new record starts to make itself felt when Wesołowski talks of how he used sampling. One element is unexpected, that of sampling himself: “I go back to dozens of my own unused sketches and recordings, treating them as raw material to cut, slow down, reverse, and transform in every possible way.” Memory as sound, to be reemployed by the listener through their own imaginings.\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"caret-color: rgb(32, 32, 32); color: rgb(32, 32, 32); font-family: arial, 'helvetica neue', helvetica, sans-serif; font-size: 14px; font-style: normal; font-variant-caps: normal; font-weight: normal; letter-spacing: normal; orphans: auto; text-align: justify; text-indent: 0px; text-transform: none; white-space: normal; widows: auto; word-spacing: 0px; -webkit-text-size-adjust: auto; -webkit-text-stroke-width: 0px; background-color: rgb(255, 255, 255); text-decoration: none; display: inline !important; float: none;\"\u003eAnother set of samples made by Wesołowski plays another role. These are field recordings, originally created for an audio illustration of the formation of the Tatra Mountains, and used in a film by sound designer Michał Fojcik. Wesołowski: “You can hear cracking ice, streams, footsteps in the snow and the wind, and a real avalanche, recorded from the inside.” The “Tatra connection” on the album is also found in samples referencing composer Karol Szymanowski. The album’s title alludes to a poem about the mountains by Polish poet, Kazimierz Przerwa-Tetmajer.\u003c\/span\u003e\u003cbr style=\"caret-color: rgb(32, 32, 32); color: rgb(32, 32, 32); font-family: arial, 'helvetica neue', helvetica, sans-serif; font-size: 14px; font-style: normal; font-variant-caps: normal; font-weight: normal; letter-spacing: normal; orphans: auto; text-align: justify; text-indent: 0px; text-transform: none; white-space: normal; widows: auto; word-spacing: 0px; -webkit-text-size-adjust: auto; -webkit-text-stroke-width: 0px; text-decoration: none;\"\u003e\u003cbr style=\"caret-color: rgb(32, 32, 32); color: rgb(32, 32, 32); font-family: arial, 'helvetica neue', helvetica, sans-serif; font-size: 14px; font-style: normal; font-variant-caps: normal; font-weight: normal; letter-spacing: normal; orphans: auto; text-align: justify; text-indent: 0px; text-transform: none; white-space: normal; widows: auto; word-spacing: 0px; -webkit-text-size-adjust: auto; -webkit-text-stroke-width: 0px; text-decoration: none;\"\u003e\u003cbr style=\"caret-color: rgb(32, 32, 32); color: rgb(32, 32, 32); font-family: arial, 'helvetica neue', helvetica, sans-serif; font-size: 14px; font-style: normal; font-variant-caps: normal; font-weight: normal; letter-spacing: normal; orphans: auto; text-align: justify; text-indent: 0px; text-transform: none; white-space: normal; widows: auto; word-spacing: 0px; -webkit-text-size-adjust: auto; -webkit-text-stroke-width: 0px; text-decoration: none;\"\u003e\u003cspan style=\"caret-color: rgb(32, 32, 32); color: rgb(32, 32, 32); font-family: arial, 'helvetica neue', helvetica, sans-serif; font-size: 14px; font-style: normal; font-variant-caps: normal; font-weight: normal; letter-spacing: normal; orphans: auto; text-align: justify; text-indent: 0px; text-transform: none; white-space: normal; widows: auto; word-spacing: 0px; -webkit-text-size-adjust: auto; -webkit-text-stroke-width: 0px; background-color: rgb(255, 255, 255); text-decoration: none; display: inline !important; float: none;\"\u003eWesołowski’s Tatra recordings are “about a world without humans - about the fact that the world existed, was beautiful, and had meaning long before people arrived, and for the vast majority of its history, it was a place without us.” Wesołowski, using one iteration of the natural world, plays out in sound Sebald’s idea of another order, underlying the chaos of human relationships lying beyond human comprehension.\u003c\/span\u003e\u003cbr style=\"caret-color: rgb(32, 32, 32); color: rgb(32, 32, 32); font-family: arial, 'helvetica neue', helvetica, sans-serif; font-size: 14px; font-style: normal; font-variant-caps: normal; font-weight: normal; letter-spacing: normal; orphans: auto; text-align: justify; text-indent: 0px; text-transform: none; white-space: normal; widows: auto; word-spacing: 0px; -webkit-text-size-adjust: auto; -webkit-text-stroke-width: 0px; text-decoration: none;\"\u003e\u003cbr style=\"caret-color: rgb(32, 32, 32); color: rgb(32, 32, 32); font-family: arial, 'helvetica neue', helvetica, sans-serif; font-size: 14px; font-style: normal; font-variant-caps: normal; font-weight: normal; letter-spacing: normal; orphans: auto; text-align: justify; text-indent: 0px; text-transform: none; white-space: normal; widows: auto; word-spacing: 0px; -webkit-text-size-adjust: auto; -webkit-text-stroke-width: 0px; text-decoration: none;\"\u003e\u003cspan style=\"caret-color: rgb(32, 32, 32); color: rgb(32, 32, 32); font-family: arial, 'helvetica neue', helvetica, sans-serif; font-size: 14px; font-style: normal; font-variant-caps: normal; font-weight: normal; letter-spacing: normal; orphans: auto; text-align: justify; text-indent: 0px; text-transform: none; white-space: normal; widows: auto; word-spacing: 0px; -webkit-text-size-adjust: auto; -webkit-text-stroke-width: 0px; background-color: rgb(255, 255, 255); text-decoration: none; display: inline !important; float: none;\"\u003eThese feelings play themselves out on the five album tracks. Sonorous and rich, they illustrate tectonic shifts we have no control over. Wesołowski hints that the overall sound is a “meditation on the metaphysics of the non-human set against the spirituality that human presence has brought into it.” In that light, the opening number, ‘Core’, with its slow build, and crackling and straining sound effects, create an effect of the earth groaning into life in a creation myth. Once the piano part raps out a simple melody and modulated tonguing trumpet samples add to the overall atmosphere, the listener can certainly find a cue in the “spiritual”, or “human” side of the story. Human versus nature: from the strains and harmonic muscle stretches of the second number, ‘Glacial Troughs’, through to the powerful and filmic ‘Stalagmite’ and heart-on-sleeve romance expressed in closer, ‘Wilhelm Tombeau’, we listeners are cast as Friedrich’s wanderer, looking out over a landscape that will appear only if we engage with it.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"caret-color: rgb(32, 32, 32); color: rgb(32, 32, 32); font-family: arial, 'helvetica neue', helvetica, sans-serif; font-size: 14px; font-style: normal; font-variant-caps: normal; font-weight: normal; letter-spacing: normal; orphans: auto; text-align: justify; text-indent: 0px; text-transform: none; white-space: normal; widows: auto; word-spacing: 0px; -webkit-text-size-adjust: auto; -webkit-text-stroke-width: 0px; background-color: rgb(255, 255, 255); text-decoration: none; display: inline !important; float: none;\"\u003e\u003cmeta charset=\"UTF-8\"\u003e \u003cspan style=\"caret-color: rgb(32, 32, 32); color: rgb(32, 32, 32); font-family: arial, 'helvetica neue', helvetica, sans-serif; font-size: 14px; font-style: normal; font-variant-caps: normal; font-weight: normal; letter-spacing: normal; orphans: auto; text-align: justify; text-indent: 0px; text-transform: none; white-space: normal; widows: auto; word-spacing: 0px; -webkit-text-size-adjust: auto; -webkit-text-stroke-width: 0px; background-color: rgb(255, 255, 255); text-decoration: none; display: inline !important; float: none;\"\u003eFormations of melody appear incrementally, almost appearing by chance - like hidden footings in the rock shelves to give us something to grasp onto. Rhythms are used sparsely: the prolonged percussive taps on ‘Glacial Troughs’ are an anomaly and maybe there to give pace to the album to come; essentially to keep the listener strapped in. Elsewhere, percussion is used as an aid to mood, the two thudding, timpani-style passages on ‘Peak’ there to offset the short, beautiful, kosmische passage that splits them.\u003c\/span\u003e\u003cbr style=\"caret-color: rgb(32, 32, 32); color: rgb(32, 32, 32); font-family: arial, 'helvetica neue', helvetica, sans-serif; font-size: 14px; font-style: normal; font-variant-caps: normal; font-weight: normal; letter-spacing: normal; orphans: auto; text-align: justify; text-indent: 0px; text-transform: none; white-space: normal; widows: auto; word-spacing: 0px; -webkit-text-size-adjust: auto; -webkit-text-stroke-width: 0px; text-decoration: none;\"\u003e\u003cbr style=\"caret-color: rgb(32, 32, 32); color: rgb(32, 32, 32); font-family: arial, 'helvetica neue', helvetica, sans-serif; font-size: 14px; font-style: normal; font-variant-caps: normal; font-weight: normal; letter-spacing: normal; orphans: auto; text-align: justify; text-indent: 0px; text-transform: none; white-space: normal; widows: auto; word-spacing: 0px; -webkit-text-size-adjust: auto; -webkit-text-stroke-width: 0px; text-decoration: none;\"\u003e\u003cspan style=\"caret-color: rgb(32, 32, 32); color: rgb(32, 32, 32); font-family: arial, 'helvetica neue', helvetica, sans-serif; font-size: 14px; font-style: normal; font-variant-caps: normal; font-weight: normal; letter-spacing: normal; orphans: auto; text-align: justify; text-indent: 0px; text-transform: none; white-space: normal; widows: auto; word-spacing: 0px; -webkit-text-size-adjust: auto; -webkit-text-stroke-width: 0px; background-color: rgb(255, 255, 255); text-decoration: none; display: inline !important; float: none;\"\u003eElements of the borderline religious spirit that drove German electronic music in the late 1960s and 1970s also find a place on \u003cem\u003eSong of the Night Mists.\u003c\/em\u003e The swells and recessions of the organ find their emotional climax on ‘Wilhelm Tombeau’, a track which summons up echoes of the “mountain magic” vistas created by Popol Vuh or Tangerine Dream, especially with the slightly atonal wobble of the Mellotron that counters it.\u003c\/span\u003e\u003cbr style=\"caret-color: rgb(32, 32, 32); color: rgb(32, 32, 32); font-family: arial, 'helvetica neue', helvetica, sans-serif; font-size: 14px; font-style: normal; font-variant-caps: normal; font-weight: normal; letter-spacing: normal; orphans: auto; text-align: justify; text-indent: 0px; text-transform: none; white-space: normal; widows: auto; word-spacing: 0px; -webkit-text-size-adjust: auto; -webkit-text-stroke-width: 0px; text-decoration: none;\"\u003e\u003cbr style=\"caret-color: rgb(32, 32, 32); color: rgb(32, 32, 32); font-family: arial, 'helvetica neue', helvetica, sans-serif; font-size: 14px; font-style: normal; font-variant-caps: normal; font-weight: normal; letter-spacing: normal; orphans: auto; text-align: justify; text-indent: 0px; text-transform: none; white-space: normal; widows: auto; word-spacing: 0px; -webkit-text-size-adjust: auto; -webkit-text-stroke-width: 0px; text-decoration: none;\"\u003e\u003cspan style=\"caret-color: rgb(32, 32, 32); color: rgb(32, 32, 32); font-family: arial, 'helvetica neue', helvetica, sans-serif; font-size: 14px; font-style: normal; font-variant-caps: normal; font-weight: normal; letter-spacing: normal; orphans: auto; text-align: justify; text-indent: 0px; text-transform: none; white-space: normal; widows: auto; word-spacing: 0px; -webkit-text-size-adjust: auto; -webkit-text-stroke-width: 0px; background-color: rgb(255, 255, 255); text-decoration: none; display: inline !important; float: none;\"\u003eThis is a dramatic album, but it does feel a strangely short, or curtailed listen on ending, evoking the feeling one gets when waking from a dream, and, for all its incipient grandeur, a track like ‘Stalagmite’, for instance, ends on a minor note. Wesołowski admits that \u003cem\u003eSong of the Night Mists\u003c\/em\u003e is born of the all too human process of temptation, doubt and recalibration - Sebaldian overlaps and coincidences forming something that must live another life, away from its creator. In Wesołowski’s words, the album is “a newborn foal must stand up and walk right after birth.” Now it is yours to ponder.\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e","brand":"Unheard Of Hope","offers":[{"title":"LP - White","offer_id":51689354101067,"sku":"R6599-2899","price":26.99,"currency_code":"GBP","in_stock":true},{"title":"CD","offer_id":51689354068299,"sku":"R6599-0581","price":12.99,"currency_code":"GBP","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0867\/1120\/6219\/files\/f27b24b9-e62b-f054-7f88-72cb6cca83ae.jpg?v=1745413926"},{"product_id":"almost-waking","title":"Almost Waking","description":"\u003cp\u003eMabe Fratti is a Guatemalan cellist, vocalist, and composer based in Mexico City, celebrated for her experimental yet deeply melodic work. Blending cello, voice, synthesizers, and electroacoustic textures, she builds songs that move between improvisation, ambient soundscapes, and off-kilter pop forms. Emerging from Mexico City’s improvisational and experimental scene, she has become a key voice in contemporary avant-pop\u003c\/p\u003e\n\u003cp\u003eBill Orcutt is an American guitarist and composer known for his raw, highly individual approach to improvisation. A co-founder of the 1990s noise-rock duo Harry Pussy, he helped shape a fiercely abrasive aesthetic that drew from no wave, hardcore punk, and free jazz. Often playing a four-string guitar in unconventional tunings, he combines shards of melody, sudden silences, and surging rhythmic bursts, creating music that feels both primitive and structurally intricate. In parallel with his work as a guitarist, he runs the Palilalia and Fake Estates imprints and develops his own audio software, continuing to blur lines between avant-garde experimentation, song form, and DIY practice.\u003c\/p\u003e\n\u003cp\u003e\u003cbr\u003e\u003cem\u003eAlmost Waking\u003c\/em\u003e\u003cbr\u003eI had known about Bill’s music for a while: since his 2017 release under his own name. I connected a lot with his music and I had no idea that years later we would be collaborating! It was a total surprise that we started chatting on the internet of collaborating! — we bounced ideas back and forth, all starting with a series of guitar solo stuff that Bill sent me. I had a great time with the pieces and in some of them had the honor to collaborate with I. La Catolica in the studio here in Mexico as well where we were trying to decipher the harmonic possibilities of Bill’s ideas and very carefully develop some good melodies that followed correctly the guitar. The vocal melodies followed also the same principle of trying to get tight with Bill’s iniciatives. The idea was to leave a lot of space but in only one of the tracks I just went on with the idea of harmonizing shamelessly the vocals. The album ended up having this nostalgic vibe to it. I am so happy on how it turned out and grateful with the crazy coincidence that made it happen!\u003c\/p\u003e\n\u003cp\u003eGuitar by Bill Orcutt, Cello and vocals by Mabe Fratti, except tracks 1,3,4 and 6 that were written by Bill Orcutt \u0026amp; Mabe Fratti with contributions on the cello arrangement by I.La Católica. Recorded at Tinho Studios in CDMX and in the Living Room in San Francisco. Mixed by Santiago Parra. Mastered by James Plotkin. Special thanks to I.La Católoica who contributed with great aura, ideas and feedback at Tinho Studios.\u003c\/p\u003e","brand":"Unheard Of Hope","offers":[{"title":"LP - Black","offer_id":56778850828619,"sku":"R3313-2390","price":24.99,"currency_code":"GBP","in_stock":false},{"title":"CD","offer_id":56778863706443,"sku":"R3313-8588","price":12.99,"currency_code":"GBP","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0867\/1120\/6219\/files\/unnamed-2026-03-12T133531.271.jpg?v=1773322538"}],"url":"https:\/\/shop.roughtrade.com\/fr\/collections\/unheard-of-hope.oembed","provider":"Rough Trade","version":"1.0","type":"link"}