Inland by Night [10th Anniversary Expanded Reissue]

by Coppice Halifax

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Includes unlimited streaming via the free Bandcamp app, plus high-quality downloads of Shades of Night in Green Minor, Raft and River [Tenth Anniversary Compleat], Deep Earth: Year Six Compleat, Deep Earth: Year Five Compleat, Leaf Cloak [Tenth Anniversary Compleat], Cmx [Volumes VIII-XV], Sunworn, Cmx XV, and 485 more. , and , .

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Deluxe Limited Edition 2xCD Expanded Reissue Bundle
Compact Disc (CD) + Digital Album
**ONLY 10 COPIES!** This bundle contains the factory duplicated CD reissue of Inland by Night in a pro-printed mini-LP jacket, manufactured in Salem, Oregon by Atomic Disc, as well as a hand-numbered bonus CD-R in a green paper sleeve with a hand-stamped black ink sofa logo on a blue cardstock insert, duplicated & printed via an Imation D20. The bonus CD-R contains a slightly abridged version of the Valley in Repose live ambient set, and this is the only physical edition of this recording being made available. Copy numbering is done in black pen on the lower back cover, and number determination is first come first serve.

Includes unlimited streaming of Inland by Night [10th Anniversary Expanded Reissue] via the free Bandcamp app, plus high-quality download in MP3, FLAC and more.

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1.	Fog 05:11
2.	Velvet 04:08
3.	Coast 01:50
4.	Swamp 05:27
5.	Forty 04:24
6.	River 04:24
7.	Gray 06:02
8.	Tropic 06:58
9.	Hurricane 03:05
10.	Pier 06:18
11.	Barefoot 02:59
12.	Sleep 04:59
13.	Sandbar 08:05
14.	Valley in Repose [Live October 29, 2021] 01:42:10	buy track

about

ORIGINAL RELEASE COPY, JULY 28 2012:

"In October of 2011, the massive concept double-album Pawleys Island was issued first on an intimate edition of 20 copies on 2x cassette tape. During the creation and recording of the Pawleys songs, I realized just how much love and expression I funneled into the melodies and composition, despite the album largely being carried in a very rhythmic techno-inspired vehicle. Taking these thoughts into consideration along with the fact that the nostalgic territories Pawleys mined were just as connected to records like Selected Ambient Works II, Walter Carlos' Sonic Seasonings and early orchestral influences like Satie and Debussy, it became clear to me that there was a beautiful ambient album hiding beneath the waves of Pawleys Island. Dedicating myself to the pursuit of such a notion, I began recording this album of ambient versions of Pawleys pieces somewhere near the last 1/4 of the recording sessions for the album proper.

I think it is important to note that the songs on Inland By Night are not merely beatless counterparts of PI material, rather they are entirely their own identities, memories and locations. The movements from PI will no doubt be recognizable, although they are considerably altered in pace, processing, tone and color, and both sides have been backed by an assemblage of field recordings: the exact length of a car drive from the beach in Surfside to my father's home in rural Loris, complete with the subtle sounds of tire traction on pavement, layered carefully alongside recordings of the sun rising at dawn over a humid marsh. Inland By Night is an approximated reimagining of those same Pawleys Island memories. Stoned, worn out from a long night of work or partying (or both) and driving home in the early morning hours to sleep and dream of the blissful shores I would one day tread in my creative travels. So here we are, years later, together in longing for that same happy sleep."

10TH ANNIVERSARY, REFLECTIONS ON LAND, NOVEMBER 1 2022:

'Has it really been ten years already?' is a question I find myself asking far too often these days, and I shudder to think how aged I'll feel my work has become in ten more years. Truly, life has changed immensely for me and for my music, across the last decade, and recordings like Inland only serve to highlight this disparity. For all of its fixation on self-analysis and location reference, the work I did on Inland (and by extension, Pawleys Island) feels less important now than it did before. Perhaps, this is because I have already done the work? And in doing so, I've come to some kind of terms with what it was attempting to organize and frame? Or, perhaps I am ten years older, and there's no longer a sense that I should keep these memories around, or write everything down, proverbially speaking. The past is only ever the past, so is there really a point in focusing on it to this degree?

But you, dear listener, did not come here to read my babbling philosophizing, at least I hope you didn't. You came here because this album meant something to you before, and you, like me, are probably wondering what it might mean to you now. Or, you're simply unaware of it, which is really the practical reason for me reinstating what I think of as 'key works' in the name of highlighting their intended importance, and for the posterity of keeping these things available to newcomers. To you, whoever you are, and wherever you may positionally be in relation to my music, I would like to say that Inland is very much like a photograph of a place and a time, but not so much a person, as I felt it may have been more of a self-portrait at that time. It is a melodic ambient album that crystallizes specific locations, temperatures and events from the last landscape I inhabited before I moved to Columbia with the love of my life, and left my nascent debris behind forever. There are field recordings from Loris and light trails from North Myrtle Beach, burnt into the tracks in equal measure, and listening to these arrangements now feels even more like a dream than it probably did ten years ago.

I'm glad these things are behind me now, ultimately. I feel happy, lucky even, that I was able to express these things long ago, because it also means that I have not had to carry them around with me while I've been raising a daughter. Inland is like all of my so-called autobiographical compositions (and there aren't that many), a book that is half-remembered and placed on a shelf in a uniform fashion, accumulating dust from every calendar day that passes without being opened, and when the time comes for me to find that book again, and thumb through its pages, the thing that I notice about it is the distance now present between the me that produced the work and the me reappraising it. And to be candid, I'm okay with that too - I am more than content to let these things be what they are (and perhaps always were), and not try to imprint upon them some level of importance or meaning that isn't really there.

'Hindsight is 20/20' as my father always liked to tell me, and while I've long felt that it is the lot of the artist to take liberties with the world we find ourselves in, in order to make it not better or worse, but simply more bearable, I also feel that it is important not to editorialize the past too much. What happened, happened. And I am glad that it did. I am also glad that it is over and done with. Regardless of how I feel about it today, I would not be here if I did not first come from somewhere else, and at 39 years old it is more apparent than it has ever been that I am always coming from somewhere, on my way to somewhere else.

Inland by Night is itself, in name and form, a document of motion, a tracing of a line on a map from the sea to the trees, and what I didn't know ten years ago, that I am only realizing now, is that this line never stopped moving. It continued onward to Columbia, the heart of the Carolinas, further still up on a Northwestern arc, through the Blue Ridge mountains, and past the peaks of the Appalachians, and settled instead within a Midwestern river valley, dressed in all four seasons, a hearth in the Far Hills that I could not know would feel so complete to me, until I arrived.

---

N.B. - This edition of Inland by Night has not been remastered, but instead, augmented with the addition of a live recording from October 2021, 'Valley in Repose', which used the R-EW Audioholistics modular system (alongside a few other synthesizers) to transfigure tape loops from the Pawleys/IBN composition 'Barefoot Stargazer' into an extended reprise, a ghostly echo of a decade past that wakes up in the bottom of the leafy ravine, still remembering the cloudy treelines in a blue dream, and burns itself up in the rays of the dawning sun.

'Valley in Repose' is also being made available separately, for those who already possess Inland by Night and do not wish to purchase it a second time ( coppicehalifax.bandcamp.com/album/valley-in-repose ).

Additionally, no less than three rehearsal takes of 'Repose' have been identified while assembling this reissue, and have themselves been given a separate release bearing the name 'Migration' ( coppicehalifax.bandcamp.com/album/migration )

credits

released November 4, 2022

W/P by Brian Grainger. Recorded at Rolling Knoll and Botany Bay, 2008-2012. This is Milieu Music Distributed 22. Original version of 'Fog' appears on High Hawaiian Fog. Original version of 'Coast' appears on Amber Castles.

'Valley in Repose' originally broadcast live on October 29, 2021, at the White Pillar Workshop, following the listening party for Pawleys Island's 10th anniversary. Recorded using the R-EW Audioholistics modular system in conjunction with the following supplemental instruments: Arturia Keystep Pro and Microbrute, Blue Marvin ARP 2600, Behringer MS-1, Alesis Quadraverb and other outboard FX devices.

Mastered by The Analog Botanist. Text by Brian. CD edition design and layout by Atoll Intercom Systems, Tokyo-3, 2022. Digital cover design by ABM&D with assistance from Atoll Intercom Systems. Duplication by Atomic Disc, Oregon, 2022. (C) + (P) Oscillog ASCAP 2022. All nights preserved.

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about

Coppice Halifax Dayton, Ohio

Analog Botany, since 2005.12.08. Impressionist techno and bedroom fantasist electronics. Compost instead of composition.

I also release music as Milieu: milieumusic.bandcamp.com

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