If you, like me, may have been struggling to keep up with all the labels and artists you follow throughout the year, then compilations like Past/Present may come as some sort of godsend. Highlighting just about anything that Past Inside the Present have been pumping out in 2024, this compilation spans a lengthy three hours and showcases all the various shades of ambience that PITP specialize in.
Each artist has their own dedicated space
If you, like me, may have been struggling to keep up with all the labels and artists you follow throughout the year, then compilations like Past/Present may come as some sort of godsend. Highlighting just about anything that Past Inside the Present have been pumping out in 2024, this compilation spans a lengthy three hours and showcases all the various shades of ambience that PITP specialize in: post-rock and ambient pop influences, alongside grittier and more unnerving drones, sometimes progressive pieces, and just about everything else that would contribute to ethereal and serene atmospheres that are near and dear to the label.
As each artist has their own dedicated space on this compilation, all of the above also has plenty of space to shine, given the huge display of names. The record isn’t a colorful and dizzying over-stimulant though, it groups these styles together in a way that makes the overall experience more significant than its individual moments.
As an appetizer, whose length may actually be more of the likes of a 6-course meal, the live Past/Present 2024 mix acts as this compilation’s “TL;DL,” but encourages me to keep listening instead. I imagine it’s pretty significant for Inquiri, who just had her first release on the label, to have this massive live set right at the beginning of the compilation, squeezing in PITP ambient works from 2024 to sort of act as a celebration for the label itself—it almost sounds like a big responsibility and a chance you don’t want to miss out on. The piece seamlessly shifts from one atmosphere to another, but always maintains its beautiful scenic approach; it’s not quite what I’d call cinematic, as it’s not trying to be too big for its own good, but it sure is beautiful and wonderfully smooth. It displays a very light soundscape initially, but morphs constantly as it moves forward, with the two bits that stick out a lot being the almost theatrical vocal section around the middle and later the piano-driven segment. The ending is also noteworthy, as it first showcases the most eclectic part of the set to then go back to the piece’s initial calm, going into a nice closure.
The tracks that follow thrive off of this mix’s momentum, as they’re all also very light and ethereal. Among these, Lehnen‘s “Bright Colors” makes a standout, as it’s everything but bright, it’s almost lullaby-esque instead, and it is really wonderful. 36‘s “Axiom Haze” is also really memorable, as it’s one of the most futuristic and progressive tracks on the record, despite what its brevity may have you think.
Floating among clouds ::
.foundation‘s “hypnotism III” is the first true drone piece, and it sticks out due to its different approach; it still anchors onto the compilation’s initial direction, as its second half is focused on this arpeggiated synth lead that makes it quite futuristic, but the overall feel of this piece is much denser than anything that precedes it. The three following tracks bring you back floating among clouds, being as dreamy as they are. Kilometre Club‘s “Whirn” sticks out thanks to its guitar based approach à la Stars of the Lid, and the following “Advent” from zakè and Angela Winter happens to be the same noteworthy vocal part of the Past/Present mix, which you can now hear in all its glory.
Other highlights in this same airy vein include the wonderful “Burning Bridges” from Ausklang, another guitar piece that’s one of the more melodic of the entire LP, “Cedar,” which blends a really simple and smooth bassline with some of the brightest synths on the record courtesy of From Overseas, James Bernard, zakè, and the oddly unsettling “Passing of Time” by ASC, also an already mentioned segment of the live mix, that being the piano piece.
Afterwards, the compilation shifts quite dramatically into far darker territory, with “Haunting Silence” (by Inhmost) and “Mars Rain” (by James Bernard); the latter featuring some spooky storms to accompany its rather desolate atmosphere. Inquiri then strikes again with “Be the Hero,” the piece I was most familiar with in this entire compilation, considering that it was the most memorable track off of See You Someday for me; it definitely eases the atmosphere at this moment in the track-list, and it also sticks out as much as it did in its original record, given its use of vocals that’s far bolder and more pop style than other vocals that appear.
The last leg of the compilation is the most memorable, as it features a lot of improvised—or so I assume—pieces with live playing. Among them, Nitechord‘s “Reflect” instantly stands out due to it being an odd minimal techno piece which infuses similar guitar washes that I mentioned earlier; it’s definitely one of my favorite tracks here, due to its interesting combination.
Uneasy textures ::
Following that, the really open and relaxing “An Old Movie…” (by Daniel Wyche) also makes a name for itself, as it’s a beautiful post-rock piece that sometimes dares to experiment with uneasy textures; its wonderful atmosphere is occasionally broken up by these sharp guitar screeches and taps, preventing you from getting too lost in the beautiful dreamy setting of the piece. Similarly acts “The Scene With One Tender Memory” (by Lia Kohl), which instead combines hefty electronic manipulation of guitar with a really melodic approach, though the two always stay separate. “ONTOS VII Nature” (by The Corrupting Sea) is also an interesting standout, a fusion of nature recordings and just noise, literally just plain noise clashing against bird calls and water flows of sorts; something quite unhappy must have happened in this forest, but the birdies don’t seem to mind much, as they’re always present.
And this last section of the record is about the end of it, as it sums up a really varied and expressive journey through Past Inside the Present’s work in 2024. If you care for what this label has to offer, this is the one release you want to tick boxes on and see if you’ve not missed anything worth your time, and if you’re instead unfamiliar with the label, then might as well dip your toes in here and see what the talk may be about. There’s plenty to like here, and in all shapes and sizes, as I’ll emphasize once more how eclectic the release is as a whole, making it a valuable celebration you might want to lend an ear to.
Past/Present 2024 Compilation is available on Past Inside The Present. [Bandcamp]
