Tuesday 30 November 2010

Complex Silence #9 :: Fresh Landscapes

“There are such artists that quietly create and share their works and perhaps never really surface in the wild wild world of netlabel artists.

And to a certain point Cousin Silas is one of the best kept secrets under the radar, born and raised in the Colne valley of West Yorkshire, UK.

He first released in 2001 commercially through fflintcentral but quickly found the world of creative commons in 2005 with 4 releases to date on Earth Monkey productions, 4 releases on Earthrid and wandering through the netlabel world on Just not Normal, Acustronica, BFW Recordings.

As we all mature, it seems to me that through time the stronghold of Cousin Silas’ work digs deeper and has grown more subtle whilst remaining quite fragile.

Today Cousin Silas presents his 14th solo album here on Treetrunk. Continuing in the fantastic series called Complex Silence, Phillip Wilkerson brings to light a marvellous group of artists that dwell on the complexities of silence. One thing you can be sure of; this nineth complexity is one to hold dear. For Cousin Silas certainly masters this beautiful tonal silence and brings a beautiful 10 track album to set your mind off, into …..”
Mark Stolk (aka mystahr)

I am proud to announce my latest release... via Treetrunk Records... curated by Philip Wilkerson as part of the fantastic Complex Silence series. The release contains some truly wonderful artwork from Thomas Mathie who I am grateful to have worked with.

As always... I'll let others talk about the release... and my thanks to Mark Stolk (aka mystahr) for his kind words above.

Download it here for free and let me know what you think.


  1. Dear Cousin Silas: You have created a masterpiece. Fresh Landscapes will be remembered for charming melody, its catchy tune and rythums.
    I know what I like having lived a long time and your piece Fresh Landscapes will be remembered for a long time. (Can you create a longer version)

  2. Tom, thanks for your comments. Not sure I'd have the staying power to create a longer version. But I am trying, on and off, to create the odd longer piece, eventually. I do enjoy the short pieces though, they, for me, capture the mood and essence far better and don't overstate or labour the point.