I’ve had this on my phone for the past several months & have selected several tracks for upcoming 2021 mix programs.

‘Pentimento’ was the first riverrun album, originally released in January 2010, and now re-released on a dedicated riverrun Bandcamp page.

Daniel Land’s riverrun project is a series of heavily-composted landscape recordings, that he has been working on for nearly two decades in parallel to his songs. Taking its cue from musique concrète, and building upon the groundwork laid down by Brian Eno’s ‘On Land’ album, riverrun’s music painstakingly layers field recordings and reprocessed studio tracks into a deeply nostalgic exploration of geography and memory.

Read more at: danielland.co.uk/pentimento

Released January 17, 2010

“This album is a culmination of nearly fifteen years’ work, which began with a recording of a thunderstorm in 1995, and which ended in a flurry of activity that caused me to temporarily abandon a body of more traditional song work. Several threads, such as an increasing sense of nostalgia as I got older; a return to the places of my childhood; and a desire to make music that was more organic and in some way related to landscape, all came together at the same time, providing a conceptual framework for a series of secret ambient recordings that I had developed in parallel to my songs.

These tracks were created when my attention was focused somewhere else. Often they began life as experiments – impressionistic gems that appeared when I stumbled upon a new sound-colour and spent a while exploring the ramifications of it. As I searched my tapes for other similar, overlooked works, I began incorporating elements of existing pieces into the mix; completing disregarded, half-finished attempts; sometimes even deconstructing the mix of one of my more traditional pieces into something slower and more environmental. Some of these pieces even began life as songs – the conventional instruments, pushed further and further back in the mix as I uncovered layer upon layer of psychic texture, were gradually located out of earshot. You can hear them sometimes, breaking through. I like it when that happens.

In making a type of music that was more self-consciously environmental, I was acknowledging a central – if previously unconscious – preoccupation of my work, that of the need to construct mental places and situations that I could go to, escape to, re-visit and re-write. Whilst many artists derive inspiration from their romantic history, I have found instead that music itself suggests a physical space, far removed from the cramped confines of the recording studio, which can evoke memories and moods without need for the construction of narrative. Accordingly, in searching for names for these previously untitled pieces, I abandoned my usual ‘lyrical’ titles and began to refer to each track by the name of whichever landscape or memory was in my mind while I was working. What results, for me, is a multi-layered tapestry of sound, each element of which resonates with meaning and memory”.