This Window

Morgue Studio: Modular Upgrade & A Small 1990s Discovery Following the recent upgrade of Morgue Studio’s modular synth racks — with new modules from Moog, Doepfer, Behringer and Rakit — an unexpected find surfaced during the tidy-up. A box of 3 mm Philips-type screws, untouched since the late 1990s, was discovered at the back of a storage drawer. These screws are the classic Eurorack size, ideal for mounting modules or replacing worn fasteners. There is a surplus, so if you need a few for your own rack builds or repairs, you are welcome to grab some while they are available. This Window free download series This small piece of studio history sits alongside the ongoing This Window free download series on Bandcamp, which opens up the archive and shares material recorded across several decades. The latest release, Hopeless 1989 – 2026 , is a free five-track digital compilation that serves as an introduction to the world of This Window, trac...

This is not a complete list more can be found on Discogs.  Below is a selection of other official releases by This Window , covering the project’s audio‑cassette compilation output during the 1980s and 1990s. Much of This Window’s early work emerged directly from the cassette‑culture underground , a decentralised, fiercely independent network of artists, labels and home‑recordists who exchanged music through the post. These tapes were often duplicated on domestic equipment, packaged by hand, and circulated via mail‑order lists, fanzines and word‑of‑mouth. The movement blurred the lines between sound, visual art and DIY publishing — a perfect environment for This Window’s experimental, textural approach. Alongside cassette culture, the project was also connected to the mail‑art movement , where artists traded handmade artworks, collages, sound pieces and ephemera across international postal networks. Releases often travelled the same routes as mail‑art exchanges, reaching listeners,...

"Gone are the Days of You and I" by This Window Inspired by the existential writings of Jean-Paul Sartre Download Free "The age of reason is here to stay, gone are the days when we used to play..." This Window’s Gone are the Days of You and I is a stark meditation on the transition from innocence to existential awareness. Drawing from Sartre’s philosophical canon—particularly Nausea and Iron in the Soul —the lyrics evoke a world stripped of illusion, where play yields to responsibility and warmth gives way to the chill of self-awareness. The accompanying video underscores the tragedy of love lost in war. Time slips by, and lovers part after a brief respite from the battlefront, returning to the harsh reality of conflict. Though the imagery harks back to the 1940s, the narrative resonates with contemporary relevance, serving as a poignant allegory. The phrase "Iron in the soul" is no accident. It references Sartre’s wartime novel T...

Morgue Studio: New Modular Additions Morgue Studio has expanded its analogue sound capabilities with a new installation of modular synth racks. This upgrade brings a more tactile, hands-on approach to sound creation, moving beyond virtual instruments and into real-time, physical signal shaping. The new system incorporates modules from Moog , Doepfer , Behringer and Rakit — each contributing its own character and design philosophy to the studio’s evolving sound palette. Moog Moog’s modules carry the unmistakable warmth and musicality that helped define the early landscape of electronic music. Their oscillators and filters add weight, presence and analogue authority, grounding new recordings in the physical circuitry that shaped entire genres. Doepfer Doepfer, the company behind the Eurorack standard, brings precision and structure. Their modules are known for reliability and clarity, enabling complex patching, detailed signal routing and an architectural approach to modula...

Crash ’87 is more than a track—it’s a node in a network of ideas about fragility, control, and collapse. The Kimura Gallery (University of Alaska) exhibition amplified this by situating the work in a space where sound, image, and philosophy converge, turning a small mouse into a profound meditation on power, vulnerability, and the genetics of art. This video was made in homage to that exhibition in 2025. Get Track Here The remixing of a 1981 track Crash ’26 channels the enduring DIY spirit of home taping into a deeply reflective and time-warped experience. It approaches the past not as mere nostalgia but as fertile raw material: the gentle hiss of ageing tape, the textured grain of home-built studio experiments, and the fragile warmth of recordings first captured in 1981 are all resurrected and reimagined under the luminous glow of 2026’s digital era. Crash '26 stands as a quintessential This Window homage to the homemade, artscape music of the 19...

A Space You Step Into  “Lay Back” has always been one of those tracks that doesn’t simply play in the background — it occupies space. It unfolds like a half‑lit confession, its pulse slow and deliberate, each beat a breath taken between memories. The track first appeared on the 2025 album This Is War, a release that pushed This Window further into the territory of intimate minimalism and emotional stillness. The track doesn’t just reference Leonard Cohen’s Favourite Games and Beautiful Losers ; it seems to inhabit their rooms, borrowing the scent of their cigarette smoke and the weight of their silences. The vocal delivery is intimate yet detached — a voice speaking from the edge of a bed at 3 a.m., where desire and disillusionment lie tangled in the same sheets. Sparse synth tones and low, percussive murmurs form the backbone of the piece, like the hum of a radiator in winter or the faint static...

The Roland SH-101 is an analogue synthesiser made by Roland between 1982 and 1986. It became widely used in the 1990s, especially in electronic and house music. The SH-101 is monophonic, meaning it plays one note at a time. It features a single oscillator, sub‑oscillator, low‑pass filter, mixer for blending waveforms, noise generator, arpeggiator, and sequencer. An ADSR envelope controls the filter and VCA, while an LFO can modulate the filter, VCA, pitch, and pulse width. Its sound is often described as “snappy and razor‑sharp” bass, “squelchy and expressive” leads, and a “piercing yet smooth” filter. The SH-101 appears on many Finish The Story songs and is frequently used on This Window tracks. At launch, it cost $495 in the US and £249 in the UK, making it relatively affordable compared to other analogue synthesisers of the time. Their Gods – Limited Free Mix – Homage to the SH-101 Pre-release mix · 5 minutes · Instrumental version Their Gods appear...

Broken signals in horror and paranormal TV turns static into meaning—messages arrive warped and never whole, inviting viewers to finish the sentence.  Never finish the story - what is the narrative?  Every genre has its shortcuts to emotion. Horror films lean on shadows. Paranormal TV leans on suggestion. But one device cuts across all of them: the broken signal. A message that arrives damaged, incomplete, or warped — something that feels like communication but refuses to settle into certainty. On shows like Help! My House Is Haunted , the technology is half the theatre. Scanners sweep radio frequencies, software isolates static, and investigators listen for anything that might resemble intention. A clipped syllable becomes a warning. A hiss becomes a sigh. A burst of interference becomes a voice from the dead. The audience is invited to finish the sentence, to supply the missing pieces, to believe that meaning can be extracted from noise. The message is never whole. That’s th...

This video is made using a piece of home movie 8mm film from the 1970's. The Girl in the Black Bikini is a wistful vignette wrapped in sunlit melancholy—a sonic and lyrical meditation on fleeting beauty, memory, and the quiet rituals of observation. The track unfolds like a slow-motion snapshot, where every detail is imbued with symbolic weight: fluttering deckchairs, sand scattered with tiny stones, and the ephemeral imprint of a towel on the shore. Lyrical Atmosphere: The lyrics evoke a cinematic stillness, reminiscent of British seaside nostalgia filtered through a lens of existential longing. Phrases like “She lays on her towel like a ribbon drawn with sunlit ease” and “The English rose reclines into time’s indifferent cradle” suggest a delicate tension between presence and impermanence. The girl in the black bikini becomes both muse and metaphor—her beauty reigning briefly before being erased by the tide. Musical Texture: While the l...

Extractivism by This Window New Download Album Released Extractivism by This Window Listen Here 11 tracks for only £4.00 This digital album brings together a collection of new tracks that have never been released before, alongside rediscovered pieces and fresh remixes. It offers a new chapter in the long, shape‑shifting story of This Window — a project that has existed on the fringes of experimental music since the 1980s. Formed within the UK’s cassette‑culture underground, This Window has always operated in the borderlands: part post‑industrial, part minimal synth, part sound‑art, part lo‑fi experimentation. Across decades of tapes, vinyl, CD‑Rs and digital releases, the project has remained defiantly independent, favouring texture, atmosphere and emotional undercurrents over conventional song structures. The sound has shifted with each era — from raw four‑track recordings to more sculpted electronic work — but the ethos has stayed constant: intimate, handmade, exploratory. This coll...

A Long Arc of Experiments, Accidents and Persistence Across the shifting landscape of British experimental music, This Window has remained one of the most quietly enduring presences — a project that has never chased scenes, trends or movements, but instead built its own slow, idiosyncratic path. For more than four decades, the work has unfolded through cassette culture, reel-to-reel tape, early digital experiments and contemporary rendering tools, always retaining a sense of rawness and curiosity that defines its identity. The Bandcamp release, Hopeless 1988–2026 , gathers five pieces from across that long timeline. It is presented as a free digital download, but its value lies far beyond its price. This is not a retrospective in the conventional sense. It is a cross-section — a set of fragments and finished works that reveal how the project has evolved, adapted and persisted through changing technologies and changing personal circumstances. Rather than smoothing out the dif...

Beyond Categories, Beyond Formats Art music has always resisted simple definition. In the early 2000s, the term still carried a faint museum-dust aura: experimental sound, gallery installations, mail art, the stubborn analogue fringe etc. It was—and in some circles still is—a space where musicians behave like artists and artists behave like musicians. This modus operandi may be an archaic view point but in many respects there is some validity - a gallery becoming a concert hall can't be a bad thing.  Art music is no longer a genre or a subculture—it is a method , a practice , and increasingly a system . It spans sound, image, code, performance, and networked collaboration. It is shaped by global distribution, political urgency, ecological awareness. The search for new boundaries and possibilities - the rise of AI tools that both expand and challenge what creativity means, looking forward to the possibility of what is around the corner. The core impulse remains the same: to ex...

Their Gods This track, available as a (pre‑release) free limited edition mix , is an early preview of a forthcoming album planned for late autumn or early winter—a collection of new tracks shaped around memory, place, and the small moments that stay with you long after they’ve passed. It’s the kind of record that feels less like a statement and more like a return: to streets you used to know, to rooms where a certain light still lingers, to the quiet turns of life that don’t announce themselves as important in the moment, yet keep echoing anyway. Forthcoming Album: Introducing This Window At its core, the collection gathers ideas and half‑finished projects that were never resolved, set down, and in some cases nearly forgotten across the decades. These are fragments without spectacle—never dramatic or life‑altering, but quietly significant. The songs move through photographs that held more than what was captured, walks that changed nothing on paper but shifted ...

Extractivism 2 — This Window Extractivism 2 gathers a new set of unreleased material from This Window , alongside rediscovered fragments and freshly reworked pieces. It marks another turn in the long, shifting trajectory of a project that has lived on the outer edges of experimental music since the early 1980s. Born out of the UK’s cassette‑culture underground, This Window has always occupied the margins: part post‑industrial, part minimal synth, part sound‑art, part lo‑fi experiment. Across decades of tapes, vinyl, CD‑Rs and digital releases, the project has remained stubbornly independent, favouring texture, atmosphere and emotional undercurrents over conventional structures. The tools and surfaces have changed—from rough four‑track recordings to more sculpted electronic work—but the ethos has never moved: intimate, handmade, exploratory. Extractivism 2 continues that lineage. These tracks—newly uncovered, re‑edited or reimagined—trace the project’s ongoing evolution while retainin...

Fostex 1/4" reel‑to‑reel 8‑track recorders changed home recording by bringing musicians much closer to a genuine studio experience. With eight independent tracks, artists could record drums, bass, guitars, vocals, and additional layers separately, then shape the mix with far more control than earlier 2‑ or 4‑track setups allowed. This opened the door to real experimentation at home—overdubbing, rearranging sections, refining performances, and building songs piece by piece instead of relying on single‑take captures. Recording and mixing were done through a conventional mixing desk, with the final stereo master mixed to cassette or a 1/4" 2‑track reel‑to‑reel machine. For many independent artists, this affordable recording technology was the first time their music felt “properly recorded” rather than simply documented. A Game Changer These machines also raised expectations for sound quality in self‑released music. Analog tape has a distinctive character t...

Homeless Under a Bridge  forms part of III Convocatoria Internacional Morada Sónica 2026: Escuchas para una Ciudad Mecánica , a wide‑ranging international project that invites artists to rethink the modern city as a living, grinding, malfunctioning machine. Within this framework, This Window’s contribution becomes more than a standalone track — it becomes a sonic document of urban neglect, a dispatch from the underside of the mechanical metropolis. The piece channels an observational intensity born from a hurricane‑struck trip to Miami: the way infrastructure groans under pressure, the way the most vulnerable are pushed into the literal gaps of the city, the way a bridge becomes both shelter and indictment. In the context of Morada Sónica’s call for listening practices that expose the hidden rhythms of urban life, This Window’s work stands as a stark reminder that the city’s machinery is not just steel and concrete — it is also the bodies it forgets. La semilla de la pieza proviene...

Making Music When It Feels Like a Chore Sometimes making music feels less like fun and more like a chore. The process should be satisfying—something that pulls you forward and leaves you lighter but instead, it can feel heavy, like effort without the reward. I hate music. I hate making music. I’d rather sleep. I’d rather disappear into quiet, into rest, into the kind of peace that doesn’t ask me to be creative on command. And yet I can’t stop. It’s strange how the mind can complain loudly. I sit down, tell myself this is pointless—somewhere underneath the complaining—there’s a rhythm that won’t let me stop— press play . I open the project. I stare at the empty space where sound is supposed to be and then it happens. Maybe it isn’t enjoyment. Maybe it’s survival. Maybe it’s my oxygen— press play again . Boundaries, Breath, and Survival Strategies Art dissolves when you stop treating it like a category. Ducha...