This Window

“The Dark Ages” began life as nothing more than a test track—an excuse to fire up the studio’s evolving synth setup and see how the new modular configuration behaved under pressure. What started as a technical experiment quickly grew into something far more evocative, with the patching centred around two modular Eurorack banks loaded with Moog, cre8audio, Datapoint and Doepfer modules, each adding its own flavour of instability, warmth, and controlled chaos. A revised version of this track is due for release in 2027 There has always been a darker side to This Window ’s music, perhaps influenced by its association with the Goth scene and being in a support band for Bauhaus . The Dark Ages The track is a nostalgic look back to the old days—some of them good, and quite a few of them best forgotten. Alongside the modular synth sat the Panasonic SX‑KC600, a humble keyboard/synth that had been dragged out of retirement. Despite its budget‑friendly origins, the SX‑KC600 still de...

 „This Is Not The Way It Should Be“ — Eine langsam brennende Klage mit Reggae‑Puls „This Is Not the Way It Should Be“ ist um eine warme, reggae‑gefärbte Basslinie gebaut, gespielt von Peter Bright. Das Tieftonfundament rollt mit leiser Beharrlichkeit nach vorn und drückt gegen ein Arrangement, das sich ansonsten in Richtung gothischer Minimalismus neigt. Diese Spannung – Wärme unter Kälte, Bewegung unter Stillstand – wird zum emotionalen Motor des Stücks. Die Instrumentierung ist bewusst spärlich gehalten. Skelettartige Percussion hält die Zeit wie ein Herzschlag, der durch eine Wand dringt. Schattenhafte Synths treiben hinein und hinaus, mehr Präsenz als Melodie. Ein wütender Klavierakkord durchschneidet den Mix, ein Aufblitzen menschlicher Frustration in einer ansonsten gedämpften Klanglandschaft. Darüber liegt ein Gesangsvortrag, der traurig, karg und unverkennbar Cohen‑esk ist: halb gesprochen, halb gesungen, getragen vom Gewicht dessen, was längst verloren...

„This Is War“ wurde zwischen 2025–2026 im Morgue Studio (Devon) geschrieben und aufgenommen. Das Album setzt auf analoge Rauheit, minimale Synth‑Impulse und die strenge Ästhetik des Darkwave. Seine Lo‑Fi‑Texturen – Rauschen, Brummen und spröde Drum‑Machines – sind bewusst eingesetzt und verstärken Themen wie Desillusionierung , instabile Realität und den psychologischen „Krieg“. Im gesamten Album nutzt This Window fragmentarische, tagebuchartige Texte, um spirituelle Unruhe, Machtverhältnisse und emotionale Erschöpfung zu erforschen. Stücke wie „Lay Back“ , „Blue Eyes“ und „Where Is My Jesus?“ vertiefen das Gefühl von Konfrontation und Resignation. Review: “This Is War” – This Window  This Is War distils the tension between love and hate into a stark, two‑minute confrontation. Relationships fracture when dreams diverge, and the song captures that moment when compromise becomes impossible. It’s emotional conflict rendered with the brevity of a warning shot. Written...

Download Here  There has always been a darker undercurrent running through This Window’s music, shaped partly by its early association with the Goth and post-punk scenes — including time as support act for Bauhaus , whose shadowy theatricality left a lasting imprint. Tracks like Where Is My Jesus show how that influence persisted: devotional unease, a sense of spiritual dislocation wrapped in cold, minimal structures. Morgue Studio amplifies that atmosphere. Its analogue machines introduce grit and instability, its digital tools stretch voices into spectral shapes, and its modular systems generate pulses that feel more like heartbeat and ritual than rhythm. The result is a sound that is unmistakably This Window — intimate, unsettling, and carved from both circuitry and memory. “ Where Is My Jesus? ” by This Window is a haunting, experimental track recorded in 2008 at Morgue Studio. The song is known for its stark, minimalist instrumentation and emotionally raw...

Between Two Waves  Between Two Waves drifts in on a slow analogue swell, its synth tones rising and folding like a tide gathering intent. The opening carries that familiar Woolacombe hush — the suspended moment before a set rolls in, when the sea seems to inhale. It’s a weightless pulse, the same poised stillness felt sitting on a board just beyond the break, waiting for the Atlantic to decide what comes next.  Hopeless 1989 - 2026 by This Window Download For Free Gradually, the pulse tightens. Layers thicken. The sound begins to lean forward, mirroring the way a wave starts to steep and harden, pulling its energy into a single line. Living in Woolacombe — a place where the ocean doesn’t simply arrive but asserts itself — teaches you to read that shift. Calm surface becomes gathering power, and the track follows that same physics. What begins as a drifting shimmer locks into a 120bpm surge , the moment where the wave stands up and everything accelerates. A...

Review: “Lay Back” – This Is War “Lay Back” unfolds like a half-lit confession, its pulse slow and deliberate, as though each beat is a breath taken between memories. 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. It feels less like homage and more like a continuation of the same emotional architecture: a place where intimacy is always shadowed by doubt, and where desire is never cleanly separated from the ache that follows it. 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. There’s a sense of someone trying to articulate something fragile without letting it break in their hands. The instrumentation is sparse but deliberate — synth tones and low, percussive murmurs that feel like the hum of a radiator ...

An English Eccentric – 1980/81: Contextualising Early Cassette Works by Peter Bright Download An English Eccentric – 1980/81 comprises a series of cassette recordings presented in their original, unedited form. These recordings were not conceived as works for public dissemination; rather, they functioned as working notes, provisional sketches and exploratory fragments. Their preservation of tape hiss, mechanical instability and environmental noise situates them within the material conditions of early domestic recording practices, offering insight into the creative processes that preceded later formal outputs. Between 1980 and 1981, Peter Bright was simultaneously involved in several experimental music projects, including T.34 , In A Glass Darkly , and Finish The Story . The recordings gathered here were produced in the interstices of these activities — often late at night or in the liminal hours surrounding rehearsals and performances. As such, they occupy a space betwe...

This Killing Thing (Live) and the ecological context of Wistman’s Wood The lyrics for this track were inspired by a visit to Wistman’s Wood in the late 1970s. Even back then, its environmental and cultural importance was well recognised, as it’s one of the most significant remaining fragments of Britain’s Atlantic temperate rainforest . Although small in extent, the wood represents a rare continuity of pre‑Neolithic forest ecology and provides a useful framework for understanding the track’s atmosphere, instability, and sense of impending destruction. This track is in many ways about man's impact on the environment - 'This killing thing inside this machine' -   we are, in fact, the killing thing. Where pitted stone becomes knotted oak... This Killing Thing (Live) captures This Window at their most unfiltered: a moment where chaos isn’t just present, it’s the entire accidental aesthetic. The mix is still being wrangled, the sound engineer is fighting a losing battle...

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...

"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...

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...

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...

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...

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...

Are This Window a wordcloud? Extract From The Goat — A Fragment of Tape Culture Revisited “Extract From The Goat” is more than a reissue, a nostalgic glance backward. It returns to a very specific moment in the early 1990s cassette underground — a moment when DIY culture thrived on tape hiss, hand‑spliced edits, and the stubborn belief that sound could be shaped with whatever tools were at hand. Download Here The track originates from the 1991 compilation The Goat , released by the UK label M4TR Productions , a home for outsider, experimental, and mail‑art‑aligned soundwork. On that cassette, This Window contributed “A Collection Of Pieces Of Tape Edited Together” — a title that was both literal and perfectly aligned with the era’s aesthetic. Tape wasn’t just a medium; it was a material to be cut, rearranged, reversed, and reassembled into new forms. This Window moves through an emotional landscape shaped by isolation and entrapment...

“This Is War” lands like a late-night broadcast from inside the machinery—dark wave and post-industrial grit filtered through a DIY, analog-minded sensibility. It’s short on runtime but dense in feeling, moving quickly from fractured atmosphere to direct emotional statements, with the kind of tension that makes every transition feel deliberate. Musically, the album leans into contrasts: harshness versus tenderness, dread versus a kind of fragile composure. The opening sequence sets the mood fast—“This Is War” (01:54) plays like the thesis statement—before the record settles into a steadier momentum with “Lay Back” and the eerie melodic pull of “Blue Eyes”. From there, it keeps tightening its emotional knot. “Where Is My Jesus?” reads like a moment of spiritual searching that never quite becomes catharsis, and “This Is Not The Way It Should Be” makes the album’s “shame / denial / echo” themes explicit—framing a world where old strength has gone, replaced by shadow, repet...