The Silent Cartographer

Andrew Heath

The Silent Cartographer

This Twilight World

Shoreline (found object)

Paper Boat

Still Point

The Poet’s Dream

In Search of Eden - bonus track

Kleine Blume Irgendwo (a homage to Joachim) - bonus track

The piece, In Search of Eden was produced in response to an arts project, The Secret Garden and Kleine Blume Irgendwo came about from a wonderful concert where Joachim and I performed together. It was also the name of the very first piece of Joachim’s music that I heard. My wife created the painting (An age of summers) that is used for the front cover.

I started working with sounds and field recordings a few years ago after Peter Maynard and I collaborated on the sound installation ‘The Sonority of Objects’. In a way, this is a return to the working methods of my earliest experiments with an old reel-to-reel tape machine and a Sony recording Walkman over thirty years ago. These found sounds are the third element and I balance them against Piano and more electronic parts

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Reviews of The Silent Cartographer

I would recommend this to fans of Krautrock artists such as Klaus Schulze and the ambient compositions of Keith Keniff (Helios/Goldmund) or simply those looking to relax.” - Sun is Shinning Dub ‘n’ Chill

Solace, relaxation, serendipity and timelessness (all tied in a slight abstract framework) are key words coming to mind here.” - Sonic Immersion

Heath has tagged The Silent Cartographer with “Harold Budd” and “Eno,” this is accurate, as TSC definitely resembles that pair’s Plateau Of Mirrors or The Pearl, with a similar dependence on peaceful, drifting pianos. The Silent Cartographer is a bit warmer than those records, a bit earthier — it has more presence, most likely thanks to the field recordings... ...this is beautiful music.” - Freq

Ambient Music Guide proclaims this is one of the best ambient music releases of 2014

“Environmental ambience of the highest order; quiet, immersive, panoramic and subtly melodic. It's the clarity of Heath's soundscapes that are really striking; the textures are are not fuzzy as if filtered through gauze like, say, Brian Eno's classic On Land (1982). These sound paintings are crystal clear, a remarkable achievement of uncluttered composition and painstaking sound design. The source sounds are a mix of acoustic and electronic; droning, arcing, glistening synthesisers, tinkling piano figures, location recordings and sprinklings of random sound effects.”