The majority of songs on this album feature contributions from multiple performers, whether it’s Nils Frahm duetting on the keys with Arthur Jeffes of Penguin Cafe, Kiasmos being joined by Högni and a string ensemble, Douglas Dare’s one-take Darling featuring Rival Consoles on synths, Masayoshi Fujita on vibes and Raths himself controlling the tremolo on his voice. Peter Broderick’s Perpetual Glow meanwhile, brings in a full big band and choir where everyone present, including the studio staff, was invited to grab any instrument and join in. Every song has a unique story and approach – in-the-moment decisions and little accidents that could only come out of these kinds of circumstances where people work together in the same space, sparking off each other and their environment. Even Rival Consoles’ remix of Daniel Brandt’s Blackpool Sands Forever was conceived of in the studio kitchen during recording breaks.

Japanese vocal performer Hatis Noit decided to bring a field recording of the ocean with her, which she had taken near the Fukushima power plant after participating in a memorial ceremony for the opening of the evacuation area. It is also no coincidence that the album opens with Brutal Moderna by Qasim Naqvi of Dawn of Midi and A Winged Victory For The Sullen’s Long May It Sustain, which were both recorded on the day the U.S. election results came in.

“Qasim asked me to read the news headlines with a stutter over the top of his piece. It was an oddly beautiful experience which brought all of us together on a day when spirits were otherwise a bit low,” says Peter Broderick. “I thought this residency was a wonderful idea. In fact I would have loved to be there for more of it. I made some amazing new friends, some stronger bonds with old friends and some wonderful pieces of music that I’m honoured to be a part of. Robert has often described Erased Tapes as a family, and perhaps above all else this was just his earnest effort to bring the family together. I hope we’ll have some reunions in years to come!”