Counting To Ten Then Back Again (OUT NOW)

 OUT NOW and available from Bandcamp and numerous online music stores. (Norman, Piccadilly records, HMV.com, Juno, Record Plant, Music Magpie, Rough Trade and many others)
Its been 4 years since my last Castles in Space LP Sad Old Tatty Bunting and a Counting to Ten and Tatty Bunting Bundle is also available from Castles in Space Bandcamp.
So a massive Thankyou to Colin and all at Castles in Space for making this happen.
https://keithseatman-cis.bandcamp.com/album/counting-to-ten-then-back-again

Full Electronic Sound Interview Haunted Generation

TRIP ADVISOR

There is nobody quite like Keith Seatman. His new album Sad Old Tatty Bunting is a psychedelic joyride through a parallel universe England, a dreamlike realm of alchemists, scarecrows and gnome-filled gated communities. Passports out, everyone, for a one-way journey to Seatmanworld. Words: Bob Fischer

Full interview Electronic Sound interview here 

Sad Old Tatty Bunting released Today

 Sad Old tatty Bunting has been released and is available from
Castles in Space and Rough Trade/Norman Records and many others.
Artwork by Nick Taylor

 

Castles in Space is thrilled to present a timely new album from Keith Seatman - his first “extraordinary adventure” since 2020’s “Time To Dream But Never Seen”. “Sad Old Tatty Bunting” is another multi layered, deeply psychedelic construction which contains collaborations with Jim Jupp (Ghost Box, Belbury Poly) and Douglas E. Powell (Broken Folk).

Keith provides the vision and background to the album:

“The inspiration for Sad Old Tatty Bunting came about very early one morning in April 2020, during the first UK lockdown. I had taken to going for long walks between six and seven o’clock in the morning. I would stroll aimlessly and directionless up and down terraced streets, along the beach and on the prom.
On these early morning walks, places that were once very familiar to me seemed to have changed and taken on an unfamiliar feel. With this change I noticed new things, things which I had not seen before or maybe had no memory of ever seeing.

“One morning I passed an old pub. Hanging in the beer garden was some very old and quite shabby looking bunting. As I stared at the faded old colours I started to wonder why the bunting was there? Was it put up to mark a long forgotten occasion? Or had it been placed there to just brighten up the garden? As the weeks went by, I started to wander further and every now and then would notice more random old tatty bunting hanging from trees, lamp posts or in windows. On theses walks an idea started to take root. I came up with and really liked the phrase Sad Old Tatty Bunting. I mentioned this to my friend Douglas E Powell who said it sounded like the name of an old scarecrow (Tatty Bunting) it was then that I realised that Sad Old Tatty Bunting could refer to many different concepts/ideas/places/books and things. What, who or even where was Sad Old Tatty Bunting? I honestly had no idea…but it was definitely an idea I was going to pursue…”  

 

All instruments Keith Seatman, with
Jim Jupp - Synths on Jumpy's Playroom
Douglas E Powell - Voice on Burial at Bevill's Leam

All Tracks Written by Keith Seatman, except
Seatman and Jupp - Jumpy's Playroom
Seatman and Powell - Burial at Bevill's Leam

All tracks produced by Keith Seatman and Jack Packer, except
Jumpy's Playroom - Produced by Jim Jupp  

Sad Old Tatty Bunting (Norman Records Pre-Order)

A darkly unique new transmission from the
incomparable Keith Seatman.

Sad Old Tatty Bunting
Format: 12” Coloured Vinyl LP / Download
Released: 18th February, 2022
Catalogue Number CiS093
Distributor: Forte Music
Genre: Electronic, Leftfield, Abstract, Psychedelic, Folk
Pre-Order Norman Records
Castles in Space is thrilled to present a timely new album from Keith Seatman - his first “extraordinary adventure” since 2020’s “Time To Dream But Never Seen”. “Sad Old Tatty Bunting” is another multi layered, deeply psychedelic construction which contains collaborations with Jim Jupp (Ghost Box, Belbury Poly) and Douglas E. Powell (Broken Folk).

Keith provides the vision and background to the album:

“The inspiration for Sad Old Tatty Bunting came about very early one morning in April 2020, during the first UK lockdown. I had taken to going for long walks between six and seven o’clock in the morning. I would stroll aimlessly and directionless up and down terraced streets, along the beach and on the prom.
On these early morning walks, places that were once very familiar to me seemed to have changed and taken on an unfamiliar feel. With this change I noticed new things, things which I had not seen before or maybe had no memory of ever seeing.

“One morning I passed an old pub. Hanging in the beer garden was some very old and quite shabby looking bunting. As I stared at the faded old colours I started to wonder why the bunting was there? Was it put up to mark a long forgotten occasion? Or had it been placed there to just brighten up the garden? As the weeks went by, I started to wander further and every now and then would notice more random old tatty bunting hanging from trees, lamp posts or in windows. On theses walks an idea started to take root. I came up with and really liked the phrase Sad Old Tatty Bunting. I mentioned this to my friend Douglas E Powell who said it sounded like the name of an old scarecrow (Tatty Bunting) it was then that I realised that Sad Old Tatty Bunting could refer to many different concepts/ideas/places/books and things. What, who or even where was Sad Old Tatty Bunting? I honestly had no idea…but it was definitely an idea I was going to pursue…”

Woodford Halse. Undulating Waters 6 and 7. Nov 2021

Keith Seatman · The Odd Admin Sub Committee Excerpt

I have a new track (The Odd Admin Sub Committee) on the new Undulating Waters 7 compilation from the Woodford Halse Label.
But before Undulating Waters 7 there is also Undulating Waters 6.
Following on from 5 previous volumes of our flagship series, Undulating Waters now makes
the jump from cassette onto glass mastered CD with two further editions. Each volume
features new or previously unreleased contributions from an amazing array of talented
musicians from across the globe and across multiple genres. Some names will be familiar,
others may be new to you (there are one or two debut appearances here too),
but what we have is a wonderful collection of new music as the soundtrack to the
end of a not-so-wonderful year. (Matt Handley Woodford Halse 2021)

Volume 6:
Angeline Morrison (UK, folk)
Apta (UK. ambient/electronic)
Aural Design (Portugal, hauntology/library)
Bernard Grancher (France, experimental pop/electronic)
Camp of Wolves (Canada, ambient/electronic)
Holy Ghost People/Adam Stone (UK, post-punk/dub/spoken word)
Korb (UK, kosmische/motorik)
Luzon Valley Fearless (UK, alt country)
Nilson (Germany, hauntology/experimental)
Personal Bandana (USA, kosmische/synthwave)
Quiet Clapping (Ireland, drone/minimalism)
Ryan James Mawbey/Jonathan Hill (UK, post-rock)
Sairie (UK, folk)
Salvatore Mercatante (USA, techno/electro)
Xylitol (UK, kosmische/disco)

Volume 7:
Arboria (UK, psych-folk/spiritual jazz)
David Colohan (Ireland, ambient/folk)
Ffion (UK, ambient/electronica)
Floodlights (UK, post-pop/electronic)
Giants of Discovery (UK, ambient/electronic)
The Home Current (Luxembourg, electronic)
Jacken Elswyth (UK, folk)
Keith Seatman (UK, psychedelic/electronic),
Letters From Mouse (Scotland, electronica/idm)
Listening Center (USA, kosmische/radiophonic)
Lo Five (UK, ambient/electronic)
Pigeon Postal Service (Portugal, hauntology/radiophonic)
Polyhymns (UK, dream pop/electronic)
Prana Crafter/WindKraft (USA, acid folk, cosmic)
Rupert Lally (Switzerland, electronic/synthwave)

Artwork for these beautiful editions comes from Nick Taylor (Miracle Pond) for Volume 6 and
Kevin McFadin (Sunrise Ocean Bender) from Volume 7. Doncaster wordsmith and Beam
Weapons noise maker Paul Bareham also returns with his continuing off-kilter narration of the
Woodford Halse saga which continues on the reverse of the oversized cigarette card inserts.

Undulating Waters on Vimeo
Undulating Waters 6
Undulating Waters 7

New Album Update CiS093 (Feb 2022)

Due to many unforseen circumstances which really cannot be helped. The release of my new Album Sad Old Tatty Bunting (CiS093) has had to be put back to Feb 2022. The Artwork (Nick Taylor) has been completed and the album mastered (RedRedPaw) but at present the turnaround times at pressing plants are very very long with lots of extra complications which I will not go into here.
Have agreed with the mighty (and very hard working, I do not know how he does it) Colin Morrison at CiS that a Feb release would be best option at present. I have a been asked to contribute to a few other projects so there will be a couple of new tunes surfacing before then + some Video teasers, by Jez Stevens (who made the Avoid Large Places Video for Time to Dream Album)

Keith Seatman · Sad Old Tatty Bunting Excerpts (Feb 2022)

Phantasmagorical Progtronica

Like peeking round a corner and viewing scenes from your own or someone else’s past. Old photographs brought to life with the horrible high-definition of reality.
Each track is a mechanical box, the album a set of Russian dolls peculiarly connected but of
the same family. It makes for a sometimes uncomfortably intriguing experience.
That unease you feel? It is just around the corner.

Stewart Gardiner: Concrete Islands Apil 2020 (Full Review)

Concrete Islands

Out Now on Castles in Space

 

Time to Dream but Never Seen is out now and available from

Vinyl & Digi from Castles in Space
Digi from Bandcamp
 Credits
All Tracks written by
Keith Seatman
Except*
Seatman and Powell
Music
Keith Seatman
Words and Voice
Douglas E Powell 
Produced by
Keith Seatman and Jack Packer
© Keith Seatman 2019
Many Thanks to
Jim Jupp for Sleeve Notes and Audio Advice
Simon Heartfield Audio Advice
Jez Stevens for Video
Colin Morrison at Castles in Space
Nick Taylor for Artwork/Design
Antony at RedRed Paw Mastering
CiS and Keith Seatman would like to thank Spencer Robinson for
invaluable production support and Mr Bob Fisher at Electronic Sound and BBC Tees.
Cat: CiS042

 

Concrete Islands Review

Gigslutz Review

Time to Dream but Never Seen (Feb 28th 2020)

Time to Dream but never Seen.
Release Date Feb 28th 2020

 Credits
All Tracks written by
Keith Seatman
Except*
Seatman and Powell
Music
Keith Seatman
Words and Voice
Douglas E Powell 
Produced by
Keith Seatman and Jack Packer
© Keith Seatman 2019
Many Thanks to
Jim Jupp for Sleeve Notes and Audio Advice
Simon Heartfield Audio Advice
Jez Stevens for Video
Colin Morrison at Castles in Space
Nick Taylor for Artwork/Design
Antony at RedRed Paw Mastering

CiS would like to thank Spencer Robinson for
invaluable production support
Cat: CiS042

 Keith Seatman’s music is an anachronistically repurposed assemblage of sounds, melodies and technologies plundered from different time zones. Perhaps no surprise as he lives and records a stone’s throw from the jaded, yet jaunty seafront of Southsea in Portsmouth on the south coast of England. This album however is far from being a haphazard and spontaneous collage. Keith’s busy and dense soundworld is composed though a very deliberate and painstaking process. Unlikely musical and sonic juxtapositions artfully evoke a sense of place and narrative. This latest excursion is bad-trip psychedelia shot through with wistful and whimsical melodies and occasional haunted voices.
So, on Last One In for example, what could be a chirpy and exciting theme tune to a 1970s kid’s adventure series is modulated into a minor key by a sinister synth bass line and menaced by a stomping bother boy rhythm. In the opening track On to the Pier & Down to the Sea, the amusement arcade din is submerged in a watery digital swirl during. Likewise, on Tippy Toe Tippy Toe the tiddly-om-pom-pom of the pier is heard from the point of view some approaching aquatic creature or perhaps by a drowning man. This track heralds the closing section of the album which shifts focus from the seafront to its rustic precursor, the mayday fair. Something weird comes to the village in Waiting by the Window. Sounding as if late period Radiophonic Workshop (when they got hold of expensive synths) had popped back 15 years to work with their boffinish tape wielding forbears. It summons an atmosphere like a Nigel Kneale drama or one of those folk-horror inspired episodes of Dr.Who. 
Finally, the album’s title track seems to offer a chance of escape to a more rustic idyll 
with melancholy mellotron flute and mumbled nursery rhymes. But as the album 
closes it feels like a relentlessly inescapable holiday-special steam train drags us back
On to the Pier & Down to the Sea. Jim Jupp, Ghost Box Records   (extract Sleeve Notes)