Dead Light was created after Anna Rose Carter and Ed Hamilton moved from London to a quiet, remote space in the countryside.

The migration out of the sprawling metropolis to their new rural refuge was a transition that significantly impacted them both; the reality of this new setting an apposition between the serene nature of their new life, and the dislocation from the lives, people and places that they left behind; two conflicting sentiments that co-exist in a somehow beautiful, bitter-sweet relationship. Dead Light is the tension between these two states, a textured and imperfect dream world.

Recorded at Pie Corner between September 2014 and May 2016, the debut album from Dead Light is a tender exploration of hope, escape, tension, and isolation. Rooted in traditional instrumentation and a hand made approach to effects and synthesis, Dead Light’s music draws upon classical, ambient, pop and electro-acoustic influences. Waves of melancholy stretch through every track, with slow, yet expressive melodies that sing from tape-looped cello motifs, and an old close-mic’d piano that Anna’s grandfather gave her, yet the feeling of hope never seems to be far away.

Distant and reflective, yet intimate and emotive, Dead Light’s sound is characterised by a plethora of analogue artefacts ranging from loops constructed on cheap old machines, tape delays (via daisy chained reel to reel machines), homemade synthesisers, contact mics and hydrophones.

Elements of their textured sound can be attributed to their experimentation with treated tape (warped in various ways via prolonged exposure to sunlight, vinegar solutions, microwaves and washing machines), hydrophones (placed in ice trays and allowed to freeze and thaw) and most noticeably, piano preparations (hand-muting strings, screwdrivers, coins, felt, using the soundboard as a plate reverb etc).

"Imbued with real craft and emotion, cuts surprisingly deep"
Electronic Sound Magazine

"Persuasive emmersive debut"
⋆⋆⋆⋆ - Mojo

"Dead Light have made something truly moving"
The Line of Best Fit

"Joining the dots between electronic, ambient, and classical..."
Clash

"Don't be fooled by the ostensible simplicity of its minimalism. There's so much depth here"
Earmilk

"Peculiar, bold and full of nuance yet inviting, catchy and heartwarming. Utterly enchanting."
Igloo Magazine









Bannerlighter

Dead Light

VGLP014
Blooms03:50
Slow Slowly05:21
The Ballad of a Small Player02:02
Falling In05:48
Sleeper02:50
In Red and Red04:11
Trills02:01
Broods and Waits03:40
Little Blue02:11
Pale Fire05:01
Outpour02:24



Buy Physical (Norman Records) Buy Digital (iTunes)
Bannerlighter

Dead Light

VGLP014
Blooms03:50
Slow Slowly05:21
The Ballad of a Small Player02:02
Falling In05:48
Sleeper02:50
In Red and Red04:11
Trills02:01
Broods and Waits03:40
Little Blue02:11
Pale Fire05:01
Outpour02:24



Buy Physical (Norman Records) Buy Digital (iTunes)

Dead Light was created after Anna Rose Carter and Ed Hamilton moved from London to a quiet, remote space in the countryside.

The migration out of the sprawling metropolis to their new rural refuge was a transition that significantly impacted them both; the reality of this new setting an apposition between the serene nature of their new life, and the dislocation from the lives, people and places that they left behind; two conflicting sentiments that co-exist in a somehow beautiful, bitter-sweet relationship. Dead Light is the tension between these two states, a textured and imperfect dream world.

Recorded at Pie Corner between September 2014 and May 2016, the debut album from Dead Light is a tender exploration of hope, escape, tension, and isolation. Rooted in traditional instrumentation and a hand made approach to effects and synthesis, Dead Light’s music draws upon classical, ambient, pop and electro-acoustic influences. Waves of melancholy stretch through every track, with slow, yet expressive melodies that sing from tape-looped cello motifs, and an old close-mic’d piano that Anna’s grandfather gave her, yet the feeling of hope never seems to be far away.

Distant and reflective, yet intimate and emotive, Dead Light’s sound is characterised by a plethora of analogue artefacts ranging from loops constructed on cheap old machines, tape delays (via daisy chained reel to reel machines), homemade synthesisers, contact mics and hydrophones.

Elements of their textured sound can be attributed to their experimentation with treated tape (warped in various ways via prolonged exposure to sunlight, vinegar solutions, microwaves and washing machines), hydrophones (placed in ice trays and allowed to freeze and thaw) and most noticeably, piano preparations (hand-muting strings, screwdrivers, coins, felt, using the soundboard as a plate reverb etc).

"Imbued with real craft and emotion, cuts surprisingly deep"
Electronic Sound Magazine

"Persuasive emmersive debut"
⋆⋆⋆⋆ - Mojo

"Dead Light have made something truly moving"
The Line of Best Fit

"Joining the dots between electronic, ambient, and classical..."
Clash

"Don't be fooled by the ostensible simplicity of its minimalism. There's so much depth here"
Earmilk

"Peculiar, bold and full of nuance yet inviting, catchy and heartwarming. Utterly enchanting."
Igloo Magazine