Vestige House — Corey Holms

Hi, I’m not terribly good at promoting my music, so with this release I’m trying to incrementally get better at it.

Having worked over a month without a single day off from my primary occupation as a graphic designer, all of the days started blending together. This music was made as an escape and coping mechanism (something to help my mind pull focus), but ironically ends up being something well suited to listen to while working.

Written and recorded in off hours, piecemeal — the patch would be left on the modular for days, waiting to be picked back up again. By the nature of analog modular, when I would go back to it there were tiny differences. There’s always differences. And you can’t go back; what has been recorded is all there is, even with patch notes you can’t get back to where you were. So you just continue, find the pulse, find the pattern and let that guide the process. Sometimes it’s seamless, other times you can hear that a day or more has passed. Time became a theme for this recording as the entire release uses a time-offset composition technique where notes will play, the come back delayed at various rates, which end up creating countermelodies. So this mixture of what is now and what was then ends up weaving together into melodic strands held in place by a clock. Pattern exploration and manipulation — natural cycles of starting slowly then a flurry of activity all leading to the eventual wind down. The work is palindromic in its nature. Complexity emerging from simplicity, and collapsing back on itself, Ouroboros like.

Written, recorded and mixed by Corey Holms
Mastered by Nathan Moody at Obsidian Sound

I can’t figure out how to embed video into this post, so if you want to see three short promotional videos I made to promote the release on Instagram, you’ll have to go here.

Also, if anyone has better ideas for how to promote music like this, from someone with no name recognition, I’m happy to hear your thoughts. I don’t harbor any delusions of grandeur about this or my abilities, I just would like a couple more people to hear it than I currently have.

Thank you.


I like it! The delayed layers do exactly what you describe imo. The end results to me often still sound simple, and I see that as a good thing. As in, the perceived simplicity probably means I hear the changes as “natural cycles” too.

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A wonderful album. I particularly enjoyed the complex ambiance in the final track.

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Thank you, the simplicity and sparseness of the songs is something I struggle with, so it means a lot that it feels natural to you. That E102 module was something I hadn’t fully explored properly before this release. I would feed it a sequence and then use the outputs for modulation. And of course, it has lovely noise (which was the deciding factor in purchasing the module for me). I hadn’t successfully used it for melodic purposes, and once I started modulating the delay, it all came together.

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Thanks, that one was tough to fit in the sequencing of the album. I wanted it as a palette cleanser in the middle of the album, but it really interrupted the flow. Eventually the end was the natural place for it.

This is something I posted to Instagram today, which I feel I should share here as well since some people are listening.

Over the course of the past week, it has felt increasingly in poor taste to promote the release of my album. During that time however, I have been emailed by three different people, telling me how calming the music is to listen to while working. That’s more feedback than I’ve received on any other album, truth be told. If you feel like you might benefit from hearing something soothing while you work, the album is streaming on all platforms. High resolution audio files are available at no cost on Bandcamp (just enter 0 at check out).