The Late Echo is an elastic musical endeavour that serves as an outlet for a variety of projects: music made for meditation or concentration, ambient music, music incorporating field recordings and outside sounds, improvisational music, and, each December, some holiday music made for family and friends.
Scroll down for details on individual albums, links to the music on streaming services, and videos featuring some of the work.
If you’d like to get straight to it, you can find The Late Echo artist pages at Apple Music, Spotify, Tidal, and YouTube. Thank you for listening.
The project’s name is borrowed from John Ashbery’s poem “Late Echo.”
Wurlitzer Improvisations
An ongoing series drawn from a large body of work recorded in Summer 2025 in Cape Breton, Nova Scotia. For six weeks, I played daily improvisations, recording them all. Many of them are boring! But some of them have a spark, and I’m slowly shaping the ones that do into releases.
The first in this series, Houseboat Days (Wurlitzer Improvisations, Vol. 1), was called “unbearably sad” by one listener, a compliment I was pleased to receive.
You can find it here at Tidal, Apple Music, and Spotify.
Radiance Filter
Inspired by a lot of different music, but especially Éliane Radigue, William Basinski, and Brian Eno (and in particular his hour-long piece "Thursday Afternoon"), Radiance Filter is a four-part, four-hour long piece that explores the question of how much movement one can put into something that still feels static, or, put another way, how static can one make something that's moving feel. It's very slow music, in other words.
I originally made these pieces for myself as music to use in meditation. In the months since I did the primary recording, as I've mixed and tweaked and mixed again and tweaked again, I've found myself using it more as music for concentration—I find it especially helpful when needing to focus on a task, particularly anything creative.
You can find it here at Tidal, Apple Music, and Spotify.
Rancho Mirage
This record is a kind of musical exploration of a very old farm my partner and I owned in an extremely rural part of Cape Breton Island (you’ll see a century old photo of the house, which was built in 1861, on the cover).
Rancho Mirage was made with outside sounds recorded around the house, property, and surrounding area, which I would then listen to while improvising drones, sound washes, and keyboard parts.
Except the last track, which was recorded from the field behind the house, with me playing keyboard in my studio/office a hundred or so feet away with the windows open—a very literal field recording.
You can find it here at Tidal, Apple Music, and Spotify.