by smallhaus

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unweather is the result of over a year’s experimentation with different approaches to making sound and music. It features processed and manipulated field recordings made in a number of locations, from London to Hebden Bridge, to the Isle of Mull, along with extracts from tape loops, guitar and other electronic instrumentation. Granular synthesis is used to create lo-fi drones, textures and atmospheres. Sounds are cut up and reformulated to synthesise new sounds and sit alongside field recordings from the natural world. unweather is loosely about storms, personal, political and literal.

unweather part 1: storm front / in stillness / coastal / tidal / extinction

unweather part 2: wrecked / backwash / mud-slaked / decayed / depth


"When the warm guitar jumps in, we are reminded that that while we cannot escape the storms, we can survive them, and sing again." (Richard Allen, a closer listen: acloserlisten.com/2017/04/22/field-trip-day-five-into-the-wastelands/ )

"To me, unweather sounds like one of these meditative meanderings through personal history. I twist unforgettable highs and lows into idle memory debris. Chronology folds in on itself, with the vivid experiences of last week seeping into the hazes of childhood. Tidal waves of shoegaze guitar drain to leave the hum and drip of degraded tapes, while field recordings from across the UK (Isle Of Mull, London, Hebden Bridge) become backdrops to flickers of melody or acoustic drones, which hang in the foreground like an inner calm or ripe, burdening upset."
(Jack Chuter, ATTN Magazine: www.attnmagazine.co.uk/music/11896)

"I really like it" (Richard Sanderson, Linear Obsessional)


released February 18, 2017

Written, performed and recorded by David Little, 2016-17

Dawn chorus recording on "in stillness" by Sean Townsend, from freesound.org

Big thanks to Ben for support and being a good mate; to Ben and Toby for listening to early drafts.



all rights reserved


smallhaus London, UK

smallhaus is David Little, a London-based sound artist and composer, using manipulated field recordings, found sounds and instrumentation to create lo-fi texture-based compositions. I draw on a range influences, from shoegaze, post-rock, ambient and electronic music, through to the work of contemporary sound artists, such as Simon Scott and Kate Carr. ... more

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