An interview with Tunnels of ĀHTunnels of ĀH is Stephen ĀH Burroughs. A veteran of the mid-eighties industrial scene in Birmingham, Burroughs was a member of Comicide, along with Eric Jurenskovis, who were part of the thriving cassette culture and performed alongside Con-Dom. In 1986 Burroughs and Jurenskovis went onto Head of David with whom Burroughs was the singer until the band disbanded in 1991. That was the last I heard of Stephen Burroughs until he appeared alongside Sunn O))) & Pan Sonic and Alan Vega on Blast First Petite's limited series of 10 inches to commemorate the Suicide singer's 70th birthday. Accompanied by acoustic guitar he performed 'Goodbye Darling' from Vega's Saturn Strip album. It's appearance marked a return of sorts, as Head of David had previously covered Suicide's 'Rocket USA' on their debut LP.
In 2013 Burroughs, now known as Stephen ĀH Burroughs, returned as Tunnels of ĀH with Lost Corridors, a stunning album released on Cold Spring. Influenced by Gnosticism, Buddhism and mystic Christianity, Lost Corridors lost itself in heavy, dark droning with Burroughs' deep toned mantra influenced lyrics, casting light on recently found Gnostic texts. Lost Corridors evoked the spirit of the pioneering underground experimental scene in what Burroughs termed "the new dark age". Lost Corridors was followed by the release of Thus Avici, a harsher album bathed in a quote from The Tibetan Book of the Dead: "The dull blue light of brute-world calls". The title referenced the Sutra of Bodhisattva Ksitigarbha's Fundamental Vows, with tracks touching upon Gnostic texts such as the Gospel of Judas and the Nag Hammadi library, while experimentalist Ana Cordeiro Reis recites the Portuguese folk song, 'The Lord of the Mountain' on the provocatively titled 'Saint Peter Ha-Satana'. An emotive, thought-provoking and intriguing album, drenched in threshing electronics, Thus Avici married Buddhism, Gnosticism and mystic Christianity into Burroughs' own personal cosmology to great effect.
In between time, Burroughs has been performing live, under the Golgotha cross proclaiming "this is Psychick War". I was intrigued by the work of Tunnels of ĀH and requested an interview. I was slightly apprehensive that my questions may have been wide of the mark but Stephen ĀH Burroughs' highly detailed responses proved I shouldn't have worried. Backed by nascent recordings from the forthcoming Tunnels of ĀH release, his answers are eloquent and erudite. If you haven't heard Tunnels of ĀH, I urge you to seek out both Lost Corridors and Thus Avici.
Prior to Tunnels of ĀH, Stephen Burroughs was a member of Head of David, a Birmingham based industrial rock outfit (a description I know that doesn't do them justice) who featured Stephen R Burroughs (vocals), Eric Jurenskovis (guitar), Paul Sharp (drums) and Dave Cochrane (bass) and latterly Justin Broadrick (drums) and Bipin Kumar (bass). Head of David were part of the first wave of UK noise rock, influencing the forthcoming industrial metal genres.
They released 3 studio albums (LP, Dustbowl, Seed State) on Blast First, in addition to White Elephant which compiled two Radio One sessions recorded for the John Peel show. An influential but much under rated outfit, the original line-up of Head of David reformed in 2009 to perform at the Supersonic Festival in Birmingham. Before seeking out an understanding of Tunnels of ĀH, we started by asking Stephen about the reformation of Head of David and about the long spoken of plans to reissue their long out-of-print discography.
You were a member of the industrial rock group Head of David. When Head of David reunited back in 2009, there was talk of new material. What's going on and are the reissues of the Head of David albums going to happen? Do you envisage Head of David returning again?
Yes, Head of David did reunite back in 2009 to play the Supersonic festival in Birmingham. It was a good opportunity, a great festival and it was meant to coincide with the reissue of the Head of David back catalog but this didn't happen. It was good to meet up with and play with Dave (Cochrane), Eric (Jurenskovis) and (Paul) Sharp again. We had a lot of fun, very enjoyable but I really don't see us returning again in that form.
Since leaving Head of David the only release I came across was your contribution to the Alan Vega tribute series of 10-inches released by Blast First Petite, but I did find on soundcloud a number of acoustic based tracks that dovetail with the works of Tunnels of ĀH? What have you been doing since leaving Head of David? What can you tell us about these acoustic based recordings?
The acoustic tracks on soundcloud, they were meant to be, well actually they were recorded for an album called Thus Avici, which is of course the second Tunnels of ĀH album. They were recorded initially for an album for Blast First. This came after the Alan Vega recording and I think after Supersonic but again the album didn't emerge. But you're right a lot of the themes do dovetail. It's all around the avici theme from The Sutra of Bodhisattva Ksitigarbha's Fundamental Vows - but more of that later.
When did Tunnels of ĀH come into being? What do you hope to achieve with Tunnels of ĀH?
Although I haven't been active on the recording side, in the release side, since Head of David I've never stopped writing songs or experimenting with sounds, developing new ways of recording and just my own style.
A couple of years ago I decided to make them flesh by putting them online. I needed a name and came up with Tunnels of ĀH. That was a bit of a pun on the "Tunnels of Set" from Kenneth Grant's Nightside of Eden. The tunnels does allude to the subterranean environment. I'm always drawn to tunnels and darkness, I guess. AH is a seed syllable used in mantras and as such has no direct translatable meaning. So I like the fact that Tunnels of ĀH represents hidden tunnels. Where are they going? You might meet a dead end. That darkness might lead to light but ultimately you just don't know. And that's really the intention behind Tunnels of ĀH. I don't sit down with a prescribed idea of what I want to do. I experiment, see what happens and see where it takes me. So every day I enter the Tunnels of ĀH with no intention, no direction, just see what happens.
The sound of Tunnels of ĀH is quite unique and much more electronic, especially when compared to the industrial rock of Head of David and the acoustic guitar based material of your earlier work on soundcloud, why did you decide upon a more electronic based sound?
Thank you for recognising the unique sound because I think that is somewhat overlooked mainly because it's not necessarily power electronics or purely dark ambient. It's an amalgamation of a lot of things, mainly my intuition.
I didn't really decide on an electronics based project it was just something I had been playing around with for a long time. I've always listened to electronics and was into the early, and what I call the proper industrial scene around the late seventies and early eighties: Throbbing Gristle, Lustmord, Nocturnal Emissions, Nurse With Wound, Current 93 - all those titans of the genre. Those are still my influences and that's still my intent to get that flavour of that time over in Tunnels of ĀH. I think that era of music, all those bands I just mentioned and the approach of those bands is my main influence. I think they made timeless music.
Could you explain the meaning behind the Tunnels of ĀH logo? What does it symbolise?
The Tunnels of ĀH logo is the Golgotha cross, which is three crosses representing Christ in the centre and the two thieves who were crucified along with Christ, either side. What's the meaning? I just like the design. I think it is strong and think if you see Christ as the purity and the thieves as that impurity, it symbolises us as people, ultimately. That for me is what it symbolises.
I'm interested in how you compose, what equipment do you use? What comes first: lyrics or music?
Via synchronicity, whatever comes up. It is divination, as far as I'm concerned. It's a bit like a tarot reading. As they say in a tarot reading whatever comes out is meant to come out. That's how I approach writing with Tunnels of ĀH. It's always music that comes first. Lyrically, I try to keep that to a minimum, and when I do use lyrics I do approach it in a mantra like way; lots of repetition. I've done a lot of chanting in my time, with people and alone and the resonance you get when you chant a mantra. All these different subtones that you evoke whether you mean to or not have always interested me. I'm not sure I do actually achieve that with Tunnels of ĀH but that's the direction I come from with the vocals.
I do see Tunnels of ĀH mainly as a musical project; it's not necessarily a strong lyrical project but the new material I'm working on I think if I get the chance to do a third album, there's a good chance it will be entirely musical, no lyrics.
I've found Tunnels of ĀH thoroughly thought provoking, as tracks are littered with references to Buddhism, Gnosticism and Christianity, how do you account for these influences? Is it a personal interest or something that you study or practice?
Yes, Buddhism, Gnosticism, mystic Christianity, Judaism, Islam these are all interests of mine but mainly Buddhism, Gnosticism, mystic Christianity. They are interests I've had for many, many years. I went heavier into Buddhism than all those other systems. Though it could be said Gnosticism, in fact it has been said that Gnosticism, developed out of Buddhism because it is that empirical search for emancipation, liberation, enlightenment, or whatever you want to call it. And yet I do practice these systems. I sometimes call it my own personal system of magic, whatever they're just words. Meditation, ritual, prayers - call them what you like but they are all with my own personal slant on them something that means something to me. All these symbols, all these words are entirely useless; magic is about empowering an object or word with your own intent. It's no good taking another person's word for it. What do you experience, what do you feel, that is the question. So, all these images I sing about, shout about, talk about; they are not garnish to me. They are not attention seeking images. They are actually something I use in a tangible way in my everyday life and have done for many years now.
When recording do you approach it as a ritual?
I don't consciously approach it as a ritual but I think from my background, particularly from the time I spent around the Buddhist scene particularly in a Zen monastery where every single thing you do is ritualised, as an act of mindfulness, as awareness. You can attain enlightenment doing the most mundane things - that is where the magic lies. The magic lies when you're having a piss in the morning, it's not necessarily when you're deep in meditation. As long as you maintain that mindfulness then that portal is open and is waiting for you to slip through. So, yeah, I do approach music as a ritual but it's just another part of my daily ritual. As I said, in the Zen monastery you were taught that everything you do from eating, having a piss, cleaning your teeth. They are all mantras, sutras, and verses directed towards these apparently mundane things that we do every day, that we overlook, that we take for granted. When people go to work, everybody has a ritual on a morning, whether they are aware of it or not. Everybody has a ritual. How much mindfulness they give to that ritual well that's another matter, but we all have rituals. Recording, playing live, it's all part of that ritual for me.
Your Facebook page contains many photographs of tunnels, vacant vestiges and sacred structures, how does that if at all relate to the title of Lost Corridors? Does psychogeography play a part or was there a further meaning?
Yes, psychogeography is a very strong feature for me as well. There are so many things we take for granted. Magic is absolutely everywhere. Again to use the work analogy people go to work every day, along the same route, passing the same things without awareness. But with awareness that very same route could take on a magical dimension, if they were aware of it. For example and this is a nice bit of synchronicity, as I'm talking into this recorder I'm looking out the window and there's a lime tree just over the road and we've had high winds here recently and those winds have shaken a branch loose and there's a leaf hanging off that branch on a stem and it looks like a hanging man. It looks like a mandrake root but it's in the form of a man, like a man orchid. I can see that but that's because my mind is sensitised to look at things in that way and someone has just walked underneath it, what I'm now calling the hanging man. To me in my mythological mind that is an elder tree in Akeldama. An elder tree is where Judas in fundamental Christianity hung himself from. Hence the Jew's ear fungus (Judas's ear), a fungus that only grows on an elder tree. We're looking at this hanging man from a lime tree. That to me is another piece of everyday magic there. We miss these things. For me psychogeography is all about engaging with the magical imagination, that's what magic is anyway; it's all about imagination and engaging that imagination. So yes, tunnels, abandoned farm houses, abandoned air fields, hospitals, etc., to me they're not derelict they are very much fertile. That is why I like these structures.
Lost Corridors also pertains to the tunnels of the mind as well. Those portals, tunnels leading absolutely anywhere and everywhere, it could be a dead end, it could be to complete and utter liberation but who knows but the fun is in tracing those tunnels. So that's another meaning behind Lost Corridors.
Excerpts of Gnostic texts from the Nag Hammadi Library appeared on 'A Net of Woven Starlight' on Lost Corridors, what do the Gnostic texts mean to you?
You're right. 'A Net of Woven Starlight' is featured in the Gnostic Rosary. I just think they are just beautiful words. I think that's the way I read texts like the Nag Hammadi or Pistis Sophia even Buddhist texts like the Ksitigarbha Sutra, the Heart Sutra or the Diamond Sutra and I said to a Buddhist teacher "I have no idea what this means" and he said good just read it; it's not about understanding, it's about enjoying the rhythm of the writing. The meaning of the text sinks in on some level and at some point that meaning will pop out and you will understand what that text means. That's how I approach the Nag Hammadi and all those other texts that I read and am influenced by. But as I said it is beautiful evocative language, that's what I like as well.
Tunnels of ĀH have previously been described as "evoking the spirit of the pioneering underground experimental scene in the new dark age". "Avici Hell" relates to an everlasting languishment in hell, I'm wondering how "avici hell" and this "new dark age" relates to the contemporary world?
I don't think there are any contemporary or past in avici it is just one continuous trudge. I think that's why I'm interested in liberation and emancipation in this life. Certainly from a Buddhist and Gnostic angle, it is so that you don't get reborn. You can reach that state of personal apocalypse or enlightenment and when you reach that state you don't get reborn.
Do you feel a sense of apocalypse in the air?
It depends what you call apocalypse. I just mentioned the word apocalypse in the Gnostic sense of personal illumination. Sometimes I do feel that in the air; I do feel very much more lucid at times and you make these breakthroughs but because we're in the midst of conditioned existence we get drawn back into the world of man and more refined states become corrupt again and so the cycle continues and that's what we're working with all the time.
As for apocalypse and global meltdown well I really do miss the days of the Cold War, back in the early eighties that's when I started doing this industrial music with Comicide, a duo I played in with Eric from Head of David, and it was just exciting times. It was hell at the time but in retrospect it was exciting as you had the Cold War, Thatcher, the IRA, the miners' strike. It was a very conflicting era but you certainly knew who your enemies were. Today we all know who are enemies are but they're a little bit more subtle, I think the black art of government have become far more subtle over the last few years.
As a species I think the more we evolve and the cleverer we get actually, apparently clever anyway, the more we know the more destructive I think we get and I do think we are the architects of our own demise.
Thus Avici appears to be inspired by the Gospel of Judas. Is this correct? And if so, what drew you to this text? Ana Cordeiro Reis provides the vocals to the provocatively titled 'Saint Peter Ha-Satana' from Thus Avici. Could you explain the meaning behind this track? How did you come across her work and how did you hook up with Ana? Ana has performed live with Tunnels of ĀH, hasn't she?
Yes Thus Avici is inspired by the Gospel of Judas. Again, Judas is a character I am particularly attracted to. I think he gets bad copy, particularly in fundamental Christianity as he is seen as the betrayer, the liar, the cheat. But in Gnosticism he is actually the holder of the "secret knowledge" and this leads onto the next part of the question about 'St Peter Ha-Satana' because Judas knew why Christ wanted to enter the city. Christ wanted to enter the city to be crucified. Christ wanted to enter into what a Buddhist would call enlightenment, nirvana. He wanted to enter the higher heavens. He wanted to enter that realm where he wouldn't return to earth. His job was done to lead man to that higher state of mind, of evolution. But Saint Peter prevented him from doing so. "Ha-Satan" actually means "the Satan". Satan translates directly as stumbling block. So Saint Peter was the stumbling block, the blockage to Christ entering into that realm, hence 'Saint Peter Ha-Satana'. That is why the Saint Peter cross is the inverted cross much loved by Satanists and death metal fans.
Ana did vocals on 'Saint Peter Ha-Satana'. Ana is a Portuguese girl I met at a Tunnels gig. We got talking after I played and she understood what I was doing. So that's how we became friends. She put me onto her work. I really like her work. She's done work under many names but her main one is Hyaena Fierling. She has performed with me live once and it went down really well so I hope to repeat that in the future.
There's a strain of Christianity that runs throughout the work of Tunnels of ĀH. Tracks such as 'Harvest Flame The Christ Force', 'Saint Peter Ha-Satana', 'Akeldama', all appear to use aspects of Christianity. Is this correct? What does Christ, Christianity and Judas mean to you?
I've only just come to terms with Christ. Christianity, well it used to petrify me. When I was early teens I had a really good friend. He was a complete libertarian heretic and was a massive influence on me in the way he lead his life. He didn't give a toss about anything. He got me into music; I went to my first gig with him. He was a character, like a J.D. Salinger personality, and he went to bed one night and when he woke up in the morning he was born again. How that happened and how that came about I have no idea but all that vitality that he had. He may have had wayward vitality but he'd have got there in the end but all that had been diluted from his personality. Even to this day now, he's in his fifties now, I still love him and regard him as my friend but he's taken on more of the persona of Ned Flanders from The Simpsons. He's into Christian rock, the Fender Rhodes piano. And that's where my problem with Christianity stems from. As Crowley said it's not so much Christianity or Christ it is churchianity. It's that bland happy-clapping delusory belief and I absolutely feared waking up one morning like my friend did. I'd rather wake up a Tory than wake up like that. Actually that's a bit strong; I'd rather wake up as Ned Flanders than a Tory.
I've touched on Akeldama, earlier with the Judas hanging man but in fundamental Christianity, in the everyday bible, Akeldama is the place where Judas bought his land with the pieces of silver and hung himself from a tree. In the Gnostic belief he did buy the land in Akeldama and lived there but he lived there to an old age. He didn't hang himself but didn't kill himself in Gnostic belief. So that's my interest in Akeldama. It's also in the sense that I think we all live in Akeldama. Every city, every town could be our Akeldama, particularly and let's face it a lot of this country is built on those 30 pieces of silver - built by Judases.
Buddhhism plays a role in Tunnels of ĀH (the title of your latest album Thus Avici references The Sutra of Bodhisattva Ksitigarbha's Fundamental Vows and the press for Thus Avici made reference to The Tibetan Book of the Dead yet while Buddhism is generally associated with stillness and a sense of blissfulness the music of Tunnels of ĀH can be very unsettling. That's a bit of a contradiction, was that intentional?
I think the popular image of Buddhism is one of sweet incense, candles and new age music but my experience of Buddhism isn't really like that at all. It is a dynamic and very demanding discipline to practice. Most definitely if you go into a monastic setting to practice, particularly Zen. The Zen people don't take prisoners. You're there to practice, you're there to meditate; you're there to break through to the other side. That is what you are there for. It is not a social club. I can highly recommend anybody going to spend a bit of time at a Zen monastery and find out for yourself. You live in the shrine room, you sit in the shrine room, meditate in the shrine room, and sleep in the shrine room. You have a cupboard before you where you put any belongings at night. You pull those out about 5 o'clock in the morning and start meditating in front of that cupboard. That is what you will do for the rest of the day. Every half an hour a bell will ring and you can stand up and you do walking meditation and then a bell rings and you go back to your cushion and carry on meditating. This is the routine day in, day out. Of course it is interspersed with frugal meal times and work periods but all done in silence with that sense of mindfulness and purpose. That is the reality of Buddhism for me and certainly monastic Buddhism.
It is about stillness and attaining that stillness in any situation. That could be in a dentist's chair or a Tunnels of ĀH gig where there's noise going on and chaos going on around you. It's about maintaining that centred balance, that mindfulness, just staying in that moment. The Zenist's call it going to a place that is neither hot nor cold; it's just in the middle, just remaining dispassionate.
I didn't intend there to be that contradiction between the unsettling aspects of Tunnels of ĀH and Buddhism but now you bring it up it is quite relevant.
There's also appears to be something of a Thelemic current in Tunnels of ĀH, does the writing of Aleister Crowley or Kenneth Grant inform your work?
I read The Great Beast by John Symonds, a really quite scurrilous account of Crowley's life. I read this in the late seventies and it had a massive impact on my outlook. It made me do things I probably wouldn't have ever done had I not read Crowley. I think he is a great liberator and massively misunderstood. As a writer, he's criminally ignored; an incredible towering intellect and a very funny man. I think that's what you have got to understand when you read Crowley you've got to decipher where he's actually being serious and where he's having a bit of a private joke as well. I think if you read The Book Of Lies there's a hell of a lot of his private jokes in that one. Also Magick Without Tears which is one of his best books and that's correspondence between him and a student of his. I think that's Crowley at his best, as you get the most rounded impression of the man in that book.
Kenneth Grant, likewise, is an enormous intellect; another incredible mind. His work I find is actually denser and darker than Crowley. As I've said one of my favourite books is Nightside of Eden by Kenneth Grant - that's where Tunnels of ĀH comes from. It is a very dark book but you've got to acknowledge the dark side to recognise the light side. That's what that book is all about. It's the tarot; it's the upright and reverse meanings of the tarot card, it's the shadow side of the kabbalistic tree of life. You can't have darkness without light and vice versa. So that's why it is an important book to me. It makes a lot of sense. And again it's got that fantastic rich language. And I'd like to think the Tunnels of ĀH are tunnels that do lead also to the light through the dark. Sometimes you have to go through the dark to get to the light. I think that's ultimately what I'm doing with Tunnels of ĀH. It's my personal exploration through those tunnels, sometimes through the nightside of that tree of Illumination.
Are there any key texts that you would recommend to readers to gain a better understanding of Tunnels of ĀH?
Yeah, we've touched on some key texts: the Nag Hammadi Library, absolutely essential; Pistis Sophia, the Gospel of Mary Magdalene, the Gospel of Judas, of course. These are the Gnostic texts. I think the Nag Hammadi Library is the ultimate one. I think you can get pretty much everything you need from that one book. As in Buddhism, well for me the Sutra of Bodhisattva Ksitigarbha. That's very much a personal choice as it is not for everyone. It's quite a gory read but I like it. The Tibetan Book of the Dead, of course, that's a popular one, but personally I love The Gateless Gate, a thick book of Zen Koans, these questions that have absolutely no answer, they are all paradoxical questions. It's like a mad Marcel Duchamp read. It's like a surrealist read. Zen were the proto-surrealists I think. I just find it thoroughly entertaining. More texts include the Heart sutras, the Diamond sutras, collectively they're known as the Prajnaparamita sutra. Again quite difficult to penetrate on a logical level but just enjoy reading them. I could even recommend Strange Conflict by Dennis Wheatley. That's a novel about the occult second world war.
Tunnels of ĀH material appeared on Copper Lock Hell by Khost, how did this come about? Do collaborations appeal to you? Is there anyone that you would like to work with?
I did vocals on Copper Lock Hell by Khost. I've known Andy (Swan) for a long time. In fact Damian (Bennett) has another really good outfit called Carthage. The only time I've ever played live playing the acoustic material was with Carthage at The Hare & Hounds in Birmingham. Andy asked if I'd like to do some vocals so I did this list of the various avici hells; Copper Lock Hell just being one of those hells. Andy liked that title, Copper Lock Hell, and used it as the title of the album.
Collaborations do appeal to me but I have no list of people I'd like to work with. I would like to work with other people and I'm sure I will at some point. We'll see what happens on that front.
Tunnels of ĀH live performances are accompanied by visuals. I've yet to witness a Tunnels of ĀH performance, how do you approach live performances? What do the visuals symbolise?
The visuals I use live follow the usual themes for me and symbolise the usual themes for me. Recently I've been using the blood moon symbolism. I was delighted that my last year's birthday fell on the second blood moon. Blood moon has a lot of mythology around it, particularly from a feminine aspect; the menstruation mythology around the blood moon which I'm drawn to. I also use a total eclipse. So you've got that blood to total eclipse to total illumination. That is the meaning around those images. It's interspersed with images of Jusepe de Ribera, a Spanish Tenebrist painter, one of my favourite artist amongst many. He was a fantastic artist who painted a lot of religious work. I tend to take detail from his paintings as I think the magic is in the detail in a lot of these Tenebrist painters. Those are the visuals I used last time and will probably use again. I do like the stage to be dark and for people to enter that tunnel with me.
What has been the response to Tunnels of ĀH live performances and releases?
Live, I seem to go down well. I don't set out to do anything in particular live but people who have actually come up to me and talked about a live performance have been unnerved by what I do. I don't set out to do that. Maybe if I was singing about rape, incest and Nazi atrocities, etc., they wouldn't get so freaked out about it because I think people have become desensitised to that theme, particularly in the current industrial scene. I think what I address, maybe it's like when I had a problem with Christianity and maybe that does challenge people in that way.
Likewise on records, I think a lot of people would feel more comfortable if I was singing about those previously mentioned themes. I get quite discerning reviews, people who do click with what I am trying to get at and understand what I am doing and there are those that appear to be downright hostile to what I do. Someone wrote a review of Thus Avici and that review just stunk of fear. Generally it's a favourable response to my work. But either way, I am an artist, I've got to stick to my own vision, and plough my own furrow and that's what I intend to carry on doing. One of the definitions of an individual and that's what you should be if you're an artist, is it all about your own approval or disapproval. That's the one that matters.
Some of the first Tunnels of ĀH album, Lost Corridors, first surfaced on soundcloud, what brought you to Cold Spring Records?
You're right some of Lost Corridors I did put up on soundcloud and that's when Tunnels of ĀH became flesh because that's the name I gave that project at that time and that's how Cold Spring got in touch and they've been very easy to work with.
What's next for Tunnels of ĀH?
Hopefully, a third album and hopefully that will be on Cold Spring. Throughout this interview the background sounds are the basis of the new material. When I write new material, that's all I listen to. I tend to have that material on repeat all day and just leave it to sink in and to ferment in my mind. I've still a long way to go before the new album is complete but I think I have found a direction again. As I said this could be an instrumental release but we'll see.
Tunnels of ĀH on Facebook - Tunnels of ĀH Facebook page
Tunnels of ĀH on soundcloud - featuring excerpts from Lost Corridors and Thus Avici plus several live recordings
Cold Spring Records - label for Tunnels of ĀH releases
Stephen ĀH Burroughs soundcloud stream - featuring early acoustic renditions around the avici theme
Hyaena Fierling / Ana Cordeiro Reis - website documenting the work of Hyaena Fierling / Ana Cordeiro Reis
All photographs of Stephen ĀH Burroughs / Tunnels of ĀH by ©Karolina Urbaniak.