Leon Vynehall's debut Nothing Is Still sees him digging deeper into the family history that has always inspired his most iconic tracks, whilst returning to his own musical roots. At its core, it's an album dedicated to Vynehall's grandparents. Emigrating from a leafy south east U.K. to New York City in the '60s, their 7-day journey via boat from Southampton to Brooklyn, and the stories that followed, have only truly come to light upon the passing of his grandfather 4 years ago. "I knew they had lived in the U.S. and heard many anecdotes, but it was only after Pops died and my Nan presented these polaroids of their time there...that she delved deeper into their story, and I started to become overtly inquisitive about it" Vynehall says. "I felt the need to document this period for her, and it all just sort of snowballed from there."
The result happened quite naturally, those early conversations going on to form an album of immense scale, physicality and wonder as well as two accompanying elements - a Novella and short films which expand the scope and context of the narrative. This is extended further through the use of visual artist Pol Bury's ‘George Washington Bridge, NYC' from his ‘Cinétisation' collection as the album artwork; with permission granted to Vynehall by Bury's wife - the artwork was created in New York by Bury at the same time as the album's story takes place.
Nothing Is Still however, is defiantly atmospheric and textural, and finds him harnessing his passion for early contemporary minimalist composers such as Gavin Bryars as well as records like Philip Glass' Koyaanisqatsi and Terry Riley's A Rainbow In Curved Air. Written and predominantly performed by Vynehall with additional musicians including a 10-piece string section arranged by Amy Langley, Finn Peters (saxophone and flute), and Sam Beste (piano) whom completed the final recording sessions that took place at Konk Studio's - Nothing Is Still was mixed by Blue May in London before making its own transatlantic flight to New York, where it was mastered at Sterling Sound by Greg Calbi.