A Thousand Times Troubles

by Mountain range

supported by
Nick Green
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Nick Green File with sufjan Stevens as one to long remember from 2015 Favorite track: Plans.
Martin Griffith
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Martin Griffith Having stumbled across Stuart's work a few months ago (via his Samplephonics pack), I've been eagerly waiting for this release. Listening to a Mountain Range track is like entering another world, full of emotional resonance; sometimes poweful, sometimes sad - always beautiful. Favorite track: Laniakea.
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A number of years in the making, ‘A Thousand Times Troubles’ is an exploration into the loss of personal sanctuary, the feeling of isolation that follows and the ability to cope without it, all reflecting Thomas's personal struggles whilst writing the album.

At it’s core this is a Post-Rock album, but Post-Rock dragged out of it’s nostalgia drenched resting place and re-imagined. It is an attempt to blend the lines between rich electronic beats, soft pianos and the emotional weight of a full Post-Rock band, all from within one computer.

Each track on Bandcamp has it's own backstory and description, so feel free to explore!

'A gorgeous and intricately woven piece of melodic house' - XLR8R

'After a lengthy hiatus, Mountain Range is back in flair form with a full length. Hybridized and structurally winding, the synth-infused LP touches upon downtempo moments affording plenty of compositional breathing space and musical Easter eggs, from non-lyrical vocals to sweeping orchestral downpours.' - Gold Flake Paint


released October 16, 2015

All tracks written/ performed and produced my Stuart Thomas, in various small rooms in North East London.
Additional Guitar, Arrangement and head scratching by Kier Finnegan.
Vocals on tracks 3, 4 and 7 by Kaamilah Nahaboo.
Mixed by John A D Pratt in Sheffield/ Leeds.
Mastered by Tom Woodhead at 'Hippocratic Mastering' in Leeds.

I can't thank the people listed above enough. It's been a long and testing few years working on this and everyone involved has been patient, honest and so supportive of me even when I've been a nightmare to be around.

The most personal thank you I have to give is for Katie, though. I couldn't have dreamed for a more caring, supportive and incredible girlfriend. Without her this album just wouldn't exist.

Other hugs and thanks go to my always supportive parents John and Carol Thomas, everyone at Leeds Beckett (Carl Flattery especially) for constant support and studio time, Lee J Malcom, good friend and label partner Sam Cottis, the Shropshire Massive, to Bryony, Abigail and Zennor, Dijon Wall, and once again JP, who's been through it all with me since day one. There are countless others too, you know who you are. Thank you.



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