We warmly welcome you to STANLÆY‘s sonic universe 

STANLÆY is a unique concept which spawns from one young-lady, and encompasses the artists that currently contribute to STANLÆY’s artwork whilst existing as an individual with an individual identity and personality. The sum, in this case, is a separate being to the sum of it’s parts. 

Sometimes similarly working like an art collective, sometimes a solo artist, sometimes a film project, a band, STANLÆY is a fluid being who does not easily remain tied to solid structures. Stanlaey loves to evolve, and change hues. STANLÆY lives in the shadows, and thrives amongst constellations. STANLÆY lives on art, of all kinds. STANLÆY is tender genderlessness. STANLÆY is measureless, dimensionless. 

Nurtured and embodied by Bethany Stenning (with it’s infancy in September 2016), STANLÆY is henceforth both Bethany Stenning’s artistic pseudonym, and everyone involved in STANLÆY at any one given time…

Live @ Shambala 2019:


STANLÆY is the artistic pseudonym of musician and artist Bethany Stenning where Bethany composes experimental and innovative music both as a solo artist, and collaborating with other musicians to bring the songs/music to a larger live environment.

The live band is currently a quartet led by Bethany Stenning (vocals, electric guitar, composer) with Ben Holyoake (Bass), Naomi Hill (violin) and Oli Cocup (kit) where the band’s avant-garde soundscape has developed in a diverse genre pool of jazz, pop and folk, being compared to artists such as Joanna Newsom, Hiatus Kaiyote and Sigur Rós. The band takes listeners on a journey through ethereal ambient vocal/violin duets, to jagged rock outs – evolving from heavier to more delicate sounds with absolute ease.

The band STANLÆY was recently one of Pink Wafers 20 bands to look out for in Bristol alongside big names Yama Warashi and The Evil Usses. Further, STANLÆY was London’s The Standard’s top of the 20 upcoming bands you should see at Glastonbury 2019, exclaiming: “If Björk had grown up in the West Country, we reckon this is what her music would have sounded like. Freaky folk songs with alluringly erratic vocals and knotty song structures make STANLÆY a compelling prospect.”

The lyrical narratives of STANLÆY explore surrealist takes on how human life in the modern world is juxtaposed with our ancient relationships to nature. These ideas, alongside contemplations about consciousness and free will, are set to a series of hallucinatory, twilight soundworlds with virtuoso post classical arrangements, haunting folk melodies and a deft palette of subtle and ever evolving textures. Fairy tale chamber pop for the 21st Century.

Music Videos///The Human Project:

‘Ode to Ovid’, from album The Human Project:

‘The Mountain Collector’, from album The Human Project:



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Rif EP

Rif is the solo EP from STANLÆY (aka. Bethany) written, played and recorded in near isolation in Northern Iceland, December 2018-January 2019, exploring the melding of synthetic and meticulously crafted sounds, with organic and raw instrumentation close to Bethany’s heart. It was released & premiered on Son of Marketing November 2019.

“The four tracks merge a combination of gentle electronic production and the organic sounds of the violin. Like previous STANLÆY releases, the music is impossible to pigeonhole, the myriad of influences effortlessly traversed by Stenning’s alluringly quirky tones.” – Twisted Soul Music

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Listen to the EP below….


“Limbless is an exploration of physical dislocation, our reliance on ephemeral, digital technology to replace physical contact and how alienating this can be. The Multiverse Moat explores notions of free will and personal agency, Oyster Song the quest for simplicity in a fractured world, and in contrast with these explorations of The Big Themes, Ted’s Tune is a beautifully sweet violin instrumental inspired by the birth of Bethany’s nephew Ted. These curious contradictions and juxtapositions are what make the music of STANLÆY so refreshing, and so continually engaging. Hallucinatory, twilight soundworlds with virtuoso post classical arrangements, haunting folk melodies and a deft palette of subtle and ever evolving textures. Fairy tale chamber pop for the 21st Century.”