We dropped our skulls to the floor
Just to stop you from talking
It’s been days since the low
Such a fever should dull
At the foot of it all
This test should end here
But then we see the back of it’s neck
Something in the way that it steps
Oh it moves us
Like fire 
Like fire 
Like a fire
It’s been
Days and days and days and days and days and days and days and days
Since we last left
Maybe we should go on from this one
Maybe we should not
But it still
Gives the same answers
Oh it moves me
Oh it moves me
Oh you move me
Like fire
Like a fire
Like a fire
Oh you move me
Like a fire
Like a fire
Like a fire

Faces

Darkness

"The Woods Are Gone" is the second single from 'Monochromatic Memories', the new album by Solander!

www.solander.se
www.facebook.com/solandersweden
www.tenderversion.com

Pre-order album!

Solander - The Woods Are Gone

Bloodline take from debut album 'White Water'

Playing live throughout 2015 - www.theslowshow.co.uk/tour-dates/

ALBUM RECORDSTORE po.st/OAibfn
ITUNES ALBUM UK po.st/5JCzr9
AMAZON ALBUM UK po.st/Ynt2YP
SPOTIFY ALBUM po.st/8UhlQ1

www.youtube.com/watch?v=wdlLaUEHmNg

www.theslowshow.co.uk

www.faceboook.com/theslowshow

www.twitter.com/theslowshow

Bloodline

Release Date : 23rd February 2015

Grasscut, the duo of Andrew Phillips and Marcus O’Dair, return in February with a new single, Curlews/September Night’s Sky – the first single from the band’s forthcoming third album, Everyone Was A Bird, to be released by Lo Recordings in May 2015. 

Whilst first performed in collaboration with the Kronos Quartet to over 4,000 people in a warehouse in Poland, Curlews origins lie much closer to home. It’s meditative piano intro, soaring strings and sense of open skies and distant horizons inspired by the British coastline. “I’d started it on the train from Birmingham to Wales,” say Phillips, “and as I reworked it later for the album the music, especially the piano and string rhythms, kept pulling me back back to the Mawddach Estuary. I kept stripping layers and layers away, till eventually the melody, mood, and words were exposed – like they'd always been there.”

“The poet Harriet Tarlo cautions against the lazy use of ornithological metaphors for human emotion, but watching the curlews on the estuary, I really thought: this is me, digging around in the mud till I find it. I hope that's not lazy.”

That sense of place and belonging resonates throughout much of Grasscut’s work, and the forthcoming album features liner notes from the renowned landscape writer Robert Macfarlane. 

Alongside Curlews comes September's Night Sky, a story of a spring equinox in the Southern Hemisphere. Scored by fragmented keyboards, guitars and sweeping strings it brings to mind the sense of both majesty and fragility that a starry night can inspire.

http://www.grasscutmusic.com
http://www.lorecordings.com  


www.grasscutmusic.com

www.facebook.com/GrasscutMusic
www.twitter.com/GrasscutMusic
www.youtube.com/GrasscutMusic

iTunes

Curlews

Mirrors Of Paradise

After "Theater Island," last year's 6-track EP, Sóley returns with her first full-length, an album full of rhythmic makeshift creatures, of handclaps hidden in the undergrowth, tempting us to join in. The 13 tracks are sometimes incredibly catchy; amazingly quirky at other times: think cardigan-folk from the northern hemisphere, an ocean of stained glasses bopping up and down in the shared apartment's dishwater, leeward in limbo. The result is refreshing in its lack of edginess; think Joanna Newsom minus her harp, or the Casady sisters circa 2004, but then clearly better trained, less crooked. In other words: her voice, those loops moving around like wooden toys, and finally the piano – that's the backbone, the essence of her compositions; at least until some unexpected element appears elsewhere, a rhythmic creaking or the lack thereof, like a hidden Rube Goldberg machine, setting off yet another component, thus paving the way across the threshold and on into the next realm of sound. And thus we keep on sinking, deeper and deeper, until we stand on terra firma once again, realizing that somehow, next to us, above us, around us, a beat is laid out, hesitantly moving along at first, then careering… 

Sóley: I'll Drown

J. Ralph - Marta Ray

Patrick Watson - Sky Dancing

Peter Broderick. Broken Patterns

Brent Arnold: cello, producer
Adam Haggar: engineer
Recorded at La Cour Dieu and Audiofriction HQ

Peter Broderick. Broken Patterns

sleep.sleeper