Lovely music, i adore this track. It is sounds experimental and orchestral  at the same time

i love your classical instruments! please keep using them :)

The Inventory Of Our Desire

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Astronauts
End Codes album
Lo Recordings
6th May 2016

Dan Carney is a songwriter based in east London who releases music under the name Astronauts. He also enjoys spending time with his daughter and his partner, going for long walks, reading, writing, looking out of the nearest window, and making overly ambitious travel plans.

After the single ‘Skydive’ went viral in June 2014, the debut Astronauts album ‘Hollow Ponds’ was met with critical acclaim. This led to live performances far and wide, with Dan visiting Italy, Belgium, Luxembourg, Germany, France, and Switzerland in 2015 alone, as well as – equally thrillingly - having a song used on the BBC’s darts coverage in his native country.

Radio support also came from all over, with Radio 2 (Huey Morgan) and 6 Music (Lauren Laverne, Cerys Matthews, Radcliffe & Maconie, Steve Lamacq, Tom Ravenscroft, Gideon Coe) in the UK, to US stations such as KCRU in Los Angeles, all queuing up to broadcast Dan’s efforts to the public.

In between all of this, Dan has found the time to write and record his second full-length, ‘End Codes’. It channels the melancholic intensity and rich arrangements first encountered on ‘Hollow Ponds’ into eleven beautiful new songs, while also managing to sound more coherent and focused than its predecessor.

Lyrically, it’s Dan’s trademark intriguing blend of resignation and defiance, all delivered with a world-weary estuary twang which combines the colloquial fragility of Robert Wyatt with the eerie double-tracked smoothness of Elliott Smith. Cuts such as opener ‘Recondition’, ‘Split Screen’, and ‘Breakout’ are propelled along by a familiar sprawling, motorik intensity, simultaneously fraught and uplifting, and just repetitive enough to lodge themselves firmly in your consciousness without becoming labored or tedious.

Elsewhere, however, there’s variation and versatility in abundance. The woozy, pastoral otherness of ‘When It’s Gone’ – inspired by the cautionary paean to faded youth which adorns the grave of the Black Prince at Canterbury Cathedral - cements Dan’s status as the nearest thing Essex has got to Jonathan Wilson, while ‘Dead Snare’ mines an ominous trench of paranoia and dreamlike malevolence, dark acoustic guitar lines intertwining with creaking cello and a nagging lyric which sets out a bleak, recriminatory inner monologue.

There’s also the steady, cyclical lead single ‘Civil Engineer’, possibly the finest folk-pop song yet written about the vagaries of a career in civic planning, and the triumphant Laurel Canyon-via-Romford CSNY-style harmonies of ‘You Can Turn It Off’. Closer ‘Skeleton’, with its defiant drone-gospel coda, triumphant and boisterous over a yawning chasm of electronic sadness, channels the likes of Fugazi, Tortoise, and The War On Drugs, proving that Dan’s horizons extend significantly further than many of his supposed “indie folk” contemporaries.

Dan hopes that ‘End Codes’ will appeal to his existing small-but-probably-dedicated fan-base, while also attracting new listeners, as it’s the best thing he’s ever done. We like ‘End Codes’ very much, and we hope you do too. Dan is, as ever, available for interviews, lovingly curated playlists, and questionable sports science product endorsements.

ARTIST LINKS
www.lorecordings.com/artist/astronauts/
www.facebook.com/pages/Astronauts…71?ref=bookmarks
twitter.com/AstronautHeart

LABEL LINKS
www.lorecordings.com
www.facebook.com/pages/Lo-Recordi…/448401545307474
twitter.com/lorecordings

CONTACT
Press – John Power – john@thebestinshow.net
Radio – Sean Newsham - sean@mutante-inc.demon.co.uk
Label/licensing - Gavin O’Shea - gavin@hub100.com


End Codes

Buy on Bandcamp

Recondition

Born in Brazil, raised in Cologne and based in Berlin, Dominique Dillon de Byington, aka Dillon, has always had a clear vision of her art. She already has two albums under her belt, and she actually regards these as part of the same work, since they tell a coherent story. This has always been apparent in her live shows, which are carried by a magical interchange between the dark-melodic songs of both albums. When the Berlin Foreign Affairs Festival asked her, in 2015, to develop a unique concert idea, she decided on a performance with a sixteen-piece women’s choir, which accompanied her and Tamer Fahri Özgönenc, her collaborator and co-producer of her first two albums, in the live performance at the Haus der Berliner Festspiele in July 2015. “I felt the need to work with voices and to create an additional layer that breathes in this space between the electronic music and myself. I was very attracted to this idea, so Tamer Fahri and I wrote and arranged the choir parts together,” Dillon explains. The choir injects a new physical layer into her music, which is dominated by piano and electronic sounds, and her own voice dances longingly in this space. The about to be released live recordings of the concert reveal just how naturally this new element slots into her dramatically minimal music. “When I started writing my last album, The Unknown, I knew it was the continuation of This Silence Kills in terms of both music and content. Now the two albums are being brought together as a release, as well as in the live shows. For me, this album could be called This Silence Kills The Unknown, the 28-year-old reveals. A film of the concert at the Haus der Berliner Festspiele is being released alongside the live album. And in 2017 this will be followed by a third studio album, this time entirely separate from the works that came before, which Dillon herself describes as an “album of love”.

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