Posts Tagged ‘Pinegrove’

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Pinegrove’s new album begins with a breath and ends with a shimmering exhalation. In between is “Marigold”, an urgent, multivalent meditation—and an expanded take on the blend of alt-country, indie rock and cerebral humanism that’s inspired the band’s ardent fan community. Marigold marks their Rough Trade Records debut, offering what songwriter Evan Stephens Hall calls a “heart-first” perspective. Those familiar with Pinegrove will recognize signature elements of the band’s sound: literary yet conversational lyrics, geometrically interlocking guitars, the dynamic shifting shadows of rhythm and structure. Marigold is the first true collection of Pinegrove songs that addresses (or doesn’t) the events that have unfolded since lead singer Evan Stephens Hall’s admission of sexual coercion in late 2017 via a Facebook post. Marigold also follows Skylight’s tendencies to aim for a softer, more delicate, more intimate sound than anything on Cardinal.  

But this effort marks the most spacious, bold, and well defined iteration of the project yet Formed in 2010 by childhood friends Evan and drummer Zack Levine, Pinegrove have released three previous albums —Everything So Far (2015), Cardinal (2016), and Skylight (2018) —to massive critical acclaim, garnering them a widespread and devoted listenership. They’ve described their sound as variously as introspective party music, or energetic music in the folk tradition; in any case they have combined catharsis and inventive structures with irrepressible melodies, resonant lyrics and emotive twang. Gone are the cathartic, fist-pumping moments from “Cadmium,” the louder, capital-R Rock aesthetics from “Then Again” or the bruising solos à la “Aphasia.” Hall & co. respond with a more refined batch of songs on Marigold. It seems Hall realized yelps and screams don’t necessarily attract the most attention; he now recognizes that by being even more vulnerable than ever before, he’s capable of producing his finest song writing yet. 

That’s particularly obvious on “The Alarmist,” as Hall nearly whispers the final line of the first verse: “I whisper to myself / Then I’m spinning it half around / Like an echo / A faraway sound / Saying, ‘be good to me.’” Though the first stanza makes it seem like this is a song about the breakdown of a relationship and Hall’s inability to communicate effectively, that raw “be good to me” refrain feels wholly personal, directed towards himself and no one else. For the public to forgive him for his past misdeeds (if it ever will), he needs to forgive himself first to find a way forward.

Marigold finds the band expanding into the latter, spreading out over varying tempos and swelling pedal steel. But in surprising moments, the album can suddenly unfold into the band’s heaviest, most unbound offerings yet—a cavalier disregard of genre in favour of something honest and unique.

what’s up everyone! today we’re excited to announce some shows – a handful of dates in the UK, two hands full of dates in june in the US! later this year.

Pinegrove’s new album ‘Marigold’, Released January 17th, 2020 on Rough Trade Records.

Hello & welcome. this recording marks a record of the recent past when people could gather together by the hundreds. I also see it as a note from a future where people will gather & applaud again. the crisp percussive clatter of all those hands, people chatting to their friends or people they just met, going “woo,” singing along—it’s very surreal & nearly heartbreaking to hear now, the tapping dents & divots of rain against my bedroom window, skylit & glowing overcast tonight. it’s a sideways smile hearing so many people together but a smile nonetheless. & singing all in the first person! the first person plural? what should we call this? grammar has generously bent open for us to make room for something momentary we might call “the communal i.” —a line of people, their singing heads in the tungsten floating sweetly over their shoulders, shoulder to shoulder, singing stretched-out vowels in unison, affirming together our collective intent to try to be better to ourselves, to those we know, & to those we don’t know. thank you to anyone who came to these concerts! thank you to anyone listening now. we appreciate you all so much & look forward to playing music again for you soon. <& stay safe, much love. Evan Stephens Hall

all proceeds from this pay-what-you-want record will be donated to the MusicCares COVID-19 Relief Fund. this fund provides relief for musicians & for professionals across the music community, including concert crew members, many of whom are fully out of work due to this crisis. this charity is run through an American organization, so if you live elsewhere & you’d like to donate to something local, we invite you to download the record for free & make an independent donation! here are a few suggestions, & please help us with this list if you know of other worthy music industry support funds around the globe!

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all songs written by Evan Stephens Hall, released April 21st, 2020

recorded between January 17th – February 23rd, 2020
performed by:
Evan Stephens Hall (vocals / guitar)
Josh Marre (guitar / vocals)
Sam Skinner (guitar / keyboard / percussion)
Nick Levine (guitar / pedal steel / vocals)
Megan Benavente (bass / vocals)
Zack Levine (drums / vocals)

Pinegrove

This month the New Jersey alt-country outfit Pinegrove will share “Marigold”, the group’s debut on their new label, Rough Trade Records, and the announcement arrived with a single and video for one of its tracks, “Phase.” “Phase” feels like a return to the Pinegrove’ former sound on their acclaimed record, Cardinal. In it, there’s a driving drum beat and palm-muted guitar setting the stage for frontman Evan Stephens Hall’s ardent yelps. The restrained verse builds to a chorus where everything comes to a crescendo at Hall’s cry of “I’m torn right through / Divided right in two.” There’s some fantastic slide guitar fills within, giving the track Pinegrove’s signature almost-country feeling. Pinegrove took a year-long hiatus after Hall issued a statement in response to an allegation of “sexual coercion” made against him in 2017. Since then, their self-release of Skylight in 2018 and new record deal with Rough Trade have shown the group attempting to put those events behind them.

Taken from Pinegrove’s new album ‘Marigold’, coming January 17, 2020 on Rough Trade Records.

Pinegrove lp yellow

Pinegrove’s new album begins with a breath and ends with a shimmering exhalation. In between is “Marigold”, an urgent, multivalent meditation—and an expanded take on the blend of alt-country, indie rock and cerebral humanism that’s inspired the band’s ardent fan community. Marigold marks their Rough Trade Records debut, offering what songwriter Evan Stephens Hall calls a “heart-first” perspective.

Those familiar with Pinegrove will recognize signature elements of the band’s sound: literary yet conversational lyrics, geometrically interlocking guitars, the dynamic shifting shadows of rhythm and structure. But this effort marks the most spacious, bold, and well defined iteration of the project yet

Formed in 2010 by childhood friends Evan and drummer Zack Levine, Pinegrove have released three previous albums — Everything So Far(2015), Cardinal (2016), and Skylight(2018) — to massive critical acclaim, garnering them a widespread and devoted listenership.

They’ve described their sound as variously as introspective party music, or energetic music in the folk tradition; in any case they have combined catharsis and inventive structures with irrepressible melodies, resonant lyrics and emotive twang. Marigold finds the band expanding into the latter, spreading out over varying tempos and swelling pedal steel. But in surprising moments, the album can suddenly unfold into the band’s heaviest, most unbound offerings yet—a cavalier disregard of genre in favour of something honest and unique.

Pinegrove’s new album ‘Marigold’, coming January 17th, 2020 on Rough Trade Records.

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We do humbly present a video of myself—that is, Evan—performing the song “Phase” on an acoustic guitar in the chilly front porch enclosure of our house that is, Amperland studios, aka PGHQ, aka the house featured in the Command S documentary series about the making of “Skylight”, aka a rare & strange falling apart Dutch farmhouse built in 1731. Our new album “Marigold” which was also recorded here (inside, not on the porch) is coming out January 17th

This month the New Jersey alt-country outfit Pinegrove will share new album “Marigold”, the group’s debut on their new label, Rough Trade Records, and the announcement arrived with a single and video for one of its tracks, “Phase.” “Phase” feels like a return to the Pinegrove’ former sound on their acclaimed record, Cardinal.

In it, there’s a driving drum beat and palm-muted guitar setting the stage for frontman Evan Stephens Hall’s ardent yelps. The restrained verse builds to a chorus where everything comes to a crescendo at Hall’s cry of “I’m torn right through / Divided right in two.” There’s some fantastic slide guitar fills within, giving the track Pinegrove’s signature almost-country feeling. Pinegrove took a year-long hiatus after Hall issued a statement in response to an allegation of “sexual coercion” made against him in 2017. Since then, their self-release of Skylight in 2018 and new record deal with Rough Trade have shown the group attempting to put those events behind them. Thanks as always for listening!, Evan.

Pinegrove’s new album ‘Marigold’, coming January 17, 2020 on Rough Trade Records.

New Jersey band Pinegrove has announced that their new album “Marigold” will be released on January 17th, 2020, via Rough Trade Records. This announcement comes paired with the release of new song “Phase,” the second song released from the album following the album’s first single “Moment,” .

“Phase” has that now-signature urgent and emotional Pinegrove sound, packing a lot in it’s 2 1/2-minute runtime. Evan Stephens Hall wrote the song about those times you’re desperately trying to sleep but you can’t because your mind is racing with different ideas and anxieties.

The official music video captures this idea in a humorous fashion, which was directed by Colin Read. Find it posted below, along with the Marigold tracklist and some newly announced tour dates.

we’re also real psyched to report that we are working with Rough Trade Records! they’ve been terrific to work with so far & it’s an honor to be on their roster. may we also say! our tour is coming up—beginning, in fact, next week! we’ll be playing this song “moment” & perhaps some other new ones out there on the dusty trail.

28-Mar-20 Dublin, Ireland @ The Grand Social
30-Mar-20 Glasgow, UK @ SWG3 TV Studio
31-Mar-20 Manchester, UK @ Academy 2
01-Apr-20 Bristol, UK @ SWX
02-Apr-20 London, UK @ Electric Ballroom

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Pinegrove have released their new album Skylight through Bandcamp. The album is available in a pay-what-you-want format. All proceeds from the album will be split between three charities: Musicares, the American Foundation for Suicide Prevention and the Voting Rights Project.

The album was announced on Wednesday as part of a Pitchfork profile on frontman Evan Stephens Hall, who was accused of “sexual coercion” in 2017. The Pitchfork piece delved into the accusation and resulting fallout, and gave Hall, as well as a mediator for the alleged victim, a chance to elaborate on what had happened.

Reactions to the piece were divided. Some were happy to see the band emerge from a murky, ill-defined situation, but others felt that the redemption was unearned. Near the end of the profile, Hall revealed the band’s plans to self-release Skylight, and that all Bandcamp profits would benefit charity.

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Released September 28th, 2018
Songs by Evan Stephens Hall 

Evan Stephens Hall – vocals, guitar, percussion
Zack Levine – drums, percussion
Adan Carlo – bass
Josh Marré – guitar, dobro, lap steel, vocals
Sam Skinner – guitar
Nick Levine – guitar, pedal steel
Nandi Rose Plunkett – synth, keyboard, vocals
Doug Hall – piano & vocals on Light On

All proceeds will be split evenly between Musicares, the American Foundation for Suicide Prevention, and the Voting Rights Project.

After a number of different releases and years of touring, Montclair, New Jersey’s Pinegrove have offered their finest work to date with their newest LP, Cardinal. The band’s captivating blend of indie rock, pop and country elements is more vivid, fine-tuned, and addictive than ever before. Vocalist/guitarist Evan Stephens Hall and drummer Zack Levine (drums) form a core that has been playing together since early childhood. Painting his emotions onto these songs with colorful and kinetic strokes, Hall moves through Cardinal’s eight songs with unforgettable energy and passion, with a vocal performance that is pleasantly reminiscent of Will Oldham and Built to Spill’s Doug Martsch. The band are playing a few UK shows , plus this  newly released track, it’s a new song from the new batch of tracks that we just recorded. we don’t have any more official info to give u on those recordings right now but we can tell u that they are finished & ready & we are really proud & as a celebration we are releasing one song. it’s called intrepid. one of the things these new songs explore is the emotional & creative experience of geometric space. this song in particular considers distance, the outer rim of the magnet’s pull. how the size of the world can bring our personal relationships into focus.

We’re offering Cardinal and the rest of our catalogue up for ‘pay what you want’ & donating all the proceeds to Southern Poverty Law Center. Please give what you can.

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Somewhere between the proto-emo of the likes of the Appleseed Cast and the backwoods folk of Whitney , lies New Jersey based outfit Pinegrove, a band who emerged from the depths of Bandcamp to appear on numerous end-of-year-lists with their album “Cardinal” released in 2016. Capitalising on that surprise success, Run for Cover Records have re-released this compilation of the band’s early work. Everything So Far does a nice job in charting the Pinegrove’s progression into the bookish and lovelorn brand of indie rock they later perfected on Cardinal, marked out by vocalist and main songwriter Evan Stephens Hall quavering tenor and perambulating and pleasingly funny guitar lines. As with such completist compilations there’s a fair chunk of filler here, and over time its 21 songs begin to congeal into each other a shade, but as an introduction to the band’s many charms, it’s solid enough.

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Image of Thurston Moore - Rock N Roll Consciousness

 

 

 

 

 

 

 

 

 

 

 

 

Thurston Moore entered The Church studios in London to record new songs with producer Paul Epworth. Thurston, the founder of seminal US alternative rock experimentalists Sonic Youth and Paul, the celebrated producer and co-writer of Adele, The Pop Group, Florence & the Machine et al created a dynamic vibratory match (with the realization that they were both Leos, on the cusp of Cancer, born on 25 July.) The session was mixed by Randall Dunn (Marissa Nadler, Sunn 0))), Earth, Boris) at Avast! Studios in Seattle.

Thurston Moore Group had been touring since the critically acclaimed release The Best Day LP/CD (2014, Matador) that introduced the core members James Sedwards (guitar), My Bloody Valentine’s Deb Googe (bass) and Sonic Youth’s Steve Shelley (drums). Rock n Roll Consciousness is Thurston’s focus on this group’s strength, beauty and promise, with an unleashing of James Sedwards’ brilliant guitar play, Deb Googe’s minimalist groove ethic and Steve Shelley’s in-the-pocket swing dynamism.

The songs Thurston introduce are expansive, anthemic and exploratory with lyrics, co-written with poet Radio Radieux, investigating and heralding the love between angels, goddess mysticism and a belief in healing through new birth. They range from the opener “Exalted”, an unfolding and emotional journey in homage to sacred energy and exaltation, to “Cusp” a springtime charging, propulsive piece with a feeling of Sonic Youth mixing in with My Bloody Valentine to “Turn On” a pop-sonic poem to holy love both intimate and kosmiche to the contemplative mystery of life-defining time travel in “Smoke of Dreams”. The record concludes with “Aphrodite”, a strange and heavy no wave rocker in salutation to the idol of love, beauty, pleasure, and procreation.

Rock n Roll Consciousness is a new and exhilarating chapter for Thurston Moore, and promises to be a creative highpoint for anyone interested in his legacy of avant-garde music and writing, as strong a statement as anything he has recorded these last three decades – serious and precocious and strangely accessible.

Image of The Cosmic Dead - Psych Is Dead

Scotland’s favourite space-psych-rock-gods return with a new album ‘Psych Is Dead’ before heading out on a lengthy UK/European tour including appearances at all the key genre festivals such as Safe As Milk, Wrong Fest, Desert Fest, Raw Power Festival and Karma Fest.

Formed in 2010, The Cosmic Dead are a quartet from Glasgow, Scotland who share their music through good vibes and better vibrations. Known for their improv, chaos strewn, Buckfast smashed against the wall take on space music, they have roamed from Roadburn to Las Vegas, Dundee to Bangalore with each album offering a meditative window into a certain time and space.

‘Psych Is Dead’ is the sixth full length album from the band, the glowing embers of a a few days spent recording in a sweaty Sardinian kitchen overlooking the Mediterranean Sea. Soon to be available on LP and CD via Riot Season Records, ‘Psych Is Dead’ is an aural exploration of their tumultuous universe.

Black honey somebody better

Limited Opaque Orange 7″ Vinyl. Like those have gone before it, Somebody Better is the next player in the terrific Black Honey single line-up. Following in the footsteps of its predecessors Corinne, All My Pride and the most recent Hello Today, once again the Brighton four-piece fronted by Izzy B. Phillips step up to the mark with a brilliantly bold statement of intent for 2017 – a festival- ready gleaming pop-rock meteor that’s headed straight for you. It is a mix of Eat to the Beat era Blondie and pop era Lush.

Lanegan

 

There’s a singer with a voice 50 fathoms deep and the consistency of vitrified teak, who has been known to go to extremes in search of a song. Across continents, over oceans, through multiple time zones. From West Hollywood to… Tunbridge Wells. A long way – but Mark Lanegan knows the directions.

Early in 2016, Mark was at home in Los Angeles, working on some ideas for what might turn into his next album. He wasn’t too thrilled by what he was coming up with. Then he got an email from a friend, an English musician named Rob Marshall, thanking Mark for contributing to a new project he was putting together, Humanist. The pair first met in 2008, when Marshall’s former band Exit Calm supported Soulsavers, who Mark was singing with at the time. Now Rob was offering to write Mark some music to return the favour.

“I was like, Hey man, I’m getting ready to make a record, if you’ve got anything?’” Mark recalls. “Three days later he sent me *10 things… !”

In the meantime, Mark had written Blue Blue Sea, a rippling mood piece that he thought might be a more fruitful direction for his new record, and had the idea for a song called First Day Of Winter that felt like an apt closer. “It’s almost always how my records start,” he explains. “I let the first couple of songs tell me what the next couple should sound like, and it’s really the same process when I’m writing words. Whatever my first couple of lines are tell me what the next couple should be. I’ve always built things like that, sort of like making a sculpture I guess. Start with the raw material and let that point me in the direction I want to go. So, once I was pointed in that direction, the music that came from other sources, from Rob, I just went for the ones that helped me build this narrative that I had started already.”

Within an hour, Mark had written words and vocal lines for two of the pieces Rob had cooked up at Mount Sion Studios in Kent and pinged through the virtual clouds to California. Rob’s music fitted perfectly with the direction Mark had been pondering: in essence, a more expansive progression from the moody Krautrock-influenced electronica textures of his two previous albums, Blues Funeral and Phantom Radio. Eventually, Rob Marshall would co-write six of the songs on the new Mark Lanegan Band album. “I was very thankful to become reacquainted with him,” Mark deadpans.

The remainder of the album was written, recorded and produced by Lanegan’s longtime musical amanuensis Alain Johannes at his 11 AD base in West Hollywood. Everything was done and dusted within a month, unusually fast by Lanegan’s recent standards. Both Blues Funeral and Phantom Radio unfurled at leisurely pace over several months. But this time Johannes had only a fixed window of opportunity due to his ongoing touring commitments as a member of P.J. Harvey’s band. But Mark was sufficiently happy with the material to move swiftly, a reflection of contentment with his abilities as a singer and writer, which have now produced a huge body of work spanning a period of more than 30 years: whether it be his own solo records, or collaborative recordings with others, or going back to his legendary first band, the Screaming Trees.

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His second self-titled album grew out of a period of great change for Pollie both personally and professionally. The L.A. musician ended one relationship and started another. He released a debut album in 2014 to critical claim and watched as the single She Came Through (Again) became a surprise hit – the kind of bittersweet pop song destined to anchor a multitude of lovelorn mixtapes. He signed to Anti-Records and worked on Los Angeles Police Department with Jonathan Rado (Foxygen, Whitney, Lemon Twigs) producing and Rob Schnapf (Beck, Elliott Smith, Foo Fighters) mixing. Los Angeles Police Department reveals an artist turning the personal into the universal and giving a bit of himself away in the process. “I’m a student of the album, so it was important to make this more than just a collection of the best songs I had written. It had to be a journey for me and for the listener.” The journey does not end with the album, but will continue throughout his next album and his next and his next. “My music is an extension of myself and it’s definitely something that I’m going to grow with.”

Mellencampsadclowns

Heartland rocker John Mellencamp releases his 23rd full-length album, Sad Clowns and Hillbillies featuring Carlene Carter, the daughter of June Carter Cash and stepdaughter of Johnny Cash, on Island Records. Sad Clowns and Hillbillies returns Mellencamp to the musical eclecticism that is, itself, a reflection of his wide-ranging musings on life. John Mellencamp is an authentic voice of American music and master storyteller with a commitment to creating traditional rock and roll, bittersweet songs of happiness and melancholia, and fervent political dissent. His passions and experiences resonate beautifully in this showcase of his music. Sad Clowns and Hillbillies is self produced by John Mellencamp.

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Pinegrove’s Everything So Far is exactly what its title suggests – an anthology of all of Pinegrove’s output up to the point of their breakout Run For Cover Records full-length, Cardinal. The collection encapsulates their debut LP Meridian, a number of EPs and even some singles like the captivating track Angelina and Cardinal favourite New Friends. Originally available only on cassette with a shorter tracklist. Listening to Everything So Far is a rewarding experience for new and old fans, as the time capsule of a tracklist shows Pinegrove developing a signature sound, maturing and learning with each song.

2LP – First time on vinyl and pressed as a double album. The vinyl version also includes a brand-new 16 page booklet featuring lyrics and photos documenting the band’s earliest moments.

Hmltd to the door aw

HMLTD release their second single To The Door backed up by the equally stunning B-side Music!. The single is available as a limited 7” on Ouroboros Ltd. The six-piece, whose origins lie somewhere between the UK, Greece and France, have come up as one of the most confounding acts to appear in London in recent memory, with equally galvanizing music and visuals, stories of chaotic and incendiary live shows to packs of mosh-pitting followers and compatriots, and art installations where the lines between performers and audience are ever-blurred. Continuing their collaboration with director Jenkin Van Zyl, To The Door is an audio-visual bucking bronco ride of fantasy and myth, sci-fi and the terrestrial, savagery and élan, the unattainable and the tactile, coming together for a mesmerising assault on the senses. It’s another opportunity to join HMLTD’s uncompromising, all-in, fiercely adventurous and wholly irresistible world.

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274 Copies only limited-edition red vinyl 7″ single of Lorelle Meets The Obsolete’s ace The Sound Of All Things, taken from last year’s acclaimed fourth album, Balance. It’s the long song where lapping, ambient beauty gives way to a stormy sea of psych-rock, like Moon Duo tripping out with The Orb. According to the band, it’s all inspired by John Cage and the ocean near their home in Ensenada, Baja California. It comes backed with a brand new remix by the wonderful Russian band Gnoomes, who have turned it into an electro-psych monster.

Wilsen i go missing in my sleep album cover artwork hires 600x600

First appearing on the scene with the self-released Sirens double-EP (2013) and Magnolia EP (2014). Tours with Daughter, Matthew E. White, San Fermin and shows with London Grammar soon followed. Tamsin has also lent her vocals to Honne’s Coastal Love and a vocal line of hers is used in a SBTRKT song. I Go Missing In My Sleep is Wilsen’s debut album and was recorded with producer Ben Baptie in upstate New York and atThe Farm Studio outside of Philadelphia. Many of the songs were composed in a tiny Brooklyn apartmentin the fleeting pre-dawn moments when New York City is mostly still. These beautifully crafted original pieces capture an almost impossible sense of delicate quietness, and when it came time to record them with the band – Drew Arndt on bass and Johnny Simon on guitar – they unfurled at a nexus of hushed and heart-racing, intimate folk paired with muscular yet restrained sonic experimentation. It evokes the mood of Nick Drake and epic soundscapes in the vein of Arcade Fire.

Bert Jansch - Living In The Shadows Part 2: On The Edge Of A Dream

Following on from Earth’s definitive collection of Jansch’s 1990s works ‘Living In The Shadows Part 2: On The Edge Of A Dream’ picks up from where it left off, bringing together Bert Jansch’s final recordings, made between 2000 and 2006. This remarkable anthology documents some of Jansch’s finest work, and a man at the top of his game, some forty years(!) after his first release. From the brooding resonance of Crimson Moon (where Jansch is joined by Johnny Marr, Bernard Butler and Johnny “Guitar” Hodge, as well as son Adam Jansch and Bert’s wife Loren Jansch) to the intimacy of Edge Of A Dream (Bernard Butler, Hope Sandoval, Dave Swarbrick, Ralph McTell, Johnny “Guitar” Hodge, Paul Wassif, Adam Jansch and Loren Jansch) to the wondrous new folk / trad folk harmony of Black Swan (Beth Orton, Devendra Banhart, Kevin Barker, Helena Espvall, Paul Wassif), these seemingly very different albums all speak of one thing: Bert’s natural talent for turning out extraordinary music, regardless of genre. Disc four, The Setting Of The Sun, takes in more demos and unreleased material, with guest appearances from Gordon Giltrap and Johnny Marr adding additional delight for fans old and new. These peeks into Jansch’s recording process are nothing if not fascinating, with his home studio lending itself perfectly to any recording fancy he might arrive at. Like Part 1, this deluxe case-bound set exhibits the sublime attention to detail that has become Earth Recordings’ calling card. Liner notes come courtesy of colleague Bernard Butler and Bert’s son Adam, while a comprehensive listening guide (by esteemed journalist, Dave Henderson) is also included.