The Walnut Room is proud to bring you eclectic sounds from some of Colorado’s finest.
New Denver 3-piece featuring Claudine Rousseau (of legendary Denver post-punk band Sin Desires Marie) , violinist Frieda Stalheim (ex-Munly and The Lee Lewis Harlots) and Joseph Sampson (of Bad Weather California and Wentworth Kersey). This project is so new that there are not even samples to show you on the internet… But you CAN hear them this weekend when they play at the Walnut Room.
T’was the dark year of our Lord, 1775. King George III had just dispatched a fleet of his finest ships to snuff the rebellion abroad. When the dawn of October 30th broke on Captain George Duff, he and his men were just 100 miles out of Liverpool in the Celtic Sea. A deckhand called the Captain’s attention to the mast of black ship about a quarter mile off their port side. Young master Johnny, the cabin boy, strained through his spyglass to see if the ensign bore the Jolly Roger, or perhaps it was Irish Navy. But as the massive old ship drew nearer, Johnny saw the ensign clearly, and it was one he had never seen before. An hour glass with angel wings was pinned to the tattered old rag of a flag with brick red pigment that seemed to drip like murder from the canvas. As Johnny panned the spyglass toward the deck, he heard wisps of voices on the wind. Singing? Yes it was; and how haunting at that. Like a corpse whispering promises through a flute made of bone. And then Johnny saw the figure head; a siren carved in ebony, the size of a Requiem Shark. Her eyes were deep and hollow, her hair seemed to move with the nature of eels, and a dark scarlet ink ran from her lips over the plaque she held in her spindly fingers. And on the plaque; Johnny strained to read… inlaid with bone, in a merciless font, stood the words, “The Widow’s Bane.” In an instant, the ship had swung broadside and before Johnny could speak, he saw a series of flashes emit from the ship’s port holes. There was a sound not unlike that of the earth itself being torn asunder, and then poor Johnny heard no more. Come that evening, the crimson waves left in the wake of The Widow’s Bane, reached all the way back to Liverpool. And while this spectacle was certainly shocking to the fishermen that soaked their trousers in it, this account is only unique in the names of crew members and geographical locations. Apart from that, this story has been a part of almost every port town’s history across the globe for the last three hundred years. Indeed, to this day, if a sailor hears that mournful tune on the high seas, he will know his options of fate are slim. If he has been a God fearing man and said his prayers, he will likely sleep in a watery grave that eve. However, if he has lived his life by the Devil’s standards, his fate is sure to be far worse; an endless voyage of murder and mayhem, singing for his bread, and living among the dead, upon The Widow’s Bane.
“as 2009 was drawing to a close, critics were falling over themselves to include an album in their “end of the year” lists which had been printed in the ridiculously tiny print run of 50 copies: still light’s lything was a hideaway in sepia colours, a private world of heartbroken guitars, light-filled drones, ancient whispers and echoes of folk, country, progrock and ambient. firmly rooted in the world of song, these at first simple structures would sometimes branch out into soundscape-territory within the blink of an eye, while always retaining their melancholic melodic charm. so warm and organic was this combination that many were led to believe it had to have been written and recorded by the three musicians in the same room.
As it turned out, however, lything was the result of a long-distance partnership between edinburgh-based singer/songwriter lucy hague, colorado’s kirill nikolai and london-based artist sand snowman, known from his psychedelic folk suites on tonefloat. by freely passing around ideas, concepts and files, the album slowly attained its cinematic beauty through a process of gradual refinement. thanks to this re-release, their music is sure to finally meet a lot more interested ears this time – and turn into a hot contender for 2010’s end of the year lists again.
Lything is out on tonefloat’s c imprint on black 180grams vinyl in handmade sleeve with lacquered and stamped insert. the release date is March 16. the album can be pre-ordered directly from our tonefloat shop.”