Announces new London headline show in April
Shares ‘All Is Equal In Love‘
Debut album, 2013
Released 26th February via Moshi Moshi
With his much-anticipated debut album 2013 due for release late February on Moshi Moshi, one of this year’s brightest prospects, the incomparable MEILYR JONES, kicks off 2016 with the news that next week’s Electrowerkz show has sold out and the announcement of a second London headline show at the Moth Club in April. Upcoming UK live info below:
Wednesday 13th January – LONDON – Electrowerkz **(SOLD-OUT!)**
Friday 22nd January – HEBDEN BRIDGE – Trades Club (with Field Music)
Friday 12th February – CARDIFF – From Now On Festival (with Julia Holter)
Tuesday 26th April – LONDON – Moth Club tickets
Saturday 14th May – WREXHAM Focus Wales Festival
Saturday 11th June – LONDON – Field Day
Meilyr says of the track, “All is Equal in Love. A loose folk song, with drums, bass, banjo, guitar, pedal steal and viola, about requited love and strife in the masculine feminine balance. I recorded it after the album, and it didn’t quite sit with the other songs, but it works nicely after How to Recognise a Work of Art.”
The Line of Best Fit has also just shared Meilyr’s secret evening session at End of the Road festival in full, watch it here.
“I conceived of the record as a compilation of myself, over the period of a year,” says Meilyr Jones. “As an anthology, a collection of my songs and of what happened to me in that year.” The year in question was 2013, a curious time in Jones’s life, when the weeks were scored by loss and pleasure and revelation, and when he made a short but transformative trip to Rome, drawn by a fascination with sculpture and Byron and Berlioz, and by a desire “to see something new and different.”
In Italy he lived differently. “I’d go out every day, walking for hours, go to churches, just to see paintings,” he says. He spoke no Italian but lived with Romans, joining them for late night dinners and early morning drinking, and in that way of living he found “There was this spirit – that again I’d felt in Byron’s poetry – that was sweet but also really resilient.”
The songs that emerged from that time proved quite different to anything he had written before; 13 songs in which joy and rapture are tempered by wit and keen-eyed humour, by jubilant pop melody and rock and roll muscularity.
Returning to London, he decided to set about recording. Five of the songs he had conceived as orchestral pieces, and so he assembled a 30-strong orchestra “out of friends, and friends of friends of friends,”. There was a saxophonist, a bassoonist, a clarinetist, some classical players, jazz, brass, a French harpist, and Lucy Mercer from Stealing Sheep on drums.
Over the course of a day they recorded the main body of the tracks Olivia, Return to Life, Passionate Friend, Rome and Be Soft, the songs later embellished with further additions – a community choir in Glasgow, field recordings of birds, three trombonists recorded in a cemetery, among them. “I wanted to make something that felt right to me and expressed my interests, which are classical music and rock‘n’roll music, and films, and nature and karaoke, and tacky stuff,” Jones says. “And I wanted to capture that feeling in Rome of high culture and low-brow stuff all mixed together.”
What Italy gave him was the notion of a “rich internal life” to be explored: the quiet contemplation of a church at midday, the wonder of sculptural form, a desire for grace, epic poetry and baroque violin. The collection of songs that it led to are as various, unusual, and contrary as all of the pieces that make up a person. It is the sound of a young man discovering just who he is.