M. CRAFT announces new Blood Moon Deconstructed album, due 15th December on Heavenly Recordings

“One of the most exquisite soul-searching odysseys of this or any other year.” MOJO – 4 Stars ****

“A sense of otherworldly isolation fills the gentle, piano-centric Blood Moon, as completely as it does Nick Drake’s Pink Moon… A wonderful album.” Q – 4 Stars ****

“A meditative mood-piece, wrought from echoing piano, minimalist orchestrations and sudden, cascading waves of vocal harmonies..” Uncut

“A perfectly judged synthesis of conventional songwriting skills and detailed, cinematic music that revels in the silence between the notes… Superb.” The Observer – 4 Stars ****

“With its twinkly desert aesthetic and night-sky prettiness, the emphasis on piano and Craft’s melodies recall British folk traditions as well as US ones.” The Guardian – 4 Stars ****

Initially released last year, M.Craft’s well-received Blood Moon album re-emerges in December having undergone a musical metamorphosis. Blood Moon Deconstructeddisplays a similar widescreen cinematic backdrop as its predecessor and having evolved from piano improvisations the tracks have been transformed, some stripped back whilst others have advanced into completely new compositions.

Once the idea of an instrumental version of Blood Moon was mooted, Martin wanted to do more than just “muting the vocals” as he explains; “I found myself hearing a new, different potential within the record. I knew there were interesting layers beneath the finals songs which could be mined for sound.”

The new interpretations moved on from their piano origins with the additional contributions from an array of like-minded and amazing players including; Mary Lattimore (Kurt Vile, Sonic Youth) on harp, Paul Cartwright (Father John Misty, Rhye) playing violins, Maxwell Sterling on double bass, Seb Rochford on drums and Danny Frankel (Lou Reed, KD Lang) plus many more.

The resultant Blood Moon Deconstructed is not just a stripped back version of the original, but a re-imagining and as its title suggests a deconstruction rather than purely just remixing – one, Martin hopes is a “filmic, somewhat ambient, daydream.”