DEADBEAT & CAMARA SHARE NEW TRACK
TO LOVE IS TO BURY
Berlin-based electronic producers Scott Monteith (Deadbeat) and Fatima Camara reinterpret The Cowboy Junkies’ 1988 album The Trinity Session
Trinity Thirty is out 26 April 2019 via Constellation
As we approach the release date for Deadbeat & Camara‘s collaborative LP Trinity Thirty, the Berlin-based Canadian duo are sharing another new track from the album. On “To Love Is To Bury,” Deadbeat (aka Scott Monteith) and Fatima Camara transform the Cowboy Junkies’ original ballad into an aching lament rooted by slow, pulsing bass and accented with delicate percussive flourishes. Monteith’s lead vocals spin a melancholic tale, possessing a faded world-weariness while remaining a firmly commanding presence in the mix. “To Love Is To Bury” feels nostalgic and bittersweet, serving as an alluring testament to Deadbeat & Camara’s ability to craft deeply emotive, affecting soundscapes. Listen to the track now:
TRACKLIST:
1. Mining For Gold(4:19)
2. Misguided Angel (5:42)
3. Blue Moon Revisited (Song For Elvis) (5:41)
4. I Don’t Get It After Midnight (Medley) (7:52)
5. I’m So Lonesome I Could Cry(5:16)
6. To Love Is To Bury (4:18)
7. Dreaming My Dreams With You (4:24)
8. 200 More Miles (5:27)
9
10. Postcard Blues (6:02)
11. Sweet Jane (5:36)
Trinity Thirty is a celebration and reinterpretation of the
Before Monteith even touched down back in Berlin, the band had replied that same day saying they had no such plans but would enthusiastically support whatever angle Monteith/Deadbeat might want to run with
The Trinity Session is rightly celebrated for its naturalistic, profoundly languorous covers of classic tunes and traditional work songs (“Sweet Jane”, “Blue Moon”, “Mining For Gold”, et al) – and is also legendary for having been recorded with a single microphone in single takes at a church in Toronto, with no further mixing or overdubbing. While Deadbeat and Camara couldn’t entirely replicate this approach as a duo, for Trinity Thirty they similarly re-recorded everything with single mics in a big open space at Berlin’s Chez Cherie studio, relying heavily on natural room acoustics, committed to raw first takes, guided by an overriding strategy of slowing down all the tempos as far as they could while continuing to channel the warm asceticism of the original album. Initially imagining they would run a fair amount of electronic treatments during the mix, Deadbeat and Camara instead found themselves absorbed by the spaces and silences, guided by a spirit of preservation and restraint, in homage to the original. The result is “a less electronic album than we imagined making”: a gorgeous somnambulant collection of ‘covers of covers’, where the reference point is always the Cowboy Junkies original approach, stretched to new and beguiling limits of deceleration and narcotized spaciousness – a sensibility further reinforced by the mastering treatment of minimalist dub-techno legend Stefan Betke (~scape, Pole).
Trinity Thirty is a wonderfully languid, subtly avant-garde, conceptually reverent acoustic-meets-electronic interpretation of this classic album.
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