Further by Deep Fade

LISTEN EXCLUSIVE MIX OF THE SONGS THAT SOUNDTRACKED THE MAKING OF 'FURTHER':
on.soundcloud.com/Knpz6fVm165F2Scc9

"Crazed guitar lines, electronic rumbling and crystalline female vocals get blended together into a unique alloy of folk, psychedelic and avant garde impulses, with occasional slow motion spins into the heart of no wave raunch."
- Byron Coley, The Wire issue 490
www.thewire.co.uk/issues/490

"It’s fitting that Deep Fade should call their second album Further, because this is where they take things. At times it’s terrifying and at times it’s immense."
- Christopher Nosnibor, Aural Aggravation
auralaggravation.com/2024/09/28/album-review-and-exclusive-video-stream-deep-fade-further/

"Awkward, off kilter guitar lines combine with distant, echoey and haunting vocals and moments of noise to create a record that is boldly ambitious, a challenging listen but one that conjures up atmospheres aplenty."
- Christopher Owens, Predominance 44, The Pensive Quill
www.thepensivequill.com/2024/09/predominance-44.html

"Votta takes the vocal reins like never before, as Deep Fade produce a brand of neo-folk doomgaze tailor-made for a Jim Jarmusch film."
- Simon Kirk, Sun 13, Weirdo Rippers 15
sun-13.com/2024/11/01/weirdo-rippers-15/

A slow disintegration, dislocations, loss, heartache, distance. Deep Fades second album, "Further", expands the themes of their debut "Line Of Flight" through a different set of sounds, a different sonic structure.

Melancholy overlays the noise, in a Neil Young meets Einstruzende Neubauten inspired set of songs recorded across oceans and countries: St. John’s, Newfoundland; Providence, Rhode Island; Liverpool, England; Edinburgh, Scotland all provided momentary stops along the album’s path. In the background lurk Detroit and Toronto, where Neddal and Amanda have spent many years, and many years wandering from.

Environmental phenomenon also shapes the sound: Neddal recorded guitars for “Tidal: during a nor’easter that rolled in off the Atlantic, stretching down to Providence where Amanda then recorded vocals in a hallway with the door open to the storm.

On “Little Bird,” Neddal recorded guitar using a lighthouse as reverb, and Amanda sang the words at a lighthouse near Providence.

Lighthouses near Edinburgh and Liverpool also provided Amanda with spots to record vocals, sometimes inside the tower, sometimes standing just outside in the doorway. The winds and sometimes the calls of birds can be heard on most songs.

Toronto’s Church of the Holy Trinity, and Cowboy Junkies’ The Trinity Sessions recorded there in 1988 provided additional sonic touchstones.

As did the lights that shine over the rolling ocean at night, the shake and creak of metal in wind, banks of thick clouds and the fog that lays heavy in the morning, or during the day, enfolding everything and isolating sound from source.
credits

Abject Feral Noise

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