Trembling Bells’ Alex Neilson Announces Solo Album

Scottish underground folk artist Alex Neilson has confirmed plans for new solo album ‘Otterburn’

The Glasgow based songwriter is one of the driving forces behind Trembling Bells, but returns to his Alex Rex moniker for this second solo LP.

‘Otterburn’ will be released on March 29th (pre-order LINK), with Alex set to embark on a solo tour this Spring.

New song ‘Master’ is online, with Alex Neilson describing it as “a letter from an exiled submissive to his darling dom. The language is that of cruelty, emotional sleight-of-hand, fetishized regret and haunted accusation. I wanted it to sound like the aural equivalent of a Victorian medical device.”

The full video is online now, and it’s full of intrigue and mystery. He continues:

“The video is presented as a series of postcards from an unspecified love triangle. The relationships unknown and melancholy. It is set in the past and future simultaneously – a future that is already ruined. It was photographed by Tom Chick in Kirkstall Abbey, The Abbey pub, Leeds & Liverpool canal, Harrogate Valley Gardens and my grandad’s house.”

Catch Alex Rex at the following shows:

April
Glasgow Blue Arrow
Edinburgh Sneaky Pete’s
Bristol The Cube
Bath The Bell
Leicester The Musician
Brighton The Rose Hill
10 London SET
11 Birmingham Hare & Hounds
13 Todmorden Golden Lion
14 Sheffield Bishop’s House

Source: Trembling Bells’ Alex Neilson Announces Solo Album | News | Clash Magazine

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Raw, brutal masterpieces: 2018’s best folk albums

Lori Watson

Lisa O’Neill, Lori Watson, Trembling Bells, Norma Waterson and Eliza Carthy were among the many standout acts in a very distinguished year for the genre

The best folk of 2018 was raw, bloody and brutal. Stick in the Wheel’s Follow Them True (From Here) started the year with an uncompromising take on traditional music, delivering ancient songs such as The Unquiet Grave as if they were emerging from the earth after years of being lost. Experimental flourishes (Nicola Kearey’s vocals treated with Auto-Tune, for example) only added to the uncanny, arresting mood. In November, the band also released an atmospheric mixtape, which is hugely worth checking out.

Lisa O’Neill’s Heard a Long Gone Song (River Lea) went even further. Her resolutely unpretty, belly-deep Irish drawl hymned the decline of industry, depression, and the deaths of young children. Let it submerge you and a modern folk masterpiece emerges, its roots twisting back to records such as Lal and Mike Waterson’s Bright Phoebus, which has sadly been pulled from sale in recent weeks because of copyright issues. Norma Waterson and Eliza Carthy’s warm and wildly varied Anchor (Topic), reminds you how adventurous that family always were and still are.

Other women forged folk forwards this year. Lori Watson’s Yarrow Acoustic Sessions (self-released) marked the arrival of a stunning new talent: her explorations of Scottish songs and poems offer endlessly rewarding listens. You Are Wolf’s inventive concept album about water, Keld (Firecrest), also held many hidden depths, while Olivia Chaney made a bold move away from folk foundations on the gorgeous Shelter (Nonesuch). Let It Calm You Down, from Let the Cards Fall (Real World) by the Breath, was my favourite original ballad of the year, Ríoghnach Connolly’s voice as tender as the grasp of a child’s hand. Jackie Oates’s The Joy of Living (ECC) was quietly devastating in its personal explorations of life and death, while Kitty McFarlane’s Namer of Clouds (Navigator) struck a sweet note for debut folk-influenced singer-songwriters.

Instrumental music was also at its best taking bold turns. Sam Sweeney’s The Unfinished Violin (Island) explored war, while Solasta’s A Cure for the Curious (self-released) introduced a new trio mixing up traditional dances with imaginative arrangements. The year’s best psych-folk is still working well as the winter draws in: the Left Outsides (Cardinal Fuzz) and Trembling Bells (Tin Angel) giving us lusty, spectral lights. And shout-outs to two records I missed, but which I have loved in recent months: Emma Tricca’s St Peter (Dell’Orso), heavy with atmosphere and beauty, and Sam Lee and Peter Wiegold’s extemporisations on folk songs, Van Diemen’s Land (NMC). Modern folk’s bounties keep giving.

Source: Raw, brutal masterpieces: 2018’s best folk albums

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Trembling Bells in session

Alex Nellson brings his wonderful band Trembling Bells in to entertain, this evening. The band’s seventh studio album Dungeness is out March 2018.

The album is named after a headland on the south coast of England, which Alex visited for the first time in 2015 along with other band members – bassist Simon Shaw, guitarists Alasdair C Mitchell and Mike Hastings, and vocalist/ organist Lavinia Blackwall.

Marc’s been playing Christ’s Entry Into Govarn and I’m Coming on the show and loving them

Source: BBC Radio 6 Music – Marc Riley, Trembling Bells in session