About once a year, an album is given the full deep-dive treatment on these pages with the artists participating and offering insights into the creation of their music and lyrics. 2018 saw Tony Butler’s My Time being put under the microscope. In 2019, no stone was left unturned as WKW’s Men of Steel was delved into. This year, it’s been a delight to take a very close look at the debut album from The Marriage called Imagining Sunsets.
The Marriage is a British band consisting of David Burn and Kirsten Adamson. They are both still relatively young, but already seasoned musicians who have served in several prior bands as well as having long-standing solo careers – and now a joint band. Their paths have often intertwined over the years, and the feeling that there was common musical ground to explore ended up with them joining forces to add a new and significant project to their ongoing musical adventures.
While their moniker The Marriage could indicate an involvement between the artists beyond music, that is not the case. The name is a statement of intent for their relationship to music. It is a promise that they intend to ride this project all the way into the sunset and stay the course to the very end. It symbolises a dedication to doing what it takes to make music a successful livelihood. This is probably nothing less than what you need to do to be able to succeed in a very challenging industry.
Imagining Sunsets, released on 2 October this year, is their first full-length album. As the first traces of their cooperation emerged in 2012 it has been a long time coming. The wait has been shortened by a semi-regular sprinkling of singles and individual tracks since 2017 and an five-track EP which arrived in 2019.
Musically the album has an acoustic foundation, with songs that the two of them can easily replicate live. Rather than being a straight-ahead singer-songwriter duo, or venturing into folk or traditional British styles, they are looking to the west. Their music contains traces of Americana, roots, and vintage country with their own personal twist.
Having a strong male and a female voice in the band means they can mix things up vocally as far as who sings lead, but primarily they can harmonise. On this album they frequently do, either by sharing the vocals completely or by one of them backing whoever has taken the lead voice at any given moment. They have sung together long enough now that their voices blend seamlessly, making this the most effective weapon in their musical arsenal. It is heartening to hear how constantly generous they are in how they support each other vocally. Nobody is striving to take or keep the spotlight – instead, they push each other forward.
The artists were kind enough to sit down with me to discuss the album and its songs, and one of the first things they did was to underline the importance of the two of them playing the songs live together when recording. With the world having been in lockdown, it would be easy to assume that the album was recorded virtually, with the two band members collaborating remotely by sending files back and forth electronically to build the songs. That assumption would however be wrong.
“It is important that the songs have an organic and live sound,” says Dave Burn. “The album was very much written and performed by both of us together, in fact right here where we are talking to you from now [Kirsten’s summer house in Edinburgh]. The album is recorded live, with the two of us sitting close together, playing and singing. There are obviously overdubs of organ, pedal steel guitar and things like that, but the core of the album was really done live.”
“Only Floating In Space was done remotely,” adds Kirsten Adamson, “as that was written a bit later than the other songs. And Box And Burn It was done earlier, in 2019. But the rest of them we recorded right here in February this year [2020].”
The songs on the album often venture into relationship territory, and as we’ll learn, not always positive ones. Are there happy endings on the album at all?
“Well, all of our songs seem to be about terrible people,” laughs Kirsten. “But I did listen through all the songs when they were done and was struck by the relationship angle that the majority of them had. I started playing around with a track listing and ended up loosely organising them by relationship status – going from songs set in the early stages of a relationship all the way to stories describing the end. But it’s not a concept album, and the songs are certainly not connected. It just felt like it made sense to organise them like that. It becomes a slightly chronological journey of sorts through different relationship stages.”
1) DIAMONDS
That journey starts with Diamonds, with gentle guitar picking and a quietly vibrating electric guitar tone hanging in the background. The vocals are very laid-back when they first come in – almost tentative, but in a way that makes you figuratively lean forward and pay that much more attention. Dave and Kirsten sing in the same key at first, which makes it more impactful when they branch into harmony parts. The magic is apparent from the beginning, with the song quietly building along the way.
By the time we’ve reached the chorus, their voices are in full flow, adding a lot of energy to the song even though the instrumentation is the same. The build is subtle, but undeniably effective. The song will ease its way inside our minds, tugging away at the heartstrings.
In keeping with the mentioned relationship angles on the album, the song tells us about a young would-be couple who are getting ready to go out on an early date. For all the romanticism that is conveyed by the music, this is actually anything but the start of a lovely romance.
Dave: “The diamonds that are mentioned in the song symbolise wanting to present a perfect façade. And you can make yourself all sparkly and shiny on the outside, but on the inside the people in this song are full of shit. *laughs* They are getting ready to go out and have a good time, and just end up getting completely smashed. There’s nothing lasting here. They want that good time for themselves, here and now. They fumble through it and mess it up, and that’s that.”
The young lovers in the song certainly seem to be in for quite the evening:
As high as the north sky
I slipped on my sick
Made promises you and I know deep inside
We couldn’t keep if we tried
Kirsten: “It’s about being a terrible person but looking perfect. We have this expression where you would say “she’s like a diamond,” meaning she’s a wonderful person. Other times, we could say “she’s a diamond in the rough” which means there is a potential, but unrealised. In this case, the diamond references are all about the outside – maintaining a perfect posterior, but failing to look after what counts.”
2) OUR HEART
The core musical expression of the band is built around acoustic guitars, maybe a bass, and their voices. Given that, you would not expect this album to be as versatile as it is. Our Heart might be built similarly to the song that came before it (and the songs to follow), and becomes a good example that there is still room to paint the songs with many different colours.
While the first verse and chorus pretty much stick to the basic acoustic sound, background effects colour it nicely. A piano comes in to provide a link between the chorus and the next verse. The second verse features a solid and dominant church organ part. A little often goes a long way given the sparseness that lies at the core of the songs, so adding elements like these has a tremendous effect. We will see several other examples of this later on the album as well.
Our Heart is similar to the opening track as far as describing two young would-be lovers on a night out. In this case, the people in the song are driving through the streets of London, looking at things, enjoying the moment, and having a good time (“When we’re driving through the backstreets it feels so right / Like we’re on each other’s mind”). Still, that ever-present backdrop of doubt makes them question what it could lead to (“Are we on each other’s mind?“) and what they want it to lead to (“Stop myself saying ‘you mean everything’ / Let’s keep it comical”).
The song very much describes the feeling of living in the here and now – being out and about and just enjoying that. It captures a moment, and isn’t life pretty much a collection of those?
Kirsten: “Our Heart is another track about young and carefree love. The song tells us about two people who are having a nice evening, driving around the place, their heads full of hopes and optimistic dreams about the future. They are just enjoying the evening and each other’s company, but it’s also very much a ‘there and then’ kind of thing. They know it’s not lasting.”
Dave is the one playing the church organ part in the song. “A friend of mine was able to set me up to record in a church on an actual church organ!” he first says with a grin, before admitting that he had to settle for a keyboard plugin.
3) FOR WORSE AND FOR BETTER
The attempts at romance by the couples in the first few songs may not have led to anything concrete or lasting – so how will things go for our third couple? This time, we are served the tale of two people who meet each other at the wedding of their respective ex-lovers. They get drunk and hit it off. But is it just a rebound or is it built to last?
We took no time to discover
That we were meant for each other
Drunk at the wedding of our ex-lovers
Kirsten: “This one is about falling in love as well, but while drunk. The two people in the song meet at the wedding of their ex lovers. They hit it off great – at least first off. Then there is the next morning, and having doubts about where they go from there, and if they even want to go anywhere from there.”
And when the sun comes out
We’ll be freaking out about something even heaven can’t control
Acting like it was the first time we were alone
Beating ourselves together
For worse or for better
As the others songs up till now, it starts quietly and adds ingredients along the way. Fred Abbott contributes discreet piano at first which grows in prominence as the song goes on. The same is true for the electric guitar melody lines that add a lot to the song. The star of the show remains the dual vocals, singing about the fate of these two people who are figuring out if they met each other at the right or wrong time.
The evocative title of the album, Imagining Sunsets, comes from a line in this song.
Still in the dark of tomorrow
We left alone in our sorrow
Imagining sunset we ride into
Kirsten: “For me, the album title it sort of like every relationship you’ve been in. In your head there’s always this ultimate dream relationship that you have imagined. It’s about walking off into the sunset with this imaginary partner that’s perfect.”
Dave: “It’s the light at the end of the tunnel. It’s like one of these long roads that you see in American movies, with a sunset that someone is driving into. Freedom. Thelma and Louise. *laughs* We wanted the title to be good imagery for people. That level of romanticizing it is really what the whole album is about.”
4) TOAST
The first time I heard this song I was wondering if it was about two people having an argument. “I’m not listening to a word you’re saying / Me neither so who cares anyway”, “Quit playing it!”, “You may never meet my mom” – torn loose from the bigger whole I guess lines like those could give that impression, but as we know, anything can be read the same way the Devil reads the Bible (i.e. twisting the original meaning around). At least the artists were amused.
“No! It’s completely the opposite!” laughs Dave at my folly. “In this song, we have two people who are so captivated by each other that everything becomes great. As in, ‘You just said something to me but I missed what it was because I focused on you, not what you said.’ Or, as the song says, ‘I’m not listening to a word you’re saying.'”
Kirsten: “The song is set in the good old beginning days of a relationship when it’s still fun to do stuff like burning toast together and washing clothes. It does not matter what it is that you do, really. You just enjoy being together, and doing it together. At the same time, the song says ‘You may never meet my mom; Right now you’re the one.’ This reveals that there may be no long-term plans – yet. For now, they are purely living in the here and now.”
The verses of the song are build around call and response singing, where the artists play out the characters and sing dialogue lines back and forth to each other, which works very well.
The song has a waltz-y rhythm, with the electric guitar adding a lot of the tapestry. There is even a guitar solo! The acoustic guitars strum more than pick for a change, which also creates a different expression.
The delivery is obviously far too nice for my first impression to be correct, but now that I’ve started thinking about it, I keep wondering what it would sound like if they wrote a call and response song with more tension between the characters, possibly adding some bite to their delivery in a Shane MacGowan/Kirsty MacColl Fairytale of New York-kind of way. Thankfully they are doing fine without my ideas!
5) FLOATING IN SPACE
On an album with so many laid-back and ballad-y songs with gorgeous harmonies, it does feel a little strange to call out this song in particular as the ballad on the album. A lot of the tracks are ballads in some sense, but still, this song is far and away the one that ticks that box best for me.
Given the album’s strong relationship theme overall, it is easy to think of this track in those terms as well. The theme of missing someone is strong, which the melancholy in the song also underpins, but this time there is a wider and more specific context that applies to all of us.
Dave: “This is the only song that was written after the initial sessions in January/February. It was written several months later, during lockdown, and was a song that Kirsten had mostly figured out when she presented it. And it’s about the f*cking coronavirus.”
Kirsten: “I guess the relationship angle fits this song as well, but definitely in a different way. It’s about missing people in general. During the initial phases of lockdown you could not see people – family or friends – and so this song touches on that isolation and how it may affect you.”
Walking on my own try and mind the leaves
Remember I’m floating in space
Talking on the phone, I’m getting used to being
The only one around in my place
Kirsten: “The whole thing about avoiding the leaves was a thing when you ventured outside – don’t interact with anything, don’t touch anything. And you had contact with people via your phone, you suddenly could not see them face to face for a while. That had an impact on all of us I think.”
The title plays on one of the ultimate isolations – floating around in space, with humanity so far away that you never quite know if you will connect again. This is a beautiful way to describe the feeling of isolation and melancholy that goes along with it. The relationship angle is there, but in a much wider sense than any of the other songs. Everybody has their own Covid-related story, meaning that everybody should be able to relate to this song in their own unique way.
Joe Harvey Whyte plays pedal steel on this album, and this song is a great example of how wonderfully it colours the results. It is often used for ambience rather than taking any kind of lead or claiming dominance in the soundscape. On this song it adds generic textures of melancholy and quiet wailing to the background, which is extremely suitable on a song of this nature. It assists Kirsten (who takes the lead here) in delivering a very emotional performance.
6) DREAMERS
The pedal steel is also featured – more prominently this time – on the very first song Kirsten and Dave wrote together back in 2012. Dreamers is one of the most obviously ‘Nashville country’-type songs on the album. There are natural reasons for this, according to Kirsten: “It probably came out that way because at the time, Dave was playing in Ahab which was a very ‘country’ band, and I was playing in Gillyflowers which was a bit like that as well. We were both doing country-based stuff at the time, but we didn’t sit down and really decide to write anything specific – I think it just tumbled out like this one night.”
Dave: “You see that in the lyrical themes as well – the themes of the songs we were writing back then were more inspired by Gillian Welch, Lucinda Williams, you know.. that kind of thing. Whereas, I think we’ve gone a bit different with our influences more recently.”
On the surface, the song sees two ex-lovers meeting each other again, and contemplating giving it another chance. It’s less permanent than that, according to Kirsten: “It is about two old lovers getting together, but our take on it was just getting together for the last time. They both know it’s not anything real.”
“There’s a bit of blame there too,” adds Dave. “If you listen to the lyrics to the second verse, there’s a bit which goes “Maybe it’s time to leave / Stumble down the street and kick myself / You better kick yourself.’ That’s actually saying that the fling didn’t happen. They thought about it, but then he left before the shit went down! I think the “kicking yourself” is interesting – you could see it as kicking yourself that nothing happened, but I see it more as kicking yourself for even thinking about it.”
“Yeah – kicking yourself back to reality,” concludes Kirstin. “Quit punishing yourself.”
7) TRUE ANGER
Kirsten takes the lead on True Anger. The first part of the song features her vocals with finger-picking guitar and sparse vocal backing from Dave. The organ comes in again in the second verse, adding more texture. The delivery is tender throughout.
Unlike some of the other songs on the album, this does not describe a new relationship. This is an established relationship that has been ongoing for some time, and they are having some challenges. The woman sees her partner feeling frustrated with his life. He is stuck in a dead end job, has lost his dreams, and is so upset about his situation and life in general that the frustrations have spilled over to the relationship. The title plays on this as well – instead of true love, the relationship now contains true anger.
Kirsten: “True Anger is about a relationship that has become toxic to the point that we’re now talking about domestic abuse. The partner can’t control their anger and unfortunately it is taken out within the relationship. There was a lot of love there but it isn’t really reciprocated in such a nice manner.”
Dave: “There’s a line in there that goes, ‘Called your mother / She said she’s to blame.’ It’s almost showing as well that the guy had a similar relationship with his mother as well, and she blames it on herself.”
Kirsten: “That’s right. She never put him in line about anything he did in the past, and so that’s rolled on to his current relationship.”
8) THE DEAL
Dave takes the lead on The Deal – a song that has frequently been introduced as being about “breaking up and helping your partner to move out”. The song has often left me with the impression that the break-up is a bit one-sided, with the guy still having feelings for his ex who seem to have moved on (“Now I’m walking down the street / With another box of high heeled shoes / You say ‘can’t believe you’re helping me’ / When you know I’d do anything for you”). What is going on here?
Dave: “Me and my cousin both wrote the lyrics to The Deal. When we write things together sometimes we often write about two separate things. From my perspective, The Deal actually goes back to a relationship I had. It was about a girl that I split up with. I think I helped her move house about four times, even a few times when we weren’t together. I know I’ve actually made the guy in the song sound like ‘poor him,’ but the thing was, it started off that way, but then it actually move on to be about another guy. It is about how his ex would talk to him about his new boyfriend and their issues. The deal in the song is really that you can’t talk with your ex about the problems you have with your new partner. Even though you can be friends after, there’s almost this unspoken deal that you shouldn’t be getting into those things.”
Kirsten: “A lot of our songs come from a past relationship that one of us has had, and then once we get together and write it, it takes on a different twist. We talk about it, and it almost never ends up being about the initial thing – it grows and evolves into something different.”
Dave: “The song will sound like it’s about the relationship between two people, but actually it’s more an observation about relationships in general. It’s the reaction of me and Kirsten. We’ve both had relationships and we talk about them with each other, and they come out as a story about a single relationship. But actually it’s a reaction – the result of us talking, almost like therapy.”
9) BUDDY
Dave takes the lead again on Buddy, which is a late album highlight. More than being about a relationship, the song deals with a deep sense of loss and possibly even depression.
Dave: “In contrast to the last song and what I said before, actually and oddly, this one is actually about something specifically. My fiancée left me and she was a really good friend. Buddy is just about that. I never really knew why she left me, and the ‘digging deep’ refers to trying to find out why, and trying to change yourself, because you think that maybe you’ve been left because of something that you did wrong, or something about your own character that you need to change. It is hard to dig deep… to really see and change yourself. It’s hard to know how long you need to do it for, and to see what the rewards will be at the end. There’s just this blind faith that you’ve just got to dig deep and work on yourself, and somewhere at the end of the tunnel you find something.”
The song avoids being specific about who the buddy is. It is kept on a general level – “Buddy, where’ve you been?” and “Buddy can you give me a sign?” – which makes the song work whether we are talking about a lover, a friend, a brother or sister, or pretty much anyone. The fact that this makes it possible to apply the song more broadly to almost anyone’s situation just makes it stronger and more universally impactful.
Buddy where’ve you been?
I’ve been dancing alone
Without you I got no soul
My laugh don’t sound the same
My smile’s looking weak
I bring it out but I dig deep
Deeper than I did before
Working it out of the ground
How long do I have to do this for
Deep
Buddy can you give me a sign?
I know you can’t help but I don’t know if I can dig
Deeper than I did before
Musically, the song’s expression matches the lyrics and the struggles it contains well. The song starts quietly with vocals and strumming, Kirsten comes in for the chorus. The song grows from there into a powerful middle section.
Dave: “Kirsten actually wrote the middle-8 lyrics on this, and really helped me out finishing it. We wrote the lyrics together again.”
Kirsten: “I think you came with it mostly finished, though. This is one of the ones that really came from you, like True Anger was more me I suppose, this one is mainly you. I just helped polish it, but I really did not do too much.”
The theme about needing to dig deep is very well written and resonates strongly. A lot of people would recognise the feeling of missing a key person in their life, for whatever reason – we need look no further than the current times of social distancing and isolation. It is also possible to connect with the uncertainty in the song – looking for strength deep within yourself, not being sure how long you can keep it up or if you have what you need. This makes the song identifiable in a much wider context to so many who have also needed to dig deep, especially in 2020.
Dave: “It was originally written in 2017, or maybe early 2018. It’s taken on a new meaning since then. Songs do that. I don’t sing it and think about my ex any more. You write the words at the time just to finish the song, but I almost prefer the songs where the lyrics end up meaning more than you intended them to mean in the first place.”
10) TOO LATE TO CRY ABOUT IT NOW
This was initially the final track on the album, until one more song was tucked onto the end – more on that shortly! More songs are always preferable to less songs, but in some ways, Too Late To Cry About It Now would have been a perfect full circle song to close the album with.
After having been through a long list of mostly non-successful relationship stories, what’s better than throwing your arms up in the air, acknowledging that “sod it, it’s too late to cry about it now!” and drowning your sorrows in pizza and beer?
The song is largely defined by the monotone strum that carries through it from beginning to end. There is something very ‘southern US’-style dirge about it, with traces of old basic blues or spirituals that would drone on and on in a similar fashion. It suits the vibe of the song and the lyrics very well, and almost becomes a different type of influence from the American continent than the trad/country/roots inspirations found elsewhere.
Kirsten: “I remember when we wrote this. I was sitting in my living room in Edinburgh, and Dave was there, and I would say we were a little bit tipsy…”
Dave: “Ha! ‘A little bit tipsy?’ No, I’d say that this is the drunkest song we’ve ever written!”
Kirsten: *laughs* “Yeah, we were drunk… and basically, I started playing the guitar, and I could only play one note because I think I was so drunk, haha! I was just sitting on my computer chair, swinging round and round on it, strumming the guitar. We ended up keeping it because we liked it.”
Dave: “When we got back to it later, we tried to play it normally, fleshing it out with nice chords and flourishes, but it just felt like it was missing something. We went back to the video – I had videoed Kirsten that initial evening, I was going to put something on Instagram or something, but I think there was food on the lens or something – the lens was blurred. And that was all we had, but we took it from there.”
Similar to the music, the lyrics also have a vibe similar to that of the old bluesmen – the piling on of grievances, such as ‘I’m too drunk, the car is too hot, the sun’s too bright, my baby left me, my phone is broke, but it’s too late to cry about it now.’ This taps into a long blues tradition of describing personal misery, where when one thing is wrong, everything is wrong. You pile it on a bit – you exaggerate, and may even enjoy having that good ol’ whine about it. Still, primarily it’s all about self pity, and that is exactly what the creators were going for.
Dave: “We wrote all the lyrics that initial night. I think we were originally going to call the song Too Drunk, but we later thought, feck that. But basically, whatever that song is about, your guess is as good as ours really. But it’s a bit of a piss-take, we were having some fun with it. We thought, let’s make it like this guy is just so smashed and sad… all the clichés, pizza boxes everywhere, his car is smashed, he can’t even open his eyes, he’s basically bed-bound with heartache. Imagine the actor Will Farrell, the guy from ‘Anchorman’ – if he did a film about a country star, or a guy who has broken up with someone and is in a total alcoholic mess, this would be him!”
That repetitive, solemn chord helps drive it all onward, with the arrangement being sparse and droning. The middle section is however beefed up by some tasteful pedal steel guitar.
Dave: “Joe Harvey White’s pedal steel is the only other instrument on it other than Kirstin’s bass and my guitar. What’s great about it is it adds a quality to the song, I think, where suddenly it takes it into this place where you take it seriously for a second, but then it goes back to being stupid again.”
Eventually the song reaches full circle, the first verse repeats one more time at the end of the song before it finally whimpers out. We leave the poor, tormented person in the song to lick their wounds amongst the piles of pizza boxes and empty cans of beer. The song gloriously wallows in righteous self-pity, and it is a tremendous journey.
11) BOX AND BURN IT
The album was prepped to go with ten songs, but in the 11th hour, another song emerged. Initially added to the early pre-order version of the album as a bonus track after the EP songs, it was elevated to full album status in time for the proper launch. That gave us a song with a full band sound, including drums (courtesy of Rob Heath)!
Box And Burn It is also a great song to end the album on, although it leaves us on a very different note to Too Late To Cry About It Now. Instead of leaving its narrator in a sorry state in bed, licking their wounds, the album now ends with a forward-looking track about not letting your old worries and woes weigh you down. You can figuratively – or literally – put them in a box and burn them, symbolising getting rid of old baggage, which allows you to move forward in life. It ends things on a much more positive note.
Whatever you lost you don’t have to find it
Whatever is true it caught in the lie
We all make mistakes we go out to find them
And carry the weight of the world on our minds
It’s not by the hour, you don’t have to earn it
It’s not in your soul you don’t have to learn it
Put it in a box and burn it
Dave: “We planned to put Box And Burn It on the album, and we did an acoustic version of it like all the other ones. But I phoned up Kirsten when I was trying to mix it after putting a few things on it, thinking that we already had that great recording of the song which is the one you’ve heard – you know, with the drums and stuff. We actually recorded that one last year [2019]. We always thought it sounded like a big song. We didn’t quite know what to do, because we just didn’t have the money to record a whole album like that, but we could do one single. We felt we had that here, and planned to go that route with it. But then we started including it in live shows, where we put that song last. We kept getting comments about how it was becoming many people’s favourite song. We have a small fan base of loyal fans, and we thought it would be a bit cheap towards them to not put that song on the record when they liked it so much. Originally we considered it as a digital single, but then we thought, let’s stick it on the end of the album – just like a live set, you do the big song at the end, you know!”
It benefits the album greatly to end it with an upbeat and positive song. Given everything that the characters in the songs on this album have been through – and there is a lot of stuff happening here – it feels like this song gives them that little bit of absolution, some healthy life advice, and opens the door to moving on. The final song ends up reflecting on all the songs that came before it in a positive way.
Musically, it offers something very different as well by being a full band production. The tune has a playful Celtic flair to it, and the fact that it brings out something else in the band adds a lot to the overall impression of the album. As it turns out, this may also be a small sign of things to come.
Kirsten: “The production of Box And Burn It is different, but how we see that is that it gives people an idea about what’s to come next from us. It’s just the two of us, which puts us in the position that we really can do whatever we want. It doesn’t have to be just us, there can be other people as well, that aren’t necessarily band members. I think the next stuff that we put out will be more of a full band vibe. The duo format has worked for us for the past couple of years, and we really felt like the songs we have written were all about the two of us. The next stuff that we go on to record might have a fuller production, and that’s why we thought ending the album with Box And Burn It would allude to something bigger happening.”
Dave: “In the future as well, what we’re going to do is… we sing a lot of the songs together all the way through, we did that on purpose because that’s the way we’ve done it. When it’s just the two of us and we try to do a good show – you know, back in the days when you actually played live – I think there is something hypnotic about the way we sing together, and people like that, but I think moving forward we’re going to take more verses on our own, so people can hear our own voices better, and the harmonies become more of a sound that we get to in the choruses and as needed, used more sparingly. We will still harmonise all the time, but it won’t be from the start to the end of every song, which is most of this album. At this point, we’re definitely drawing a line under the folk duo-approach. We’re both satisfied that we’ve done a good job of doing that on record now. And we’ve been meaning to do that for quite a while, so we’re quote excited to see what we will do next. We don’t know!”
They are The Marriage, and Imagining Sunsets is their debut album and one of the better albums of 2020. Please do yourself a favour and purchase it directly from the artists here.
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