Ahead of the release of Trinity Thirty on April 26, we’re excited to share a digital 12″ featuring two tracks from the double LP.

“Mining for Gold” opens the album with a sweeping re-imagining of the Cowboy Junkies’ a cappella take on this traditional worksong, ushering the sombre tone of its lyrics into the sonic space while still remaining arms-length from the funereal. Atop a haze of churning synth drone and a rumbling electric bassline tracing a malleable rhythmic structure, Camara delivers some of record’s most expressively clear vocal lines, chanted Nico-like across a vast expanse.

With “I’m So Lonesome I Could Cry,” layers of near-whispered voice encircle each other, forming a ghostly chorus of quavering harmony. Dulcet but deliberate plucked bass notes root the tune in a slow blues, while the tremolo of a distant guitar and well-placed organ shimmers lead the way through the melancholy scales of this Hank Williams classic, here rendered as an achingly sedate, reverb-drenched waltz.

Listen to Two From Trinity
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Trinity Thirty is a reinterpretation of the beloved Cowboy Junkies classic The Trinity Session, on the occasion of the album’s 30th anniversary. Berlin-based Canadian producers Deadbeat and Fatima Camara bonded over a shared love of this iconic album (and their shared small-town Ontario roots) and embarked on their first-ever collaboration. The Trinity Session is legendary for its naturalistic, languorous covers of classic tunes and traditional work songs – and for being recorded with a single microphone in single takes at a church in Toronto. While Deadbeat and Camara couldn’t entirely replicate this approach as a duo, 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 the tempos as far as they could while continuing to channel the warm asceticism of the original album. The result is a gorgeously somnambulant acoustic-meets-electronic collection of ‘covers of covers’, where the reference point is always the Junkies’ original approach, stretched to new and beguiling limits of deceleration and dubby narcotized spaciousness – a sensibility further reinforced by the mastering treatment of minimalist dub-techno legend Stefan Betke (~scape, Pole).

The first pressing of Trinity Thirty by Deadbeat & Camara is double 180gram audiophile vinyl pressed at Optimal (Germany) packaged in a wide spine jacket with artworked inner sleeves and a 12″x19″ poster, all printed on uncoated papers and boards, featuring original photography by Kieran Behan. The 2x180gLP edition includes a 320kbps MP3 download card.




CD comes in a custom mini-gatefold jacket printed on uncoated 100% recycled paperboard, with an inner dust sleeve housing the disc.