Deadbeat & Camara
Trinity Thirty

CST141 2x180gLP / CD / DL


Today we celebrate the official release of Deadbeat & Camara’s Trinity Thirty, a stunning collaborative double LP that finds the Berlin-based Canadian duo reinterpreting the Cowboy Junkies’ classic album The Trinity Session in honour of its 30th anniversary. Deadbeat (aka Scott Monteith) and Fatima Camara have expertly transformed the original compositions into resplendent new versions, steeped in the reverberant echo of classic slowcore while maintaining a languid, organic feel. Trinity Thirty is a masterful re-envisioning of an essential album, and we couldn’t be more proud to share it.








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 a printed inner dust sleeve housing the disc.



Praise for Trinity Thirty:

“Magnificent… Exactly what such a reinterpretation should be: a heartfelt homage but no carbon copy… It would be difficult to imagine the Cowboy Junkies being anything but thrilled by the result, not only for the idea of the album being so honoured but even more by the inspired approach Monteith and Camara brought to its reimagining.” – Textura

“The tribute album [Monteith] and fellow Berlin-based Canadian Fatima Camara have created for [The Trinity Session’s] 30th anniversary sounds more like something heard at a séance, the already haunting original made even more ghostly. The sparse acoustic guitars and funereal pace of ‘To Love is To Bury’ are more akin to Low’s slow core country than Monteith’s dub techno productions as Deadbeat. The ‘cover of a cover’ of ‘I’m So Lonesome I Could Cry’ resembles Leyland Kirby’s The Caretaker if it was based on 1950s jukeboxes in Midwest diners rather than 1930s ballroom waltzes, as memories of Hank Williams’ original seem to decay over time…The echoing sonics give these songs a different and more desolate beauty.” – Electronic Sound