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.
Trinity Thirty is a celebration and reinterpretation of the much beloved Cowboy Junkies classic The Trinity Session, on the occasion of the album’s 30th anniversary (originally released in late 1988). The idea was spawned when Berlin-based Canadian producer Scott Monteith — best known as DJ and dub-inflected minimal techno-electronica recording artist Deadbeat — heard the Junkies’ Trinity version of "Sweet Jane" playing in an airport a few years back. Viscerally reminded of how much he loved the album, and how surprisingly overground the record ended up becoming (by mid-1989 The Trinity Session would be certified Platinum in both Canada and The United States – truly another era!), Monteith immediately reached out to the band to ask if they had anything planned to mark its 30th birthday. Before Monteith even touched down back in Berlin, the band had replied saying they had no such plans but would enthusiastically support whatever angle Monteith/Deadbeat might want to run with.
Monteith then recalled conversations with musician/producer and fellow Canadian-in-Berlin Fatima Camara (whose acclaimed debut solo album Before We Sleep came out on Parachute Records in 2016) about their shared love of The Trinity Session, feeling she’d be the perfect partner to involve in a reinterpretation. Camara was thrilled by the idea, and the two began meeting to explore how to approach things conceptually and aesthetically. This would be their first collaboration – and the first time either artist placed their own vocals at the forefront of a project (with guest vocalist Caoimhe McAlister adding harmonies on certain tracks).
1. Mining For Gold
2. Misguided Angel
3. Blue Moon
4. I Don't Get It After Midnight (Medley)
5. I'm So Lonesome I Could Cry
6. To Love Is To Bury
7. Dreaming My Dreams With You
8. 200 More Miles
9. Working On A Building
10. Postcard Blues
11. Sweet Jane
Running time: 01:01:43
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.
"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
"[A] very smart re-evaluation of the source material." – Soundblab
"Such full-album covers can be an exercise in futility, but Trinity Thirty keeps something of the original’s halting intimacy and natural reverb, while finding its own distinct space… It’s an exercise in lovelorn slowcore, husky voices reaching out in the dark, beats like bubbles rising from the bottom of a fishtank." – The Wire
"[Deadbeat & Camara] fuse somnambulant drones with subtle yet profoundly deep electric pulses paired to the duo’s melancholic harmonies… The results are quasi-religious cowboy gospel love songs which are quite magnificent. Much of the beauty is found in the cracks, spaces and silence but every so often a peak will occur which is both disarming and highly arresting." – Get Into This
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