It's a way away I know but there is work to be done in preparation. Once the actual albums are back from the production plant the release is 3 months away. This is because we have to supply promo's to press for review and the monthlies require a 3 month 'heads up'. A little frustrating as I'm always keen to get a new collection of songs heard whilst the songs still resonate.
With that in mind (don't tell my distributor) I'll be making the album available from my Bandcamp site as soon as I have copies to sell. CD only this time.
The benefit of this to me is that I get 100% of the purchase fee. I also get to find out now what you think of Carver's Law. You'd perhaps be surprised to know how important that is to me. I'm hoping for a little word of mouth to get the dominos a tumbling.
Marcus Cliffe, as ever, co-produced, engineered and oversaw.
Besides from Marcus's massive musical input, the album's main musical color comes from Pedal Steel legend B. J. Cole and Danish multi-instrumentalist, Gustaf Ljunggren whose woodwind breathes a very particular life into the songs.
There's other collaboration here too:
I wrote 'Morning Pockets' with the wonderful Boo Hewerdine, a man whose work I have long admired.
I also got to work with another longtime influence, Australian songwriter David Bridie. David offered up four musical vignettes that I gave lyrics and melody to.
Barry Cross did another brilliant job with the album's artwork.
Di Holmes took the photo for the album's cover.
Peter Beckmann worked his usual magic at the Mastering stage.
Matej Kolmanko, a Slovenian Auteur and musician, is working on some short films to support the release. I'm excited about this collaboration as we've never used this media before. Matej's work is fabulous: edgy and challenging, his interpretations of the songs will surely add some meat to the bones. I'll be hosting the films here and also on the various promotional platforms.
Paul Woodgate is a fabulous writer who has written the press release.
You can read this below.
Carver's Law by Jones
Avail yourself of a quality malt and an hour of me-time; 2019 marks the return of Jones with his fifth solo album, Carver's Law. The result of soul-searching on the Suffolk coast and collaborations with Boo Hewerdine and David Bridie, Carver's Law is another offering of classic songwriting from an artist who breathes the rarefied air of the unsung hero. Cut Jones and he bleeds quality.
What do we want from an artist? Are they duty bound to inform, educate, entertain? Do they dissemble, put words into the mouths of fictional characters that shoulder their creator’s burden, or is the contract approved with read-between-the-lines clauses that swap comfort zones for the twilight variety, the uncertain half-light where you trust images in the corner of your eye more than those you can stare at? Should they hollow themselves out for us, such that we spend hours listening to their pain as it circles our turntable?
In truth, we demand all of this and more. When we get it, it can be beyond anything we dared hope for and hope, like need, is a dangerous master. Carver's Law is such a record, a long-player of profound beauty, where words twist and tumble like the first leaves of Autumn, coming to rest amongst layers of effortless melody like weary travellers. Here are acutely observed vignettes on life, death and everything that matters in-between. The anticipation of hope, the shadow of fear, doubt and self-analysis, and the slow slow, quick quick slow passing of time. A nervous energy frames these songs, one born of hard won knowledge and experience. The ability to articulate our deepest sorrows, desires, happiness and heartbreaks is a gift. Carver's Law is shot through with spirits bottled and biographical, often half full, always haunted, never less than 100’ proof.
Drink up; time is short and the water is rising.
As one half of Miracle Mile, Trevor ‘Jones’ released nine albums of beautiful, literate pop music, the last of which, In Cassidy’s Care, was issued in 2012. He’s a master songwriter, the type that worries beauty into shapes and sounds that unfurl with repeated listening. Together with musical partner and arranger Marcus Cliffe they collected a bouquet of critical acclaim that continues to flower in Jones’ solo career. Carver's Law is his fifth solo outing, though Cliffe is never far away, helping to produce, record, arrange and play on every one; Hopeland (2009); Keepers (2010); To The Bone (2014) and Happy Blue (2016). Like King Arthur under his hill, Jones waits patiently for the public to recognise what some of us knew from the start. In the meantime, we have this wonderful collection and an opportunity to share it.
‘Gentle enchantment. The loveliest melodies you've ever heard.’ Uncut
‘Intellectually as well as emotionally engaging.’ MOJO
‘Meticulously orchestrated, careful and complex, this is canny songwriting leavened by bona fide humanity.’ Q
‘Masterpieces of subtlety and observation clothed in sumptuous, lush melodies.’ R2
‘Gorgeous, as ever. Trevor Jones finds the poetry in real life; gently beautiful and genuinely moving. You may cry.’ The Sunday Times
‘Classic pop songwriting, gorgeously realised. Jones has compiled possibly the finest catalogue of adult pop. Gently beautiful and genuinely moving.’ The Times
‘Jones is in a class of one. Near-perfect explorations of the human heart. The beauty on offer here is enough to make you weep. It did me.’ Americana UK
‘Achingly tender.’ Folk Radio UK
‘Moves you to tears and refreshes the soul. Scintillating.’ Maverick