LoneLady (aka Julie Campell) ‘s Hinterland (literally ''the country behind'' in German) conjures impressions of decayed Manchester outskirts and reclusive inner landscapes as Campbell continues her fascination with the post-industrial ruinscape. At its core beats an uncomplicated drum machine rhythm and synthetic percussion that recalls fractured memories of minimal wave and even early techno and dance, dynamically spliced through with Campbell's intricate, choppy and propulsive guitar playing. Campbell: “It’s channelling Parliament/Funkadelic, Stevie Wonder, Rufus, Prince, Arthur Russell…among others. A strange - but nonetheless real - meeting of funk and…me from Audenshaw, Manchester.” The album is underpinned by an urgent post-punk sensibility, as Campbell describes it - “an inescapablycement-coloured North of England psyche.”
LoneLady (aka Julie Campell) ‘s Hinterland (literally ''the country behind'' in German) conjures impressions of decayed Manchester outskirts and reclusive inner landscapes as Campbell continues her fascination with the post-industrial ruinscape. At its core beats an uncomplicated drum machine rhythm and synthetic percussion that recalls fractured memories of minimal wave and even early techno and dance, dynamically spliced through with Campbell's intricate, choppy and propulsive guitar playing. Campbell: “It’s channelling Parliament/Funkadelic, Stevie Wonder, Rufus, Prince, Arthur Russell…among others. A strange - but nonetheless real - meeting of funk and…me from Audenshaw, Manchester.” The album is underpinned by an urgent post-punk sensibility, as Campbell describes it - “an inescapablycement-coloured North of England psyche.”
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Hinterland [Vinyl]
Artist: Lonelady
Format: Vinyl
New: In Stock $22.99
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LoneLady (aka Julie Campell) ‘s Hinterland (literally ''the country behind'' in German) conjures impressions of decayed Manchester outskirts and reclusive inner landscapes as Campbell continues her fascination with the post-industrial ruinscape. At its core beats an uncomplicated drum machine rhythm and synthetic percussion that recalls fractured memories of minimal wave and even early techno and dance, dynamically spliced through with Campbell's intricate, choppy and propulsive guitar playing. Campbell: “It’s channelling Parliament/Funkadelic, Stevie Wonder, Rufus, Prince, Arthur Russell…among others. A strange - but nonetheless real - meeting of funk and…me from Audenshaw, Manchester.” The album is underpinned by an urgent post-punk sensibility, as Campbell describes it - “an inescapablycement-coloured North of England psyche.”