AN ANNOUNCEMENT FROM THE RECTORY (APRIL 27, 2017):
"The deluxe, first and second editions of Trimdon Grange Explosion's debut album are now all sold out. We are considering a third edition. Please email Borley Rectory to express your interest in purchasing a copy should this run be made available. Many thanks from Borley Rectory & TGXP."
TRIMDON GRANGE EXPLOSION is an improvising psych-folk ensemble from North-east London.
Comprising Alison Cotton (viola/vocals), Ben Phillipson (guitar/vocals), Mark Nicholas (bass) and Karl Sabino (drums), the quartet formed in the aftermath of the split of acclaimed folk-rock outfit THE EIGHTEENTH DAY OF MAY of whom all four were members.
A seven-inch release on The Great Pop Supplement – a cover of Judy Henske & Jerry Yester's 'Raider' b/w 'The Trimdon Grange Explosion' – emerged in 2010. BORLEY RECTORY is delighted to finally unveil the group's debut, full-length album, some six years in the making.
With hallucinatory artwork by Peckham-based illustrator LUKE DROZD, the self-produced recordings of TRIMDON GRANGE EXPLOSION's eponymous set took place during 2015-2016 in various North London locations. The 11 eclectic tracks range from original compositions to acid-tinged group instrumentals and three songs from the folk tradition, arranged for electric instruments.
Their debut album is available in three forms: an unlimited download; standard edition CDR and booklet; and very limited deluxe edition (CD, booklet, postcard, numbered giclee print, exclusive cassette of live and studio improvisations, stickers and button badge housed in a stickered A5 box).
TRIMDON GRANGE EXPLOSION is a grand continuation of its previous incarnation's psychedelic fusion of the modal rock of The Velvet Underground – among others – with their own English traditional music roots. Evidently, there was unfinished business. Hark! The village Wait: come listen…
"Trimdon Grange Explosion marry a love of traditional music with the spirit of psychedelic improv, a modal approach where the threat of discordancy saves them from the ersatz comfort zone of "acid-folk". It's like Fairport Convention sparring with The Velvet Underground, an impression reinforced by the moody twists and turns of Alison Cotton's viola." – Joe Banks, SHINDIG!
"A strikingly versatile work… It's the splendid, multilayered scorcher 'Glass And Sand' which offers a fair summation of the album's styles and influences and an unerring distillation of what is good about this album. A fabulous piece… and the perfect culmination of a worthy release that… sets a challenging bar for subsequent projects to clear." – Ian Fraser, TERRASCOPE
"The teaser tracks… are currently causing swooning fits around these here parts, not least because one of them is a frankly stunning 10-minute version of a traditional ballad entitled 'The Bonnie Banks Of Fordie’… Left in the hands of Trimdon Grange Explosion, a psych-folk enchantment calls to weave its ghostly spell craft and whittle out an age old dream like Gaelic delirium that draws its energy from the very fabric and hitherto mystery of its ancestral woodland setting." – THE SUNDAY EXPERIENCE
"It is almost exactly ten years since much-loved London folk-rockers The Eighteenth Day Of May announced their split having released one excellent album… The group’s demise left many wondering what else they could have achieved. Now, a decade on, we have an answer of sorts…. The album revolves around the epic 'Bonnie Banks Of Fordie'. A superb, Velvet Underground-inspired power-up to a traditional ballad in the same league as Fairport Convention’s 'Tam Lin', it maxes out the speakers without losing the subtlety, courtesy of Cotton’s impressive viola section and Phillipson’s trippy guitar… We can only hope that it doesn’t take them another decade to make their next move." – Thomas Blake, FOLKRADIO.CO.UK
"A communion with tradition but a fearless ability to mix up styles so that old forms have a new vitality… The centrepiece is ‘The Bonnie Banks Of Fordie’, whose traditional lyrics of death and dishonour are newly arranged by TGXP to 10 minutes of pulsing Velvet Underground rhythms and fields of fuzzy and phase-shifting guitars. Album closer ‘Glass And Sand’ reverses the pattern with lyrics… set to a traditional tune, though one which gently smoulders then explodes into spacey effects." – SOUNDSXP.COM