Both Adlestrop and Over The Tracks have been repressed in updated versions. The flexidisc appears in a transparent edition and Adlestrop is now in a cream and brown livery with transluscent amber vinyl. The LP is sold out in most places now but you might be lucky at Transmission, Monorail, or Bleep.
I spoke to Stewart Gardiner over at Concrete Islands about Adlestrop and other stuff..
I'm also very pleased to let you know that the flexi-single from earlier this year is to be made available again, To avoid FOMO please head over to Clay Pipe to sign up to their newsletter.
Following a frenzy of preordering that we hadn't anticipated Adlestrop , the new Gilroy Mere album is to go to a second pressing with updated artwork by Frances Castle. The first pressing sold out at source and in online record shops in record time so Clay Pipe Music decided to manfufacture more to meet demand. Please be patient and keep an eye on their website (and this one) for further news.
From Clay Pipe:
"We will be re-pressing the vinyl, this time in the GWR Brown and Cream livery that would have been in use (along with the Crimson Lake of the first pressing) at around the time that Edward Thomas wrote Adlestrop."
The new Gilroy Mere album, Adlestrop is out on July 24, 2020 on Clay Pipe Music. It's a full length vinyl/digital album of mostly instrumental pieces based on Appendix 2 of The Beeching Report from 1963 and was written and recorded by Oliver Cherer in his home studio in St Leonards on Sea using a plethora of instruments, old and new technologies and field recordings made in the places that railway stations once stood. It follows Over The Tracks, a similarly inspired three-track flexidisc/digital EP.
A new collaborative album based on the soundtrack for Andrew Kötting's highly acclaimed new film , The Whalebone Box, is out now digitally from Invada Records with a full double vinyl LP version to come plus a limited LP box set, The Whalebone Box Box Set. Watch this space for news of the vinyl release.
by Bob Fisher
"“The past in fading layers, visible from the present…” A phrase that Oliver Cherer used early in our conversation, perhaps perfectly summing up my own relationship with nostalgia, too. It’s the erosion of the past that truly moves and affects me. The forgotten people, places and objects that are in danger of being permanently lost from the 21st century collective consciousness: moving farther away in time; slipping inexorably backwards towards the boundaries of living memory.
And what also interests and delights me are the often-hidden areas where those elements of the past still protrude, sometimes unnoticed, into the present day. There is something both sad and reassuring about the remnants and traces of abandoned places and practices that still somehow intrude into the modern everyday. Feelings perfectly evoked by Oliver – recording as Gilroy Mere – on his new collection of recordings for Clay Pipe Music."