Description
Time flies when youre being Tunng. Can it really be over two decades since the bands genre-blurring, self-styled pagan folktronica first emerged from an east London studio courtesy of a clutch of Gilles Peterson-endorsed singles on the small but perfectly formed Static Caravan imprint? It surely can, and whats more, January 2025 will mark the twentieth anniversary of This is Tunng… Mothers Daughter and Other Songs, a debut long player whose acoustic guitars and poetic disquisitions on nature, mythology and the human condition, courtesy of Sam Genders, sieved through fellow band founder Mike Lindsays lattice of fractured beats and crackling electronics, still sounds like an impiously postmodern wedding of the rustic and the synthetic, the arcane and the futurist one for which the designation pagan folktronica is as good a shorthand as any. Whichever way we choose to describe it, that 20-year-old signature sound makes a warm return on Tunngs eighth studio album, Love You All Over Again, a winning amalgam of texture and melody, disconcerting imagery and shapeshifting production, predicated, Lindsay reveals, on a conscious reacquainting with the bands first principles. I went back to the first two albums just to listen to how we fused genres things like Davy Graham, Pentangle and the Wicker Man soundtrack, all of which I was discovering back then, together with Expanding Records [the Shoreditch-based repository of soi-disant beautiful electronic music], whose studio space we shared. That was all going into the early records. Over the years, Tunngs sound has varied and twisted, but at the root there is always a flavour of what Sam and I made on that first album. Rather than searching for a new avenue we went back to what we used to do, which, after all this time, felt like it was a new avenue… Love You All Over Again is our way of coming full circle.
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