Hard to believe it’s been a whole five years since Nick Talbot’s last excursion under the Gravenhurst moniker. With ‘The Ghost in Daylight’ he returns to his signature low-light folk sounds, but injects the formula with a shot of unusual ambience. Apparently he’s been listening to a lot of Eno, and while ‘The Ghost in Daylight’ still retains the acoustic charm of its predecessors in tracks like ‘In Miniature’, there’s a subtle wave of disconcerting drone going on somewhere in the background. Elsewhere, the glacial synthesizer work gets closer to the surface – ‘Islands’ for instance has more in common with My Bloody Valentine than it does with Simon & Garfunkel and that’s no bad thing. A syrupy, melancholy and somewhat lonely record, ‘The Ghost in Daylight’ is another winner for Talbot, and is possibly his most focused album to date.
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Hard to believe it’s been a whole five years since Nick Talbot’s last excursion under the Gravenhurst moniker. With ‘The Ghost in Daylight’ he returns to his signature low-light folk sounds, but injects the formula with a shot of unusual ambience. Apparently he’s been listening to a lot of Eno, and while ‘The Ghost in Daylight’ still retains the acoustic charm of its predecessors in tracks like ‘In Miniature’, there’s a subtle wave of disconcerting drone going on somewhere in the background. Elsewhere, the glacial synthesizer work gets closer to the surface – ‘Islands’ for instance has more in common with My Bloody Valentine than it does with Simon & Garfunkel and that’s no bad thing. A syrupy, melancholy and somewhat lonely record, ‘The Ghost in Daylight’ is another winner for Talbot, and is possibly his most focused album to date.
Hard to believe it’s been a whole five years since Nick Talbot’s last excursion under the Gravenhurst moniker. With ‘The Ghost in Daylight’ he returns to his signature low-light folk sounds, but injects the formula with a shot of unusual ambience. Apparently he’s been listening to a lot of Eno, and while ‘The Ghost in Daylight’ still retains the acoustic charm of its predecessors in tracks like ‘In Miniature’, there’s a subtle wave of disconcerting drone going on somewhere in the background. Elsewhere, the glacial synthesizer work gets closer to the surface – ‘Islands’ for instance has more in common with My Bloody Valentine than it does with Simon & Garfunkel and that’s no bad thing. A syrupy, melancholy and somewhat lonely record, ‘The Ghost in Daylight’ is another winner for Talbot, and is possibly his most focused album to date.
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Hard to believe it’s been a whole five years since Nick Talbot’s last excursion under the Gravenhurst moniker. With ‘The Ghost in Daylight’ he returns to his signature low-light folk sounds, but injects the formula with a shot of unusual ambience. Apparently he’s been listening to a lot of Eno, and while ‘The Ghost in Daylight’ still retains the acoustic charm of its predecessors in tracks like ‘In Miniature’, there’s a subtle wave of disconcerting drone going on somewhere in the background. Elsewhere, the glacial synthesizer work gets closer to the surface – ‘Islands’ for instance has more in common with My Bloody Valentine than it does with Simon & Garfunkel and that’s no bad thing. A syrupy, melancholy and somewhat lonely record, ‘The Ghost in Daylight’ is another winner for Talbot, and is possibly his most focused album to date.