2018 album. Three years since their last album, following the birth of their son, and over a decade since the release of their debut as the song writing partnership behind hotly-tipped southeast London indie-folk pioneers Indigo Moss, the duo have produced yet another beautifully crafted and delicately delivered gem that will delight fans old and new. This is their first album in seven years to be available ‘in the shops’ after they only sold the last two albums through their website and at shows. Also available on CD.
After breaking away from Indigo Moss, the band which gave them their initial breakthrough in 2007, husband and wife team Trevor Moss & Hannah-Lou joined Danny & The Champions Of The World on tour and on (their first two) records. This led them to releasing their debut album as a duo on Loose Music (the label Danny and his combo were also on) in 2010. With its low-key production, folky overtones and their idiosyncratic vocal blend the album created enough of an impact for them to step up to Heavenly Recordings for their second album ‘Quality First, Last Forever’ in 2011. Aside from a couple of full ‘rock’ band concessions (no doubt for commercial label requirements) the record saw the duo expand their sound palette and fanbase.
However, the duo elected to decamp to France to self-produce their third album ‘La Ferme De Fontenaille’ and on their return, self-release it too. The record was cut on their trusty four-track cassette recorder and the results saw a stripped back sound which let their vocals and song-writing shine through. It was therefore a surprise that they turned to celebrated producer Ethan Johns for their next records, 2015’s ‘Expatriot’. Their most rounded and accomplished album to date it raised the bar for their next record for which they returned to the 4-track.
Trevor says: “I’ve never really liked studios. The first one we ever stepped foot in was Olympic as teenagers, the same room as Hendrix, Zeppelin, The Stones. I didn’t really enjoy it. It felt like a space ship, like a factory. I want records to come from somewhere. I like to limit the possibilities. 4-tracks are more than enough. It forces you to push what you do to the limit, focusing on the songwriting and the performance.”