Includes unlimited streaming via the free Bandcamp app, plus high-quality download in MP3, FLAC and more.
Included with all downloads is a 12-page PDF containing all 8 pages of the CD booklet plus an additional 4 panels from the digifile, including notes, credits, photographs and Sarah’s original artwork.
Purchasable with gift card
Download available in 24-bit/48kHz.
£8GBP or more
Record/Vinyl + Digital Album
Limited edition double LP on heavyweight 180g blue vinyl in a numbered gatefold sleeve with notes, credits, photographs and Sarah’s original artwork. If you like, Sarah can sign the sleeve with a personal message to you or the intended recipient – just indicate how and to whom you’d like it to be signed using the “Include a message” link on the checkout page (or the contact link at right).
ADDITIONAL NOTE RE. POSTAGE COSTS: Sadly, postage rates have risen astronomically in recent years – particularly for the USA, which is now classed by Royal Mail in a price band of its own: it costs £5 more to send an LP to the USA than to Canada or Mexico! You can save on postage by ordering more than one item at a time, as the base postage rate is determined by the item with the highest shipping cost. You’ll only be charged the incremental rate for any additional items.
Includes unlimited streaming of The St Buryan Sessions
via the free Bandcamp app, plus high-quality download in MP3, FLAC and more.
Download available in 24-bit/48kHz.
ships out within 30 days
edition of 300
Purchasable with gift card
£30GBPor more
Compact Disc (CD) + Digital Album
Packaged in a six-panel cardboard digifile, double-walled for durability and printed in full colour, with two end tube pockets: one to hold the CD and the other to hold the full colour 8-page booklet with notes, credits, photographs and Sarah’s original artwork. If you like, Sarah can sign the CD with a personal message to you or the intended recipient – just indicate how and to whom you’d like it to be signed using the “Include a message” link on the checkout page (or the contact link at right).
NOTE RE. POSTAGE COSTS: Sadly, postage rates have risen astronomically in recent years – particularly for the USA, which is now classed by Royal Mail in a price band of its own: it costs £5 more to send an LP to the USA than to Canada or Mexico! You can save on postage by ordering more than one item at a time, as the base postage rate is determined by the item with the highest shipping cost. You’ll only be charged the incremental rate for any additional items.
Includes unlimited streaming of The St Buryan Sessions
via the free Bandcamp app, plus high-quality download in MP3, FLAC and more.
Download available in 24-bit/48kHz.
ships out within 30 days
Purchasable with gift card
£12GBPor more
T-Shirt/Apparel
Heavyweight 100% cotton T-shirt screen-printed with Sarah’s original album cover artwork in white ink on navy blue fabric, in sizes ranging from Small to XXL. If you’re ordering more than one T-shirt, specify the size for additional shirts using the “Include a message” link on the checkout page (or the contact link at right).
NOTE RE. POSTAGE COSTS: Sadly, postage rates have risen astronomically in recent years – particularly for the USA, which is now classed by Royal Mail in a price band of its own: it costs £5 more to send an LP to the USA than to Canada or Mexico! You can save on postage by ordering more than one item at a time, as the base postage rate is determined by the item with the highest shipping cost. You’ll only be charged the incremental rate for any additional items.
ships out within 30 days
7 remaining
Purchasable with gift card
£15GBPor more
Record/Vinyl + Digital Album
Four sets of test pressings of the double LP, on heavyweight 180g black vinyl, in white sleeves which can be personalised with hand-drawn versions of Sarah’s original album artwork and/or individual track artwork (as shown on the videos and in the CD booklet and LP jacket), handwritten lyrics/credits and/or a personal message – just let us know your preference using the “Include a message” link on the checkout page (or the contact link at right).
There are only four of these, and when they’re gone, they’re gone – so get your order in quickly, and please consider adding an extra contribution if you can!
NOTE RE. POSTAGE COSTS: Sadly, postage rates have risen astronomically in recent years – particularly for the USA, which is now classed by Royal Mail in a price band of its own: it costs £5 more to send an LP to the USA than to Canada or Mexico! You can save on postage by ordering more than one item at a time, as the base postage rate is determined by the item with the highest shipping cost. You’ll only be charged the incremental rate for any additional items.
Includes unlimited streaming of The St Buryan Sessions
via the free Bandcamp app, plus high-quality download in MP3, FLAC and more.
Tea towel (or dish towel, if you’re reading this in North America) screen-printed with Sarah’s original artwork in navy blue ink on natural 170gsm 100% cotton fabric. Tea towel dimensions are 50cm x 70cm.
NOTE RE. POSTAGE COSTS: Sadly, postage rates have risen astronomically in recent years – particularly for the USA, which is now classed by Royal Mail in a price band of its own: it costs £5 more to send an LP to the USA than to Canada or Mexico! You can save on postage by ordering more than one item at a time, as the base postage rate is determined by the item with the highest shipping cost. You’ll only be charged the incremental rate for any additional items.
Sold Out
St Buryan Sessions Tote Bag
Bag
Tote bag screen-printed with Sarah’s original artwork in navy blue ink on natural 140gsm 100% cotton fabric. Tote bag dimensions are 38cm x 41cm — perfect for carrying your shopping … or your LPs!
NOTE RE. POSTAGE COSTS: Sadly, postage rates have risen astronomically in recent years – particularly for the USA, which is now classed by Royal Mail in a price band of its own: it costs £5 more to send an LP to the USA than to Canada or Mexico! You can save on postage by ordering more than one item at a time, as the base postage rate is determined by the item with the highest shipping cost. You’ll only be charged the incremental rate for any additional items.
Sold Out
Ultra-Limited Edition Gold G7th Capo Bundle
Record/Vinyl + Digital Album
Huge thanks to the wonderful people at G7th The Capo Company for kindly donating three 18kt gold plated Newport capos (just like the one Sarah’s been using on stage for years – check out the videos to see it in action!) engraved by the G7th Custom Shop with Sarah’s original artwork and logo from the St Buryan Sessions album cover.
Included in this bundle are a copy of either the CD or the limited-edition Double LP (please use the “Include a message” link on the checkout page to specify which you’d prefer); plus a St Buryan Sessions T-shirt; plus a 16GB engraved wooden USB stick with the St Buryan Sessions concert film & documentary. See separate listings for full descriptions of individual items.
If you like, Sarah can sign the CD or Double LP with a personal message to you or the intended recipient – just indicate how and to whom you’d like it to be signed using the “Include a message” link on the checkout page (or the contact link at right).
There are only three of these, so get ’em while they’re hot!
There's a 10% discount valid until October 1 on all Sarah’s Bandcamp merch (including back catalog) for everyone who supports her music with a monthly donation of £5+ on Patreon or via PayPal: just visit sarahmcquaid.com and click “Donate” or “Become a patron”.
NOTE RE. POSTAGE COSTS: Sadly, postage rates have risen astronomically in recent years – particularly for the USA, which is now classed by Royal Mail in a price band of its own: it costs £5 more to send an LP to the USA than to Canada or Mexico! As explained above, you can save on postage by ordering more than one item at a time.
Includes unlimited streaming of The St Buryan Sessions
via the free Bandcamp app, plus high-quality download in MP3, FLAC and more.
The sweetness of the berry
Doesn’t take away the pain
Of the briar when it stabs you
In the hand
But the power of your craving
For the fruit among the thorns
Is driving you to risk
Another chance
Sweetness and pain
Summer sun
And autumn rain
The bramble does not seek to harm
It merely seeks to live
It injures without malice
Or intention
There’s no question of forgiveness
No apology, no pardon
For minor wounds too numerous
To mention
Sweetness and pain
Winter winds
Return again
Sharp black thorns
Concealed and smoothed
By softly falling snow
Drops of blood
Like bright red flowers
This hurt will pass
Just let it go
Sweetness and pain
Shake it off
And start again
I hear the wolf at the door
I’ve seen his face before
He’s hungry and I’m tired
Can’t keep him out much more
Through a chink in the blind
I watch him pace a line
Better step back from the window
He’s only biding his time
Spring follows winter
Sun follows shower
Things will get better
If only I can hold that wolf at bay
Drive him away
Cos the sun goes on rising every day
I’m keeping the faith
I’m still in the race
I’m marking down the time
Till I can get to a better place
Spring follows winter
Sun follows shower
Things will get better
If only I can hold that wolf at bay
Drive him away
Cos the sun goes on rising every day
Seagulls fly in cloudy skies
Morning comes and amber turns to grey
Cos the sun goes on rising every day
And the time will come when I don’t feel this way
Seagulls fly in cloudy skies
Morning comes and amber turns to grey
The sun goes on rising every day
There’s a boy in the garden
With a shovel and a spade
He’s going to dig himself a hole
That’s the biggest ever made
Boy in the garden
Shovel and spade
Biggest hole
Ever made
I say I know you’re having fun
I don’t want to make a fuss
But if you dig any deeper
It could get dangerous
Now we’re drilling through the earth
Building pressure all the time
Splitting cracks in the rock
To free the power inside
Drilling through the earth
Pressure all the time
Cracks in the rock
Power inside
Some things are better left buried
Down under the crust
And if we dig any deeper
It could get dangerous
Put your shovel away
Time to call it a day
Sometimes the way to fix a problem
Is to turn the pressure off
Cos if you dig any deeper
It could get dangerous
We’re bringing fire and flood
And trembling ground
See the pale horse
Hear the trumpet sound
Fire and flood
Trembling ground
Pale horse
Trumpet sound
I hope we can stop it
But we need to hurry up
Cos if we dig any deeper
It could get dangerous
Dig any deeper
It could get dangerous
Dig any deeper
It could get dangerous
The silence above us
The comfort in darkness
Pale clouds in a blanket of sky
The light from my window
The trees lost in shadow
We’ll likely have frost later on tonight
It’s cold, I should go back
Inside, where I know that
It’s warm if I sit near the fire
And as I stand shivering
The mist from my breathing
Forms tendrils of smoke that drift lower and higher
Orion the hunter is low in the sky
The guiding star is blue
I ask myself yet again
What is this world coming to
The silence above us
The green earth beneath us
Abounding with power and life
The bushes are rustling
The small birds are settling
Hunkering down to be safe for the night
Orion the hunter is low in the sky
The guiding star is blue
I ask myself yet again
What is this world coming to
As the night becomes colder and darker
More stars will appear in the sky
Tiny pinpoints of light
Shining steady and bright
The silence above us
The comfort in darkness
Pale clouds in a blanket of sky
The light from my window
The trees lost in shadow
We’ll likely have frost later on tonight
Orion the hunter is low in the sky
The guiding star is blue
I ask myself yet again
What is this world coming to
And what can we do
There’s a sparrow at my window
And he’s spoiling for a fight
He’s attacking his reflection
And he’s puffing out with pride
He doesn’t see the cat who’s watching
From the windowsill inside
She stares at him intently
With her gorgeous golden eyes
While he flaps and struts and chatters
In a futile exercise
He can’t banish the invader
Through he tries and tries and tries
He could have built himself a nest
Instead of battling the stranger
But the image in the windowpane
Is all that seems to matter
It’s his enemy and nemesis
To hate and fear forever
The cat is plump and glossy
She’s prepared to bide her time
Until the sparrow falls exhausted
To the ground
And then she stands
And stretches out her back
And takes herself outside
She pads across the grass to find him
And she never makes a sound
One sparrow down
Charlie’s gone home now
I drove him downtown and dropped him off at the station
I’m sweeping the floors now
Changing the sheets and organising the kitchen
And the house is so quiet, it feels so strange
Only one hour and everything’s changed
It seems so empty
I feel so alone
It was a party that lasted a week and a half
We played music together and we drank and we laughed
And now it’s over
’Cause Charlie’s gone home
He came here one evening
I wasn’t expecting such a happy surprise
With his jokes and his teasing
He had me laughing so hard there were tears in my eyes
And Charlie’s got a whole lot of stories to tell
He has an endless supply and he tells them so well
He’s had a wild life
He likes to ramble and to roam
He’s been filling my head up with the things that he’s seen
The scrapes he’s got into and the places he’s been
But now they’re fading
’Cause Charlie's gone home
When Charlie is with me, my life is on hold
He takes all my time, things get out of control
And I should be relieved that I’m finally able to breathe again
Charlie’s gone home now
I drove him downtown and dropped him off at the station
I’m sweeping the floors now
Changing the sheets and organising the kitchen
And the house is so quiet, it feels so strange
Only one hour and everything’s changed
It seems so empty
I feel so alone
It was a party that lasted a week and a half
We played music together and we drank and we laughed
And now it’s over
’Cause Charlie’s gone home
I didn’t know that kiss was coming
Guess I could have started running
Soon as I saw what you were thinking
Serves me right
I shouldn’t have been drinking
But anyway, you did
So let’s consider
What are we going to do about it
This little thing that you and me have started
Tonight is not enough
I might just fall in love with you
What are we going to do
I wouldn’t say that this was unexpected
If you hadn’t kissed me I’d regret it
Cos when you leaned my way
I couldn’t turn my face from you
What are we going to do
This could be the edge of something
Dangerous, too
But right now it’s all new
I don’t know what way to play it
In the light of day we might not make it
I don’t know if it’s real
I don’t know how to deal with you
What are we going to do
What are we going to do about it
This little thing that you and me have started
Tonight is not enough
I might just fall in love with you
What are we going to do
My son can’t sleep
He’s ten years old
He’s scared that Yellowstone will blow
And when it does
It could set off
A mighty chain reaction
Volcanos round the world exploding
Darkened skies and lava flowing
His mind won’t let it go
He’s ten years old
I try to tell him not to worry
There’s no point in dwelling
On the things we can’t control
Especially when we’re ten years old
I try to tell him how the chances
Are so small that circumstances
Will combine to trigger
That eventuality
And he looks back at me
He says I know all that
But even so
My mind won’t let it go
Well I’ve got worries
Of my own
Another simmering Yellowstone
Beneath the earth
Releasing spurts
Each time the pressure rises
I know I’m not the only one
To fear the ground I tread upon
Volcanos of all kinds
Torment our minds
Who am I to say don’t worry
How can we help dwelling
On the things we can’t control
Even if we’re more than ten years old
The sea of molten rock below us
Haunts our dreams and undermines us
Causing us to falter
As we struggle on our way
Just trying to live each day
In hope that Yellowstone
Won’t blow
Let it go
What are we doing here now
What are we dreaming now
Up and down the street
If we only had time
If we only had one more day
If we only had time
Time to love
How can we take this moment now
And try to make it better now
Then let it go
If we only had time
If we only had one more day
If we only had time
Time to love
Time to love
I woke up laughing
I don’t know why
To see you sleeping
Beside me
What are we doing here now
What are we dreaming now
Up and down the street
In Derby Cathedral
I read through the names on the wall
And I think of them all
I think of them all
Say a prayer for the souls of the faithful departed
Who’ve walked through these halls
Say a prayer for them all
Say a prayer for them all
So many who laboured
To praise their creator
With towers of glass, wood and stone
Where I wander alone
Soul, flesh and bone
In Derby Cathedral
It’s peaceful, but not in my mind
No peace can I find
No peace can I find
So many people
In Derby Cathedral
Soul, flesh and bone
Glass, wood and stone
In Derby Cathedral
I read through the names on the wall
And I think of them all
I think of them all
So many people
In Derby Cathedral
Soul, flesh and bone
Glass, wood and stone
In Derby Cathedral
I found my last home
My soul free to roam
My name carved in stone
Listen to the bells
Ringing out for me
The tug of the moon
Is slowing us down
Drawing the tide
Buckling the ground
Little by little as centuries pass
It stretches our days
The years growing longer by such small degrees
We don’t notice the change
Until noon comes a moment too late
So we make an adjustment in time
At the end of the countdown
Before Auld Lang Syne
One second to add before midnight
And then we all cheer
With tears and with kisses
We greet the new year
While the moon passes over us
Ever more distantly pulling away
As we turn toward the sunrise
And night becomes day
We count up the lengthening hours
That remain till the end comes too soon
For an earth spinning under
The tug of the moon
When I was a little girl tucked in my bed at night
I’d have the door cracked open and I’d watch that thread of light
I’d listen to my mother as she played her old guitar
I’d say, do ‘Froggy Went A-Courtin’ for the next one
She’d say all right, but now this has to be the last song
Chorus:
Are you still awake
Go to sleep, child
The sun is down, you’re safe and sound
The sandman’s on his way
Honey, close your eyes
Time to be quiet now
’Til you wake up in the morning
And start another day
Years have passed and now I’m trying to learn some sweet old tune
In the hall I’ve got the light on so it shines into your room
You’re talking to your teddy bears and playing with your dolls
You should have been asleep an hour ago I’m thinking
Is it my mother’s voice or mine that I hear asking
(Chorus)
She left this world too soon to ever know you
She never got to see your little face
And I wish with all my heart
That she’d lived long enough to hold you
Long enough to kiss your cheek
And stroke your head and say
(Chorus)
Froggy went a-courtin’ and he did ride, mm-hmm
Froggy went a-courtin’ and he did ride
Sword and pistol by his side, mm-hmm
about
Martin:
This project has its roots in a conversation that began years ago.
Recreating the magic of a live performance can be one of the most challenging aspects of studio recording. I say this not to negate the concept of a studio album. The time, energy and care that can be put into creating a beautiful, flawless product is invaluable and it would be foolish not to recognise that studio and live recordings are very different and equally valid. It’s just that some artists have a certain something that’s only truly apparent when you see them in concert.
Having toured with Sarah for over ten years, I had become increasingly aware that a transformation happened when she stepped on stage that had never been captured by myself or anyone else in studio. It’s something that came up in conversation occasionally and always led to the same conclusion: “We’d best make a live album.” Sarah was especially keen on the idea as many of her songs had evolved over time and developed new aspects and shades of meaning.
2020 was a packed year for touring: by early summer Sarah would have played 80-plus shows over four months. All we’d need was a venue and an audience, and we could catch her at the top of her game. The planning got as far as an initial meeting with filmmaker Mawgan Lewis, and then we headed over to Holland and Germany for a six-week tour.
At the very first show of that tour, we learned that the venue that was to host the final show had just cancelled a concert due to a localised spike in the “new virus” we’d been hearing about. I think we lasted almost two weeks before the whole thing fell apart. We rescheduled our ferries and made what seemed like a much longer journey home than normal.
With the musical world turning toward live-streaming and the chances of a concert that involved an audience growing ever more distant, The St Buryan Sessions was born.
We had one simple goal: to re-create what anyone would hear and see at a typical show. Of course, what we wouldn’t have was an audience, so we looked for key factors that would influence Sarah’s performance. We decided to use her local church, a space she’d been singing in as part of the choir ever since she moved to Cornwall. We set her up as if it were a regular gig: no flash studio mics, just the same touring PA and monitors she’d walked onstage to a thousand times, so it would be truly home territory. There was a set list and she was to play her set and we would record it.
There were a few concessions, such as toilet breaks and pauses between songs to move and reset cameras. I also placed ambient microphones around the space to capture the natural acoustic of a very special building — one that has possessed and informed the sound and feel of the entire album.
In some ways this is a “warts and all” recording: listen carefully and you can hear the squabbling swallows in the church porch, lorries passing by and even at one point somebody’s mobile phone, making it an even more authentic replication of a live concert. But for me, anyway, what was once just an idea has reaped rewards far beyond what I could have imagined.
Sarah:
I think Martin’s pretty much said it all; I’d just like to add a few words of background.
For the same fourteen years that I’ve been making music for a living, I’ve been living just outside the village of St Buryan, which takes its name from St Buriana, an Irish princess who came to Cornwall in the 6th century and established a hermitage here (there is speculation that her name derives from “Hiberiona” or “the Irish lady”; in the 12th century Exeter martryrology she is referred to as “St Berriona”).
In 1966 (the year I was born, as it happens), the great Cornish singer Brenda Wootton founded the Pipers Folk Club in St Buryan Village Hall; among its regulars were Michael Chapman, who produced my 2018 album If We Dig Any Deeper It Could Get Dangerous, as well as Ralph McTell, Martin Carthy and many equally illustrious others.
While the folk club was long gone by the time I moved here, it’s been my joy and privilege to be a member of the Pipers Choir, a community choir that, like the folk club, takes its name from The Pipers, a pair of standing stones just south of the village, which according to local legend were musicians turned to stone for playing on the Sabbath – and also of the choir of St Buryan’s lovely old church.
According to tradition, the Saxon King Athelstan of Wessex stopped to pray at St Buriana’s oratory on his way to the Scillies in AD 930, and vowed that if he succeeded in conquering the islands’ inhabitants he would build a new church in her honour. He kept his word, and a copy of his charter granting the land for the church is still held by the Exeter Episcopal Registry.
A pair of stone arches in the sanctuary’s north wall are all that remains of King Athelstan’s 10th century church; a new, larger church building was consecrated in 1238, but by the 15th century had fallen into such disrepair that the church again had to be rebuilt. Most of the current building dates from the late 15th or early 16th century, as does the glorious carved rood screen with its rich ornamentation of knotted vines, stags, hounds, serpents, birds, demons, other strange and fantastic fauna and even a unicorn fighting with a dragon.
I feel so lucky to have made my home in a place with such an incredible musical and historical legacy, and to have been able to record this album in such an inspiring setting. I’m infinitely grateful to Martin for spearheading the whole thing and making it happen, as well as to Canon Vanda Perrett and the St Buryan Parish Council, to the St Buryan Male Voice Choir for letting me use their magnificent grand piano, and most of all to the 184 individuals who contributed to my crowdfunding campaign — we couldn’t have done it without them.
I do hope you’ll also check out the beautiful videos of all 15 tracks made by Cornish filmmaker Mawgan Lewis of Purple Knif, with assistance from John Crooks on cameras.
Special thanks to my husband Feargal and our two children for their love and support.
credits
released October 15, 2021
Heartfelt thanks to the 184 individual contributors whose voluntary donations made this recording possible. Your kindness and generosity will not be forgotten.
Produced and recorded by Martin Stansbury
Mixed by Martin Stansbury at Cacophony Cottage Studio
Mastered by Stuart Bruce
Artwork by Sarah McQuaid
Graphic design by Mary Guinan
Photography by Mawgan Lewis (additional photography by Martin Stansbury and Sarah McQuaid)
Recorded live (with no audience due to COVID-19) on 1 July 2020 in St Buryan Church, Cornwall, England, by kind permission of Canon Vanda Perrett and the St Buryan Parish Council.
Many thanks to the St Buryan Male Voice Choir for generously allowing their Yamaha concert grand piano to be used for this recording. Sarah also plays:
Acoustic guitar by Andy Manson Custom Guitars with Elixir Medium Gauge Acoustic 80/20 Bronze strings with Nanoweb coating (.018 substituted for .017 on 2nd string), G7th Newport capo, Fishman Matrix pickup, Trace Elliot TAP-1 Acoustic Preamp.
Ibanez Artist electric guitar, kindly loaned by Michael Chapman, with Elixir Heavy Gauge Electric Nickel-Plated Steel strings with Nanoweb coating, custom preamp by Tom Oakes of Horrothia FX (Falmouth, Cornwall), Vox AV15 analog valve amp, Mooer Audio Trelicopter tremolo pedal, Donner Yellow Fall analog delay pedal.
Both guitars serviced and repaired by Julyan Wallis a.k.a. The Guitar Doctor (Penzance, Cornwall).
Audio/electronic equipment serviced and custom cables made by Russ Fletcher of RussAudio (Camborne, Cornwall).
1970s Premier Olympic floor tom drum, refurbished and maintained by Roger Luxton of Goatboy Studio (Wadebridge, Cornwall).
“One of the most instantly recognisable voices in current music … Shades of Joni Mitchell in a jam with Karen Carpenter and
Lana Del Rey.” —Neil March, Trust The Doc
“Captivating, unorthodox songwriting … layered satin vocals ... enthralling, harrowing arrangements … a gateway into a true innovator’s soul.” —PopMatters
As my equally wonderful friend and manager Martin Stansbury did the mastering, I've been privileged to hear this lovely collection as a work in progress. Can't wait to hear the finished article! Sarah McQuaid
This is a beautiful, beautiful album by my great friend Zoë Pollock, with whom I made the Mama album back in 2009. Gorgeously earthy, expressive voice, stunningly lovely songs. Highly recommended. Sarah McQuaid
supported by 25 fans who also own “The St Buryan Sessions”
I first heard Katie Spencer on YouTube when she was featured on the For Bert Jansch playlist. Katie played her own song called Shannon Road. The lead break that she plays twice really got my attention. I became a fan instantly. Every track on this album is lovely. The whole listening experience is like a favourite film running through my head. I'm so glad that in my twilight years I discovered Katie. I wish her a long and succesful career in music. Mitch Wild
Michelle Stodart’s folk music captures hope in melancholy, addressing the transformational aspects of the most challenging times. Bandcamp New & Notable Oct 3, 2023
A re-envisioning of Tony Rice's classic album "Church Street Blues" from Brooklyn progressive bluegrass quartet Punch Brothers. Bandcamp New & Notable Jan 19, 2022