Melting Vinyl dedicated to bringing creative artists to Brighton & Kent

Melting Vinyl presents:
Tunng 20th anniversary tour + Dana Gavanski
at Komedia, Brighton (Main space)

Wednesday 5th March
Doors 7.30pm / Start 8pm
£20 + booking fee / £24 on the door
Seated
Age restrictions – 14+, Under 16’s to be accompanied

On sale: Thursday October 31st – 10am

Time flies when you’re being Tunng. Can it really be over two decades since the band’s 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 what’s more, January 2025 will mark the twentieth anniversary of This is Tunng… Mother’s Daughter and Other Songs, a debut longplayer whose acoustic guitars and poetic disquisitions on nature, mythology and the human condition, courtesy of Sam Genders, sieved through fellow band founder Mike Lindsay’s 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 Tunng’s eighth studio album, Love You All Over Again, a winning amalgam of texture and melody, disconcerting imagery and shapeshifting production.

Love You All Over Again is an album that gets to the very essence of Tunng. “For Tunng to work, it has to feel surprising, odd and unpredictable, and the new album has all that. It’s all about Tunng being back, as a family, within our original boundaries, bringing love to all who have been a part of our journey over 20 years.” Lindsay sums up nicely.

Dana Gavanski
Gavanski has evolved from her earlier, Leonard Cohen-inspired art-folk to something more interesting and boisterous. The wells she draws from sound fresh and vibrant: where in the US, artists like Rosali and Waxahatchee pull from American/southern country-rock of the 70s, Gavanski’s inspiration is decidedly more British. We can follow the musical threads back to Berlin-era Bowie, the synth exploration of Eno’s Here Come the Warm Jets, and the weirdo pop of Kevin Ayers and Kate Bush. This leads to music that demands descriptors like lush, quirky, joyous, arty.