Red River Dialect
Abundance Welcoming Ghosts
releases September 27, 2019
Recorded in rural Southwest Wales shortly before songwriter and singer David Morris moved to a remote Buddhist monastery in Nova Scotia, Red River Dialect’s fifth album captures the British folk-rock band finding fresh joy in their music, relaxing more deeply into a natural, playful confidence: tangling with the thickets, wading in the river, digging the peat, and disappearing into the mountains. Featuring Joan Shelley and Tara Jane O’Neil.
Whilst touring during the early months of 2018 in support of Broken Stay Open Sky, their fourth album and first for label Paradise of Bachelors, Red River Dialect uncovered a new depth of communication in their playing, and the follow-up bears the fruit. Abundance Welcoming Ghosts finds the British folk-rock band relaxing into a natural, playful confidence: tangling with the thickets, wading in the river, digging the peat, and disappearing into the mountains.
Broken Stay Open Sky
released February 2, 2018
Broken Stay Open Sky is the fourth full-length album by Red River Dialect, and their first for Paradise of Bachelors.
The London-based band (with Cornish roots) brings a windswept energy and daylight to a contemplative, gorgeously rendered suite of songs about inhabiting the landscape, and our bodies, in joy and pain alike. Informed by songwriter David Morris’s spiritual practice, and recorded largely live in the studio, this is the band’s most ambitious and emotionally affecting work to date: atmospheric but deeply rooted, equally concerned with investigating the concrete and the cosmic, both quiet details of the everyday and looming matters of faith.
Tender Gold and Gentle Blue
released July 31, 2015
David Morris on guitars & vocals, Robin Stratton on piano, Ed Sanders on violin, Coral Kindred-Boothby on cello & tape loops, Simon Drinkwater on banjo, chanter & metalophone. Additional guitar from Nathan Salsburg on Great Eastern Sun.
Recorded at home by David. Mixed by Jimmy Robertson and David, mastered by Iwan Morgan.
Drawing on late '60's British folk-rock and psychedelic music, this is a quiet and desperate record that is always but a squall away from breaking apart. It would all be unrelenting if Tender Gold weren't so damn pretty.
- Lars Gotrich, NPR Music
4/5 stars. Agreeably shambolic Hiss Golden Messenger-admired Falmouth folk collective led by David Morris, whose reedy vibrato chokes back sobs on evocative songs of Cornish coastal contemplation. - MOJO
8/10. A set of acoustica driven by strummed and picked guitars shot through with cello and piano. Brave and different. - Neil Spencer, Uncut
Bowing for the Rook
released July 28, 2017
David Morris - guitars and vocals, Ed Sanders - fiddle
Coral Kindred-Boothby - cello, Robin Stratton - piano.
Recorded by Jimmy Robertson at the old studio on Darnley Road, some overdubs by RRD at home.
Mixed by Jimmy Robertson at SNAFU
These songs were recorded in 2013, for an album that was intended to be the follow up to 'awellupontheway'. We had all moved away from Cornwall, and Red River Dialect was in diaspora mode. Coral and I would play guitar and cello together at the flat where I was a lodger in Hackney. Her cello work on this EP blows me away every time. Ed would visit us sometimes and play fiddle - he brings the fine feathers to two of these songs. We booked a day in a studio and set these songs down, hoping that other band-members would be able to add their qualities to the songs (primarily using strings). Later on Robin added his piano to two songs, bringing melodies that go right to the heart and the swing.
released July 16, 2012
David Morris - songwriting, acoustic guitar & vocals. Simon Drinkwater - electric guitars. Coral Kindred-Boothby - bass, cello & additional vocals. Ed Sanders - violin & harmonica. Hugh Cowling - drums & lap steel
Some of the greatest fist-in-the-air fisherman jams since the Waterboys. Awesome stuff. - Ben Chasny, Six Organs of Admittance
(the)songs, eight of them here, take the lilt and roll of British sea chanties and blow them into amplified, feedback-droning, violin squalling anthems. This is, no kidding, one of the best folk-derived, psych-filtered rock albums of 2012, a great hoary rampaging beast of a record that rakes bloody, violent claws through the symmetries of traditional folk. - Dusted Magazine
Fervid three-guitar + fiddle workouts. You could place them as an Anglo-celt analogue to folk-rock churners like Arbouretum and, especially, PG Six, though there's something of The Waterboys circa "A Pagan Place" in there, too. - John Mulvey, UNCUT