It’s been so long. You’re welcome back, my friends…

Submitted by vostoklake on Mon, 03/07/2016 - 16:14
Theatre with an ELP quote over the awning, I forget where, maybe Sheffield

So, it’s probably time to give a proper news update, for those who are still friends of Vostok Lake music.

  • Vostok Lake is now formally a duo. The lineup is Daphne Lawless (keyboards, programming, frontline vocals); Tricia Hall (backline vocals, percussion). Tricia has already been participating in Vostok Lake as a co-writer of lyrics, most notably on the new fan favourite “Don’t Tell The Doctor (That You’re Batman)”.
  • The new Vostok Lake album, Comics and Stories, is being recorded slowly but surely. Five tracks have been completed, with both Daphne and Tricia recording vocals at Depot Studios (Devonport, North Shore, Auckland NZ) with Jess Haugh of Scarlett Lashes fame at the controls. Five more finished demos are ready for vocal recording, and three or four more songs are half-written. We are doing this slowly but doing it right. VL has never been a “prolific” musical endeavour – we have too many outside interests to be able to concentrate with laser-like focus – so we had better make sure our infrequent releases are insanely perfectionist and will be considered “worth the wait”, like any Kate Bush album.
  • Comics and Stories will be available for download, as well as in a Special Edition physical (CD) release with very advanced and special artwork. We know that it’s hard to sell CDs in the Weightless Music era, so we want to give Value for Money. Details to follow.
  • The new “Vostok Lake Expanded Edition” will perform live to celebrate the release of the new album, and hopefully before that too, just to stay in shape. We would quite like to buy an electric ukelele and an electronic percussion pad first.

One reason for the delayed recording process has been a determination that the new album will sound “different and better”, while not really having the finances to upgrade our existing hardware. It’s much easier to be “progressive” in the old sense of the term when you have the means to buy shiny new toys every album to make new sounds on. Instead, we have to “salvage” every last bit of creativity we can from our 1988-1997 era hardware synths; while the progress of Weightless Music has not yet meant we can shift entirely to software synths altogether (among other things, a hardware synth is much less likely to crash in the middle of a live performance).

So, we move forward slowly. We are no longer young and were perhaps never relevant. But we move forward. “We do this because we are compelled.”