Marcus O’Neill is utterly old-school when it comes to songwriting and recording techniques. As well as the spontaneous, improvised style, most of the new album, Blue Moon In The Room, available May 24 through Tall Order Records, was recorded using 1960s valve equipment and 1950s microphones.
New Noise are proud to premiere O’Neill’s latest single from his second solo LP, “Come On Don’t Give It Up,” below:
O’Neill once toured Japan with Little Barrie and found they shared a lot of the same obsessions with old lo-fi blues sounds and musical honesty. This is reflected, and even parodied in the Victorian-themed album cover and video where he can be seen playing a five-necked guitar against the backdrop of Edison’s first-ever sound recordings or navigating the world in an enormous top hat and frock coat.
O’Neill has an unmistakable songwriting style with unusual themes and bold titles. For example, “Muslim Parrot Breeder” is the true story of a devout Muslim who reared parrots and feuded with his lesbian neighbour.
Recorded in London and mixed by producer Larry Crane (Elliott Smith) in Portland, Oregon, the album also features some brilliant guest performances, such as the extraordinary violin work from veteran session virtuoso Bobby Valentino and backing from members of the folk/blues band Jenny Wren and her Borrowed Wings.
Pre-order Blue Moon In The Room here.
Follow Marcus O’Neill through his website here.