Happy Release Day To Ural Thomas & The Pain

Today, at Bella Union we are very pleased to share with you the joyous and soulful new album from soul legend Ural Thomas. The album, titled Dancing Dimensions is out digitally today with the physical release to follow on August 5th. Throughout the albums campaign Ural Thomas has been sharing his own gonzo version of a talk show, the last episode of which is out now!

Walking through the residential heart of Portland’s Mississippi district you’ll find a charming wooden house under the overcast Oregon sky. This local landmark is the home of soul legend Ural Thomas, built by hand with found materials decades ago. The basement is overflowing with musical equipment. When you walk down into the room you may see Portland’s Soul Brother Number One at the table chuckling, telling stories and jokes, and espousing his personal humanist philosophy obtained from 83years of unfathomable experiences. He’s often joined by either his generations of biological posterity or the adopted family that is his band, The Pain. You may also find this infinitely magnetic personality ripping through a cover song at full volume or working out a new original with his loved ones.

Though Ural Thomas is widely recognized as one of the most exciting singers remaining from the original soul era, and an active musical institution for over 60 years, his band, all decades younger, are treated as equals. The Pain are no backing band, but rather a well-oiled tightly-knit musical aggregation that’s spent the last eight years with Thomas developing a unique sound of its own.

Born in Meraux, Louisiana, in 1939, and moving with his family to Portland, Oregon during World War II, Ural Thomas grew up to become Rose City’s Soul Brother Number One. Already an established singer in his teens, he became the leader of the wild twistin’ rhythm and blues vocal group The Monterays –who achieved regional fame and recorded the canonical single “Push-Em Up” for the local Sure Star Records. His success brought him to Los Angeles where he caught the ear of industry bigwig Jerry Goldstein of The Strangeloves, best remembered for managing Sly and The Family Stone and producing dozens of iconic records by the likes of War, The McCoys, and The Angels. Goldstein saw star quality in the young singer and brought him into the studio with arranger Gene Page (known for thousands of recordings with everyone from Aretha Franklin to Elton John to a veritable who’s who of Motown stars) to record two landmark 1967 singles “Pain Is The Name of Your Game” and “Can You Dig It” for the MCA pop subsidiary UNI. Around this point Ural also recorded a 1968 live LP for MCA’s soul imprint Revue and the 1967 James Brown-informed proto-funk dancefloor dynamite that is “Deep Soul” for Seattle’s Camelot label. All are widely admired and continue to be heard at DJ sets and dance parties worldwide.

Ural Thomas next left Los Angeles to record in Cincinnati at King Records with James Brown’s production manager Bud Hobgood. After the two had a falling out, Portland’s soul man took a bus to New York City where he was featured more than forty nights at the Apollo. Eventually disillusioned with the industry and missing the communal aspect of making music, by the end of the 1960s he returned to Portland where he established a Sunday night jam session that continued for decades. In 2014 Portland DJ and drummer Scott McGee sat in. They became friends and within months Magee had assembled a full show band that they christened Ural Thomas and The Pain. The new group wasted no time performing and recording, touring the world and releasing two LPs between 2015 and 2018.

So few of soul music’s original practitioners of are still among us. Even fewer are still active. And of those, even fewer can still deliver the goods on the same level that made your hair stand on end the first time you dropped the needle on their record. Rumor had it that the complete package of undiminished passion, sweat, wailing, dancing, and banter, the elusive soul man we always seek out, could be found tearing it up in the Pacific Northwest. When Ural Thomas finally made it out east to play at Jonathan Toubin’s soul revue billed alongside Irma Thomas, Archie Bell, Joe Bataan, and other legends, it was his first New York City gig since his Apollo reign four decades prior. Having previously shared the stage with James Brown, Stevie Wonder, Otis Redding, Etta James, and nearly any star from the hyper-competitive world of classic soul performance, Ural Thomas was not intimidated. He rose to the occasion, bringing down the house both nights and drenching an entire new generation of New Yorkers in his soul sweat!

And the band played on… Despite the usual COVID-19 obstacles, Ural Thomas and The Pain finally completed their much-anticipated third album, Dancing Dimensions.  While exploring everything from sweet Chicago soul to airy West Coast psychedelia to Sly funk, their latest collection retains the distinctive sound the band organically developed organically over years of relentless work. Classic yet unmistakably contemporary at the same time, “Dancing Dimensions” is the most accurate representation of The Pain’s unique flavor, power, and musical breadth committed to vinyl thus far.

You can catch Ural Thomas live in the UK this month. Full details below…

Ural Thomas & The Pain Share “Promises”

With their new album Dancing Dimensions due out 3rd June via Bella Union, Ural Thomas And The Pain today share a final pre-release track, “Promises”, from this much-anticipated LP. Of the track Ural says: “The song Promises talks about one of the most powerful things I believe in, that tomorrow is not promised to us so what we do today really matters. I try not to promise anything to anyone in the future, instead I strive to give all the love to the world that I can right here, right now.”

“Veteran soul man enjoys continued renaissance… His third LP since emerging from retirement a decade ago sounds like a compilation of 70s’ soul highlights: the title track could be Shuggie Otis, ‘Heaven’ resembles the soulful funk-folk of Bill Withers, ‘First Dimension’ is like a Roy Ayres jam session. Best of all is the sprightly, Jackson 5-inspired ‘Gimme Some Ice Cream.’ Throughout, the octogenarian Thomas’ voice is in astonishingly limber condition.” Uncut – 8/10

Ural Thomas And The Pain recently announced a bunch of new UK live dates in June as well as a performance at the End Of The Road festival in early September – upcoming live info below:

Friday 17th June – Brighton – Patterns

Saturday 18th June – London – Jazz Café

Sunday 19th June – Elsewhere – Margate

Tuesday 21st June – Glasgow – Audio

Wednesday 22nd June – Edinburgh – Voodoo Rooms

Monday 27th June – Leeds – Headrow House

Thursday 30th June – Manchester – Band On The Wall

Friday 1st July – Liverpool – Philharmonic Music Room

1st Sept – 4th Sept – Larmer Tree Gardens – End Of The Road

Walking through the residential heart of Portland’s Mississippi district you’ll find a charming wooden house under the overcast Oregon sky. This local landmark is the home of soul legend Ural Thomas, built by hand with found materials decades ago. The basement is overflowing with musical equipment. When you walk down into the room you may see Portland’s Soul Brother Number One at the table chuckling, telling stories and jokes, and espousing his personal humanist philosophy obtained from 83years of unfathomable experiences. He’s often joined by either his generations of biological posterity or the adopted family that is his band, The Pain. You may also find this infinitely magnetic personality ripping through a cover song at full volume or working out a new original with his loved ones.  

Though Ural Thomas is widely recognized as one of the most exciting singers remaining from the original soul era, and an active musical institution for over 60years, his band, all decades younger, are treated as equals. The Pain are no backing band, but rather a well-oiled tightly-knit musical aggregation that’s spent the last eight years with Thomas developing a unique sound of its own. 

Born in Meraux, Louisiana, in 1939, and moving with his family to Portland, Oregon during World War II, Ural Thomas grew up to become Rose City’s Soul Brother Number One. Already an established singer in his teens, he became the leader of the wild twistin’ rhythm and blues vocal group The Monterays – who achieved regional fame and recorded the canonical single “Push-Em Up” for the local Sure Star Records. His success brought him to Los Angeles where he caught the ear of industry bigwig Jerry Goldstein of The Strangeloves, best remembered for managing Sly and The Family Stone and producing dozens of iconic records by the likes of War, The McCoys, and The Angels. Goldstein saw star quality in the young singer and brought him into the studio with arranger Gene Page (known for thousands of recordings with everyone from Aretha Franklin to Elton John to a veritable who’s who of Motown stars) to record two landmark 1967 singles “Pain Is The Name of Your Game” and “Can You Dig It” for the MCA pop subsidiary UNI. Around this point Ural also recorded a 1968 live LP for MCA’s soul imprint Revue and the 1967 James Brown-informed proto-funk dancefloor dynamite that is “Deep Soul” for Seattle’s Camelot label. All are widely admired and continue to be heard at DJ sets and dance parties worldwide. 

Ural Thomas next left Los Angeles to record in Cincinnati at King Records with James Brown’s production manager Bud Hobgood. After the two had a falling out, Portland’s soul man took a bus to New York City where he was featured more than forty nights at the Apollo. Eventually disillusioned with the industry and missing the communal aspect of making music, by the end of the 1960s he returned to Portland where he established a Sunday night jam session that continued for decades. In 2014 Portland DJ and drummer Scott McGee sat in. They became friends and within months Magee had assembled a full show band that they christened Ural Thomas and The Pain. The new group wasted no time performing and recording, touring the world and releasing two LPs between 2015 and 2018.

So few of soul music’s original practitioners of are still among us. Even fewer are still active. And of those, even fewer can still deliver the goods on the same level that made your hair stand on end the first time you dropped the needle on their record. Rumor had it that the complete package of undiminished passion, sweat, wailing, dancing, and banter, the elusive soul man we always seek out, could be found tearing it up in the Pacific Northwest. When Ural Thomas finally made it out east to play at Jonathan Toubin’s soul revue billed alongside Irma Thomas, Archie Bell, Joe Bataan, and other legends, it was his first New York City gig since his Apollo reign four decades prior. Having previously shared the stage with James Brown, Stevie Wonder, Otis Redding, Etta James, and nearly any star from the hyper-competitive world of classic soul performance, Ural Thomas was not intimidated. He rose to the occasion, bringing down the house both nights and drenching an entire new generation of New Yorkers in his soul sweat! 

And the band played on… Despite the usual COVID-19 obstacles, Ural Thomas and The Pain finally completed their much-anticipated third album, Dancing Dimensions.  While exploring everything from sweet Chicago soul to airy West Coast psychedelia to Sly funk, their latest collection retains the distinctive sound the band organically developed organically over years of relentless work. Classic yet unmistakably contemporary at the same time, “Dancing Dimensions” is the most accurate representation of The Pain’s unique flavor, power, and musical breadth committed to vinyl thus far. 

Ural Thomas & The Pain Share “Do You Remember The Times We Had”

Following their barnstorming performances at this year’s SXSW festival, Ural Thomas And The Pain today share new single “Do You Remember The Times We Had?” from their upcoming album Dancing Dimensions out 3rd June via Bella Union. Of the track Ural says: “To me this song is about that feeling everyone has sometimes, wishing we were kids again. As we go through life, childhood memories can start to fade away, Do You Remember The Times We Had? reminds us to never ‘grow old’ but also to live with joy in the moment.”

Walking through the residential heart of Portland’s Mississippi district you’ll find a charming wooden house under the overcast Oregon sky. This local landmark is the home of soul legend Ural Thomas, built by hand with found materials decades ago. The basement is overflowing with musical equipment. When you walk down into the room you may see Portland’s Soul Brother Number One at the table chuckling, telling stories and jokes, and espousing his personal humanist philosophy obtained from 83years of unfathomable experiences. He’s often joined by either his generations of biological posterity or the adopted family that is his band, The Pain. You may also find this infinitely magnetic personality ripping through a cover song at full volume or working out a new original with his loved ones.

Though Ural Thomas is widely recognized as one of the most exciting singers remaining from the original soul era, and an active musical institution for over 60years, his band, all decades younger, are treated as equals. The Pain are no backing band, but rather a well-oiled tightly-knit musical aggregation that’s spent the last eight years with Thomas developing a unique sound of its own.

Born in Meraux, Louisiana, in 1939, and moving with his family to Portland, Oregon during World War II, Ural Thomas grew up to become Rose City’s Soul Brother Number One. Already an established singer in his teens, he became the leader of the wild twistin’ rhythm and blues vocal group The Monterays – who achieved regional fame and recorded the canonical single “Push-Em Up” for the local Sure Star Records. His success brought him to Los Angeles where he caught the ear of industry bigwig Jerry Goldstein of The Strangeloves, best remembered for managing Sly and The Family Stone and producing dozens of iconic records by the likes of War, The McCoys, and The Angels. Goldstein saw star quality in the young singer and brought him into the studio with arranger Gene Page (known for thousands of recordings with everyone from Aretha Franklin to Elton John to a veritable who’s who of Motown stars) to record two landmark 1967 singles “Pain Is The Name of Your Game” and “Can You Dig It” for the MCA pop subsidiary UNI. Around this point Ural also recorded a 1968 live LP for MCA’s soul imprint Revue and the 1967 James Brown-informed proto-funk dancefloor dynamite that is “Deep Soul” for Seattle’s Camelot label. All are widely admired and continue to be heard at DJ sets and dance parties worldwide.

Ural Thomas next left Los Angeles to record in Cincinnati at King Records with James Brown’s production manager Bud Hobgood. After the two had a falling out, Portland’s soul man took a bus to New York City where he was featured more than forty nights at the Apollo. Eventually disillusioned with the industry and missing the communal aspect of making music, by the end of the 1960s he returned to Portland where he established a Sunday night jam session that continued for decades. In 2014 Portland DJ and drummer Scott McGee sat in. They became friends and within months Magee had assembled a full show band that they christened Ural Thomas and The Pain. The new group wasted no time performing and recording, touring the world and releasing two LPs between 2015 and 2018.

So few of soul music’s original practitioners of are still among us. Even fewer are still active. And of those, even fewer can still deliver the goods on the same level that made your hair stand on end the first time you dropped the needle on their record. Rumor had it that the complete package of undiminished passion, sweat, wailing, dancing, and banter, the elusive soul man we always seek out, could be found tearing it up in the Pacific Northwest. When Ural Thomas finally made it out east to play at Jonathan Toubin’s soul revue billed alongside Irma Thomas, Archie Bell, Joe Bataan, and other legends, it was his first New York City gig since his Apollo reign four decades prior. Having previously shared the stage with James Brown, Stevie Wonder, Otis Redding, Etta James, and nearly any star from the hyper-competitive world of classic soul performance, Ural Thomas was not intimidated. He rose to the occasion, bringing down the house both nights and drenching an entire new generation of New Yorkers in his soul sweat!

And the band played on… Despite the usual COVID-19 obstacles, Ural Thomas and The Pain finally completed their much-anticipated third album, Dancing Dimensions.  While exploring everything from sweet Chicago soul to airy West Coast psychedelia to Sly funk, their latest collection retains the distinctive sound the band organically developed organically over years of relentless work. Classic yet unmistakably contemporary at the same time, “Dancing Dimensions” is the most accurate representation of The Pain’s unique flavor, power, and musical breadth committed to vinyl thus far.

Introducing… Ural Thomas & The Pain

Ural Thomas And The Pain today announce their new album Dancing Dimensions released 3rd June via Bella Union and available to preorder here. To mark the occasion the celebrated soul star has shared an entertaining part-animated video for the album’s irresistible title track and announced a London Jazz Cafe show on Friday 17th June as well as performing at the End Of The Road festival in September.

Walking through the residential heart of Portland’s Mississippi district you’ll find a charming wooden house under the overcast Oregon sky. This local landmark is the home of soul legend Ural Thomas, built by hand with found materials decades ago. The basement is overflowing with musical equipment. When you walk down into the room you may see Portland’s Soul Brother Number One at the table chuckling, telling stories and jokes, and espousing his personal humanist philosophy obtained from 82 years of unfathomable experiences. He’s often joined by either his generations of biological posterity or the adopted family that is his band, The Pain. You may also find this infinitely magnetic personality ripping through a cover song at full volume or working out a new original with his loved ones.  

Though Ural Thomas is widely recognized as one of the most exciting singers remaining from the original soul era, and an active musical institution for over 60years, his band, all decades younger, are treated as equals. The Pain are no backing band, but rather a well-oiled tightly-knit musical aggregation that’s spent the last eight years with Thomas developing a unique sound of its own.  

Born in Meraux, Louisiana, in 1939, and moving with his family to Portland, Oregon during World War II, Ural Thomas grew up to become Rose City’s Soul Brother Number One. Already an established singer in his teens, he became the leader of the wild twistin’ rhythm and blues vocal group The Monterays – who achieved regional fame and recorded the canonical single “Push-Em Up” for the local Sure Star Records. His success brought him to Los Angeles where he caught the ear of industry bigwig Jerry Goldstein of The Strangeloves, best remembered for managing Sly and The Family Stone and producing dozens of iconic records by the likes of War, The McCoys, and The Angels. Goldstein saw star quality in the young singer and brought him into the studio with arranger Gene Page (known for thousands of recordings with everyone from Aretha Franklin to Elton John to a veritable who’s who of Motown stars) to record two landmark 1967 singles “Pain Is The Name of Your Game” and “Can You Dig It” for the MCA pop subsidiary UNI. Around this point Ural also recorded a 1968 live LP for MCA’s soul imprint Revue and the 1967 James Brown-informed proto-funk dancefloor dynamite that is “Deep Soul” for Seattle’s Camelot label. All are widely admired and continue to be heard at DJ sets and dance parties worldwide. 

Ural Thomas next left Los Angeles to record in Cincinnati at King Records with James Brown’s production manager Bud Hobgood. After the two had a falling out, Portland’s soul man took a bus to New York City where he was featured more than forty nights at the Apollo. Eventually disillusioned with the industry and missing the communal aspect of making music, by the end of the 1960s he returned to Portland where he established a Sunday night jam session that continued for decades. In 2014 Portland DJ and drummer Scott McGee sat in. They became friends and within months Magee had assembled a full show band that they christened Ural Thomas and The Pain. The new group wasted no time performing and recording, touring the world and releasing two LPs between 2015 and 2018.

So few of soul music’s original practitioners of are still among us. Even fewer are still active. And of those, even fewer can still deliver the goods on the same level that made your hair stand on end the first time you dropped the needle on their record. Rumor had it that the complete package of undiminished passion, sweat, wailing, dancing, and banter, the elusive soul man we always seek out, could be found tearing it up in the Pacific Northwest. When Ural Thomas finally made it out east to play at Jonathan Toubin’s soul revue billed alongside Irma Thomas, Archie Bell, Joe Bataan, and other legends, it was his first New York City gig since his Apollo reign four decades prior. Having previously shared the stage with James Brown, Stevie Wonder, Otis Redding, Etta James, and nearly any star from the hyper-competitive world of classic soul performance, Ural Thomas was not intimidated. He rose to the occasion, bringing down the house both nights and drenching an entire new generation of New Yorkers in his soul sweat! 

And the band played on… Despite the usual COVID-19 obstacles, Ural Thomas and The Pain finally completed their much-anticipated third album, Dancing Dimensions.  While exploring everything from sweet Chicago soul to airy West Coast psychedelia to Sly funk, their latest collection retains the distinctive sound the band organically developed organically over years of relentless work. Classic yet unmistakably contemporary at the same time, “Dancing Dimensions” is the most accurate representation of The Pain’s unique flavor, power, and musical breadth committed to vinyl thus far. 

Lost Horizons & Marissa Nadler share ‘Marie’

Lost Horizons – the project of Cocteau Twins’ Simon Raymonde & Richie Thomas of Dif Juz – released part one of its new album In Quiet Moments at the end of 2020 and is set to release part two, as well as the physical of the double album, on February 26th via Bella Union. Every track on the album features a guest vocalist, and today’s new single “Marie” features Marissa Nadler. The music video footage was created by Nadler while the editing and direction was done by Penelope Isles’ Jack Wolter.

Of the track, Lost Horizons said: “I don’t think there was ever a second I wasn’t going to find a song for Marissa to sing on the new lp. SO much cool stuff came out of our last collaborations on Ojalá, indeed I think we ended up recording four songs from the original idea of doing one! Marissa is a really great & generous collaborator as she really throws herself in deep, and commits to it fully. That is a rare and beautiful gift and Richie and I appreciate it enormously.  It was a beast of a track to mix I’ll be honest, and that had nothing to do with Marissa’s vocals, in fact they were a breeze to mix.  But the initial music that Richie and I improvised in our basement studio in Brighton was a bit messy and we didn’t use a click or anything to keep tempo so fixing anything later was a lost cause, but it is such a cool piece that i loved creating (i think i put 4 maybe 5 bass parts on with my old trusty Fender VI string bass guitar!) that even when it’s kinda falling apart during that instrumental section near the end, i still love it. It probably sounds like it took half an hour to mix but the truth is it took weeks of starting it, scrapping it, starting over, scrapping it, etc. And yes, i fully intend to ask Marissa to contribute to our next one too.”

Marissa Nadler adds: “It was a dream to collaborate with Simon and Ritchie for Lost Horizons again. Marie is an aquatic reverie about this title character entering different dimensions. Maybe we’re all feeling a little submerged, watching the time. This stream of consciousness song came from listening to the track that Simon sent, and birthed this hypnagogic hallucination of a story.” 

Early praise for Lost Horizons’ In Quiet Moments

“Second album from super-duo contains multitudes… With the knowing retro-etherealism of Every Beat That Passed (featuring Swedish vocalist Kavi Kwai) or Cordelia’s new age tides controlled by John Grant, In Quiet Moments opens out its own space to wander, a many-moods piece for complicated times.” MOJO – 4 stars ****

“Lost Horizons triumph on second album In Quiet Moments… There’s some textbook ethereal elegance but also much restless energy and joy… Guest vocalists include everyone from John Grant to Porridge Radio.” PROG

“Grand music, lushly orchestrated and beautifully arranged… a terrific sounding album and above all else a wonderful spotlight on amazing voices.” Brooklyn Vegan

“In Quiet Moments is a well-crafted set of lush, cinematic pop and rock with lyrics revolving around death and rebirth” KEXP

Lost Horizons & Ural Thomas share ‘In Quiet Moments’

With their new album In Quiet Moments due for release 26th February via Bella Union, Lost Horizons today share a video for the title track of the LP which features Ural Thomas on vocals. Ural Thomas was born in Louisiana in 1939, learning to sing in church. The seventh of sixteen children, his family relocated to Portland, Oregon when he was a young child. Thomas became a professional singer as a young man in the 1950s, with over forty performances at the Apollo Theatre in Manhattan, New York. He worked with or opened for musicians such as Etta James, Otis Redding, James Brown and Stevie Wonder. Thomas moved back to Portland in 1968. After this not much is known, until the early 2010s when Scott Magee, a Portland-based soul DJ, learned via the owner of Mississippi Records that Thomas – whose early records he spun – still lived in Portland. Despite having weekly jam sessions in his home, a tradition started in the 1970s, Thomas seldom played live shows. Together, Thomas and Magee created Ural Thomas and the Pain, an eight-piece backing band for Thomas’s vocals. The group has released two full length albums: 2016’s self-titled release and 2018’s “The Right Time”. 

Of the track Ural Thomas says: “When I first heard the song, I thought it was such a wonderful thing, both open and calm, with that steady, insistent groove. The chords go from looming to embracing then back again, like a sad, friendly giant. It took a quiet moment to go over it in my mind and then we were off and running with the tune. At times I feel strong and one with the world.  At other times I feel tiny and solitary.  In a way they’re two parts of the same feeling. That sense of being closed in and defined by walls became more real just a short while after we worked on the song.  But we’re all those other things, too—connected, hopeful, with a long arc that will go beyond this time.” 

Simon Raymonde of Lost Horizons adds: “Sometimes you just have a clear vision for a song and then try as you might, it doesn’t quite hit the mark and other times, you’re not quite sure where it’s going and then all of sudden it’s like The Matrix and you’re buzzing! I’d been talking to Ural and his team since I heard about him earlier that year, and they were all working on a new Ural Thomas and The Pain album, but just as I finished the bass part on our piece, which Richie had started at a session in London, my inner voice was screaming “ASK URAL TO SING!” Scott and Brent who are his producers and write with Ural and in his band too, responded very positively to my enquiry and said Ural was into it, and it looked like they could do it all at their studio in Portland AND film him at the same time as they were making a documentary about him! I couldn’t believe my luck. After he was done with the first half of the song I asked if he could make the ending spoken-word in the style of Gil Scott-Heron and he did something ad-libbed which I loved. I then asked Wendi Rose who sings with Spiritualized to add some of her beautiful vocals and I think this took it all to the next level. Paul Gregory and Jonathan Wilson also played some delicious guitar parts which were the fairy dust on top!” 

In Quiet Moments features a stellar array of musical guests including John Grant, C Duncan, Marissa Nadler, Penelope Isles, Karen Peris (the innocence mission), Tim Smith (Midlake), Ren Harvieu and many more. The 16-track album will be released in two sections. The first half (8 tracks) was released digitally 4th December with the second half and physical release following on 26th February 2021. 

In 2017, Simon Raymonde and Richie Thomas had both abstained from making music for 20 years until they united as Lost Horizons and released a stunning debut album, Ojalá – the Spanish word for “hopefully” or “God willing.”

“These days, we need hope more than ever, for a better world.” Thomas said at the time. “And this album has given me a lot of hope. To reconnect with music…. And the hope for another Lost Horizons record!” 

Thomas’ hopes had a mixed response. On the plus side, the new Lost Horizons album In Quiet Moments is an even stronger successor to Ojalá with another distinguished cast of guest singers and a handful of supporting instrumentalists embellishing the core duo’s gorgeously free-flowing and loose-limbed blueprint that one writer astutely labelled, “melancholy-delia.” 

On the minus side, any hope for a better world, as Earth continues to freefall toward political and social meltdown. Then, to make matters worse, as Raymonde and Thomas buckled down to create the improvised bedrock that Lost Horizons is built on, the former’s mother died. At least Raymonde had a way to channel his grief. “The way improvisation works,” he says, “it’s just what’s going on with your body at the time, to let it out.”

In Quiet Moments has its pockets of loss but – aligned to the concept of ‘hope’ – the album is more about rebirth than death. “I think it’s more joyous than Ojalá,” says Thomas. “But both albums have a great energy about them.” 

Those energy levels undulate across a dazzling array of moods and voices; as broad as the name Lost Horizons sounds. Take the first three tracks: the melting rapture of ‘Halcyon’ featuring Jack Wolter of Bella Union signings Penelope Isles, the simmering urban-soulful ‘I Woke Up With An Open Heart’ featuring Nubiya Brandon of The Hempolics and the quintessentially melancholy-delic ‘Grey Tower’ featuring a returning Tim Smith . 

Also returning from Ojalá are Gemma Dunleavy, Karen Peris (the innocence mission), Cameron Neal (Horse Thief) and Marissa Nadler. The last three are all Bella Union family members; likewise, John Grant (the lush, choral ‘Cordelia’, etched by David Rothon’s pedal steel and Fiona Brice’s elegant strings) and Ren Harvieu (a sultry ‘Unravelling In Slow Motion’), and new signing Laura Groves (the jazz-tinged ‘Blue Soul’), all making their Lost Horizons debuts. 

Dana Margolin of the hugely acclaimed Porridge Radio lends the rampant ‘One For Regret’’ her trademark bristling energy; at the other end of the spectrum, ‘Flutter’ features Rosie Blair (of former Bella Union signing Ballet School) adding exquisite blue notes to a stark palate of Thomas’ piano and Fiona Brice’s strings. Deploying his A&R acumen, Raymonde called on new Swedish discovery Kavi Kwai for the Cocteaus-evoking ‘Every Beat That Passed’ (“You can’t make music for as long as I have and drop all your influences and habits overnight,” says Raymonde). Also present are Lily Wolter (of Penelope Isles) under her solo pseudonym KookieLou, and C Duncan. A richer and more varied cast list would be very hard to find. 

“I think In Quiet Moments is more in the direction of where we’re going,” Thomas concludes. “People have retreated into their lives and, in those quiet moments, reflected on the world, how we fit in and who we trust. Maybe the next album will be about rebellion! But the road is long and winding. We just need to express ourselves in how we feel at the time.” 

Lost Horizons recently announced news of a London live performance at the Scala in Autumn 2021.