England in 1819 | Alma

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Rock: Experimental Rock Rock: Shoegaze Moods: Mood: Dreamy
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Alma

by England in 1819

Beautiful haunting melodies, breath-of-fresh-air chord progressions --- sized up and spread out in the post-rock vein. Atmosphere and thoughtfulness build to massive ending-anthems.
Genre: Rock: Experimental Rock
Release Date: 

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Tracks

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1. Air That We Once Breathed
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3:35 $0.99
2. Blue Ribbon
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5:59 $0.99
3. Chaplin Speaks
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4:39 $0.99
4. Littil Batur
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2:26 $0.99
5. Skyscraper
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5:48 $0.99
6. Waterfall
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5:15 $0.99
7. Emily Jane
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1:54 $0.99
8. The Elephant
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5:21 $0.99
9. To Sea in a Sieve
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2:19 $0.99
10. Alma
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7:26 $0.99
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ABOUT THIS ALBUM


Album Notes
“Alma, ebbs and flows in the most beautiful way, gathering momentum while inspiring feelings of comfort.” - Magnet Magazine

“One of the most promising albums we’ve heard this year.” - Direct Current Music

“Andrew is apparently a man with melodies coming out of his ears. Alma is an album rich in textures. It features beautiful intricate melodies and interesting lyrics as well as Andrew’s super soothing vocal style…Lush cool tracks…Serene, intricate, and intelligent…TOP PICK!” - Babysue

“I already thought England in 1819 was pretty great, but England in 1819 live was an incredibly different story. They were amazing…Zuly’s operatic vocals meshed with Andrew’s melancholy crooning was one of the most beautiful things I had ever heard. Their wide array of instruments wasn’t to be overlooked either. England in 1819 is a theatre in Heaven. Their music is the battle song…like nothing I’ve ever heard, and it’s incredible…” - Blisterpackzine

“Baton Rouge, Lousiana sextet England in 1819 truly blew me away when I first heard them…The band, which features a classically trained opera singer accompanied by French horn, oboe, glockenspiel, bass, drums, percussion, and guitar, has quickly won me over with their ability to bring the best aspects of both melodic, ambient rock and classical compositions and blend them into something chilling and beautiful”. - Blue Indian

Andrew reflects on England in 1819's music:

Emily (Interviewer) :

It’s nice to see that the profoundness of the music matches that of the artists, and the deepness resonates with its fans. I think it’s better to write from the very core of your soul. Anyone can write a pop hit, a happy, catchy little beat, but it takes real emotion to write a sad song, you know? Music, or even more broadly, art is perhaps the best way to channel emotions, especially when those emotions are negative. It’s like Ernest Hemingway said, “There’s no trick to writing. You just sit a typewriter and bleed.”

That being said, how do you feel about that in relation to your music? You talk about a “wasted encore” in “Trophy Sixty-One.” If the piano is how you channel your soul, do you think one day you’ll eventually just end up scraping your soul for more inspiration?

Andrew (England in 1819):

I do know what you mean.

I would say first that is exactly what I do. I sit at the piano and bleed. I think some of that is the difference between words and music. Words in my mind, are more limiting. To me, a feeling, an emotion…can be more closely replicated and conveyed through music than through words. It’s often hard to describe exactly how you might be feeling…exactly what emotion is within you. In the same way, I find myself at a loss when I try to describe the feelings and emotions conveyed through music. Words and language, to me, are better for creating scenes, use with imagery, or telling a story. Music is better for conveying emotion.

Of course, it’s much more complicated than that. And there are people who do amazing work with purposefully emotionless music and powerful words…and that itself is a statement, and can affect people in very strong ways. For me, it’s just that the emotion comes out in the music.

“Do I think one day I’ll just end up scraping my soul for more inspiration?”

Would it cause me too much pain to re-live and have to re-spin what I’ve already let out? Or that it would be bad for the listener, who has already lived through these stories with me, and wants something fresh?

I think I’ll just keep letting out whatever is down there. It very well may be positive things one day. Until then I don’t mind the negative things.

I heard Matt Berninger (of The National) talking about this. He was saying how people had criticized his new album for being too dark and a bit negative, and he was asked how he felt about singing sad songs. His response was that – the topic might be sad…but he wrote the songs as a release, and that in itself is positive, cathartic…and is a pleasurable way to write.

I think that describes almost perfectly the feelings I have about writing sad songs. A sad topic doesn’t necessarily have to become a negative experience for the singer, the band…or the listener. I try to include positive ways of thinking about all of the things I sing about…so that at the end of the day…there is some sort of message. We aren’t just left in a bleak world, but rather inspired for change, with a sense of hope and purpose.



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