“The entire record listening public should know Duke Garwood’s music. The fact that most don’t is a fucking travesty. He’s a mystic, a musical genius and Heavy Love is a total mind-blowing masterpiece. Get with it people.” • MARK LANEGAN
“Duke Garwood is the real thing; like the perfect blues perpetually emanating good vibes thru a uni-vibe (even when he’s singing about darkness). An old soul and a saint…” • KURT VILE
“My brother Duke is the most soul-acious soul man I know. He always cut his own groove and it’s been my honour to play with him so many times.” • SEASICK STEVE
“I’ve listened to Duke for years, but have not heard him as in control and powerful as he is on Heavy Love. His guitar playing and singing remind me of an unrequited and lusty relative of JJ Cale. I fucking love this” • GREG DULLI
“I first met Duke back in the days when the best London club The Luminaire was still open. He was playing sweet ballads with a tint of free-jazz; his voice was thin and full, like a Chet Baker turned into a midnight wolf.” • JENNY BETH (SAVAGES)
“As close to Heaven as you can get with a guitar.” • JOSH T. PEARSON
Duke Garwood (1969) is a London based English multi-instrumentalist.
Duke Garwood’s first paid musical job was back in the late 80’s playing guitar on The Orb’s seminal ‘Perpetual Dawn’ taken from their debut album co-produced by Martin Glover aka Youth. Nearly twenty years and many musical wanderings later, Duke Garwood completed a circle by releasing an album on Youth’s label Butterfly Recordings.
Duke Garwood’s first album ‘Holy Week’ came out to great critical acclaim on Loog Records in 2005. Q magazine described it as making Will Oldham sound like Engelbert Humperdinck. His follow up Emerald Palace was recorded in a log cabin on the wooded slopes of Box Hill over 2 scorching days and nights in the mid-summer of 2005. Garwood and his long time drummer/ percussionist Paul May laid down some 40 tracks of which 18 were finally chosen for his new release.
2009 saw Garwood release his first releases on Fire Records. The album ‘The Sand That Falls’ continued with his rootsy approach to music making with more than a handful of drone and sprawl to accompany his lone guitar. The album was preceded by the ‘He Was A Warlock’ EP, which demonstrated Duke’s fondness of releasing tracks with more than a hint of melody such as ‘Rise A Woman’, and ‘Each Man Sparkles’ amidst his more sparse, experimental numbers.
Garwood was back in 2011 with album ‘Dreamboatsafari’. Heralded by press (including 4/5 by NME) and featuring more melodic delights such as soothing ‘Summer Gold’, and ‘Wine Blood’ it is Duke’s most focussed and effective record yet. ‘Dreamboatsafari’ delights in startlingly effective blues, never forgetting to meander into Duke’s own experimental wilderness. “I’ve got particular fingers,” he laughs. “I like to keep the sound going. I like my notes to keep ringing, for as long as I can keep them ringing. I learnt that from playing the horn. I want to get my feeling out.”
In 2011, Garwood also collaborated with an artist Shezad Dawood in a concert performance ’New Dream Machine Project’ that resumed the 1968 recording of the legendary Brian Jones of The Rolling Stones and Master Musicians of Jajouka (which played regularly at the ‘1001 Nights’) at the Cinémathèque de Tanger, Brion Gysin’s famous coffee shop in Tangiers. The new generation of “Master Musicians” and Garwood tried to recreate that moment of legend around the giant 3 metre tall dreamachine originally invented by Brion Gysin and created for the occasion by Dawood.
Duke Garwood has toured and recorded with Archie Bronson Outfit, Seasick Steve, Josh T. Pearson, Sir Richard Bishop, Wooden Wand, Wire, Alexander Tucker, The Gutter Twins, Kurt Vile and Mark Lanegan.
In May 2013, Mark Lanegan & Duke Garwood are set to release their first studio collaboration, ‘Black Pudding’. Lanegan and Garwood met in 2009 while playing on the same bill and Garwood was again a frequent opener on Lanegan’s recent European tours and played guitar on 2 tracks on Lanegan’s ‘Blues Funeral’ album. “Duke Garwood is one of my all time favorite artists,” said Lanegan. “Working with him has been one of the best experiences of my recording life.”
Garwood has often been described in the press as Lanegan’s “spiritual cousin across the Atlantic waters.” He has been widely praised as a master bluesman, with The Quietus saying “The combination of Garwood’s murmured vocals and the sound he gets out of his guitar – which ranges from a rolling, loose finger-picking to shuddering howls of feedback – has a hypnotic effect” and The Mirror dubbing him as “London’s leading exponent of the wheezy broke-down blues.”
Black Pudding was recorded at Pink Duck Studios in Burbank, California by Justin Smith (Tegan and Sara, The Hives) and mixed by Queens of the Stone Age associate Alain Johannes.
Albums ”Holy Week” (Loog, 2005) ”Emerald Palace” (Butterfly, 2006) *”The Sand That Falls” (Fire, 2009) ”Dreamsafari” (Fire, 2011) ”Black Pudding” w/ Mark Lanegan (Heavenly/ Ipecac, 2013)
Other Releases ”Sweet Back” (Loog, 2005) – 7″ single ”Keep Mother Vol.6” (Fire, 2006) – split 10″ single w/ HTRK ”He Was A Warlock ” (Fire, 2009) – EP ”Duke/Wand” (Fire, 2012) – split 12″ LP w/ Wooden Wand
plus special guest…
Kreol Lovecall is south London-born multi-instrumentalist Jonathan Richards. A fixture in some of Britain’s more left-leaning musical scenes for almost two decades.
Until recently an integral member of UK heavy psych rockers Hey Colossus, Richards played a major part in the band’s transition from harsh noise-rock blowouts to a more focused and melodic proposition. His influence shouts loudest on their two 2015 albums, In Black And Gold and Radio Static High (both on Rocket Recordings).
Kreol Lovecall is a bold and surprising stylistic change; a project featuring clean, shimmering guitar and soulful vocals, tightly packed arrangements of popping drum machine, funky bass and Casio keyboard.
‘One In F1ve’ is the first single from Kreol Lovecall, released on 2nd December via Fighting Spirit Records. 21st century blues with pulsing synths and a mantra-like chorus, it reflects the doom and dread brought on by a Trumped-up, post-Brexit present and future back in on itself.