Vieilles Caniques et Nouvelles Caniques
by Stanley Brinks and the Old Time Kaniks
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Record/Vinyl + Digital AlbumDouble vinyl pressing of Vieilles Caniques (green vinyl) and Nouvelles Caniques (white vinyl), in a reverse board sleeve, shrinkwrapped, with download code, and a printed inner sleeve with all the lyrics.
Includes unlimited streaming of Vieilles Caniques et Nouvelles Caniques via the free Bandcamp app, plus high-quality download in MP3, FLAC and more.ships out within 7 daysedition of 300Purchasable with gift card£15 GBP or more
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Compact Disc (CD) + Digital AlbumDouble CD edition of Vieilles Caniques et Nouvelles Caniques, in a reverse board digifile sleeve.
Includes unlimited streaming of Vieilles Caniques et Nouvelles Caniques via the free Bandcamp app, plus high-quality download in MP3, FLAC and more.ships out within 7 daysPurchasable with gift card£5 GBP or more
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Streaming + DownloadIncludes unlimited streaming via the free Bandcamp app, plus high-quality download in MP3, FLAC and more.Purchasable with gift card
£14 GBP or more
1. |
Ten In The Morning
04:07
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2. |
For You
02:31
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3. |
L'Hay-Les-Roses
02:23
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4. |
Whole Other World
02:23
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5. |
Casse Dechire
02:36
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6. |
All I Need
02:25
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7. |
Man Is A Wonder
03:20
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8. |
Jeanne-Marie
02:20
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9. |
Monique
02:38
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10. |
Julie
03:13
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11. |
Hard-Hearted Woman
02:14
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12. |
Up and Down
02:49
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13. |
River Boat
03:09
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14. |
Vieilles Canique
02:29
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15. |
Your Brown Eyes
03:58
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16. |
Right Down My Alley
02:10
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17. |
Au Luxembourg
01:51
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18. |
This Place Is Great
02:38
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19. |
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20. |
You Broke My Heart
02:52
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21. |
If You Don't Love Me
02:58
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22. |
Spider In Sight
03:08
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23. |
En Rhenanie Palatine
02:50
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24. |
Jools
03:04
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25. |
You and Your Violin
02:00
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26. |
about
Stanley Brinks - aka André Herman Düne - returns with the new double album ‘Vieilles Caniques / Nouvelles Caniques’, the follow up to 2016’s Record Store Day Release ‘Turtle Dove’. Once again he is joined by the Norwegian folk collective The Kaniks, this time stripped back to a two piece of fiddle and banjo, ‘The Old Time Kaniks’.
This double album of modern day folk tales of love, loss and mischief was recorded during the same time period as ‘Turtle Dove’, on a remote island outside the small town of Egersund in south west Norway. Over the course of a week of midnight sun, midnight swims and midnight beers on their isolated rocky island, they lived and worked in the only building there, the now-unmanned mid 19th century Vibberodden
lighthouse.
Originally intended as two separate albums, the fact they were recorded on consecutive days, with the same band, it felt natural to present them as a double.
Thematically, apart from the titles - ‘Vieilles Caniques/Nouvelles Caniques’ (or ‘Old Kaniks/New Kaniks’ ) - there are some subtle differences between the two, a little more heartbreak and longing on the first, the second, lyrically a touch more content or resolved, something transitional in the life of SB maybe… though there’s plenty of songs about drinking on both too…!
It’s not unfeasible to imagine that the recording of ‘Old’, followed by an evening partying through the night in the lighthouse with André, transformed The Kaniks to the (bleary eyed/sore headed) ‘New’ the following morning!
Brinks is renowned for his unique anti-folk style: both playful and suggestive, insightful and entertaining. His mastery of storytelling, presented in both English and in French on these albums, brings us to the heart of the free-spirited world of Brinks’ life as a touring musician.
His fondness for calypso and the unusual provide the perfect foil to The Kaniks, whose folk instrumentation and country and bluegrass influences take this double album to a joyous place Brinks hasn’t been before in his extensive back catalogue.
Stanley Brinks was born in Paris, France, in 1973. He studied a bit of biology and worked as a nurse for a while. Half Swedish, half Moroccan, strongly inclined to travel the world, he soon began spending most of his life on the road and developed a strong relationship with New York. By the late 90s he’d become a full time singer-songwriter – André Herman Düne – as part of three piece indie-rock band, Herman Düne. Several albums and Peel sessions later and after a decade of touring Europe, mostly with American songwriters such as Jeffrey Lewis, Calvin Johnson and early Arcade Fire he settled in Berlin. The early carnival music of Trinidad became a passion, and in the early 21st century he became the unquestioned master of European calypso, changing his name to Stanley Brinks. Under this moniker he has recorded more than 100 albums, collaborated with the New York Antifolk scene on several occasions, recorded and toured with traditional Norwegian musicians, and played a lot with The Wave Pictures.
“Pan European folk whimsy from Andre Herman Dune… these 26 songs sound like ancient folk shanties, but the wry lyrics (“I give all my money to Jim Beam and John Player/But I keep my good loving for you“) remind you these are thoroughly 21st century consturctions” Uncut [7/10]
“The master storyteller, the anti-folk, anti-king of European calypso has cut a wonderful disc of songs about drinking and songs about losing love and the late night malady in front of the dying embers of the night fire. This is a magical double album” NARC [4/5]
“Brinks’ playful mode of storytelling creates entrancing lyrics while the duo of a fiddle and banjo strips folk music back, resulting in an exciting album with a cohesive sense of identity” Cuckoo Review
“these are folk songs, sung in English and French, shot through lost love, found love and plenty of boozing” The Crack
“filled with the European calypso sounds he’s made his own with a generous helping of bluegrass throughout. It’s laid back, like long summer days down by the river, and filled with stories about booze, life on the road, love and heartache” Buzz [3/5]
“The songs are the typical Herman Dune fair in being easi-follow singalongs that even an idiot like me could holler along to. He basks in the sort of choruses that will have pubs of followers singing along and having a good time but oversteps the mark a bit on the otherwise enjoyable opener ‘Ten In the Morning’ where he begins to yodel. Otherwise this is enjoyably old timey campfire singalongs that I’m sure would sound rather good in an old style pub with a roaring fire and Stan and pals in the corner belting them out until way after closing time.” Norman Records
“It’s scary how infectious this tune is, despite minimal instrumentation, just offering string work to back up Brinks’ vocals. The old time sounds never seemed so refreshing.” Austin Town Hall
“a typically idiosyncratic offering; the lo-fi recording of the banjo takes you ear back to the early days of vaudevillian recordings, while the lyrics touch on the cab decorating choices of bus drivers, loves ability to overcome shyness and the dangers of not getting someone’s address; all in just over two minutes” For The Rabbits
This double album of modern day folk tales of love, loss and mischief was recorded during the same time period as ‘Turtle Dove’, on a remote island outside the small town of Egersund in south west Norway. Over the course of a week of midnight sun, midnight swims and midnight beers on their isolated rocky island, they lived and worked in the only building there, the now-unmanned mid 19th century Vibberodden
lighthouse.
Originally intended as two separate albums, the fact they were recorded on consecutive days, with the same band, it felt natural to present them as a double.
Thematically, apart from the titles - ‘Vieilles Caniques/Nouvelles Caniques’ (or ‘Old Kaniks/New Kaniks’ ) - there are some subtle differences between the two, a little more heartbreak and longing on the first, the second, lyrically a touch more content or resolved, something transitional in the life of SB maybe… though there’s plenty of songs about drinking on both too…!
It’s not unfeasible to imagine that the recording of ‘Old’, followed by an evening partying through the night in the lighthouse with André, transformed The Kaniks to the (bleary eyed/sore headed) ‘New’ the following morning!
Brinks is renowned for his unique anti-folk style: both playful and suggestive, insightful and entertaining. His mastery of storytelling, presented in both English and in French on these albums, brings us to the heart of the free-spirited world of Brinks’ life as a touring musician.
His fondness for calypso and the unusual provide the perfect foil to The Kaniks, whose folk instrumentation and country and bluegrass influences take this double album to a joyous place Brinks hasn’t been before in his extensive back catalogue.
Stanley Brinks was born in Paris, France, in 1973. He studied a bit of biology and worked as a nurse for a while. Half Swedish, half Moroccan, strongly inclined to travel the world, he soon began spending most of his life on the road and developed a strong relationship with New York. By the late 90s he’d become a full time singer-songwriter – André Herman Düne – as part of three piece indie-rock band, Herman Düne. Several albums and Peel sessions later and after a decade of touring Europe, mostly with American songwriters such as Jeffrey Lewis, Calvin Johnson and early Arcade Fire he settled in Berlin. The early carnival music of Trinidad became a passion, and in the early 21st century he became the unquestioned master of European calypso, changing his name to Stanley Brinks. Under this moniker he has recorded more than 100 albums, collaborated with the New York Antifolk scene on several occasions, recorded and toured with traditional Norwegian musicians, and played a lot with The Wave Pictures.
“Pan European folk whimsy from Andre Herman Dune… these 26 songs sound like ancient folk shanties, but the wry lyrics (“I give all my money to Jim Beam and John Player/But I keep my good loving for you“) remind you these are thoroughly 21st century consturctions” Uncut [7/10]
“The master storyteller, the anti-folk, anti-king of European calypso has cut a wonderful disc of songs about drinking and songs about losing love and the late night malady in front of the dying embers of the night fire. This is a magical double album” NARC [4/5]
“Brinks’ playful mode of storytelling creates entrancing lyrics while the duo of a fiddle and banjo strips folk music back, resulting in an exciting album with a cohesive sense of identity” Cuckoo Review
“these are folk songs, sung in English and French, shot through lost love, found love and plenty of boozing” The Crack
“filled with the European calypso sounds he’s made his own with a generous helping of bluegrass throughout. It’s laid back, like long summer days down by the river, and filled with stories about booze, life on the road, love and heartache” Buzz [3/5]
“The songs are the typical Herman Dune fair in being easi-follow singalongs that even an idiot like me could holler along to. He basks in the sort of choruses that will have pubs of followers singing along and having a good time but oversteps the mark a bit on the otherwise enjoyable opener ‘Ten In the Morning’ where he begins to yodel. Otherwise this is enjoyably old timey campfire singalongs that I’m sure would sound rather good in an old style pub with a roaring fire and Stan and pals in the corner belting them out until way after closing time.” Norman Records
“It’s scary how infectious this tune is, despite minimal instrumentation, just offering string work to back up Brinks’ vocals. The old time sounds never seemed so refreshing.” Austin Town Hall
“a typically idiosyncratic offering; the lo-fi recording of the banjo takes you ear back to the early days of vaudevillian recordings, while the lyrics touch on the cab decorating choices of bus drivers, loves ability to overcome shyness and the dangers of not getting someone’s address; all in just over two minutes” For The Rabbits
credits
released January 13, 2017
All songs written by Stanley Brinks.
Recorded by Clemence Freschard on July 16th and 18th 2014 at Vibberodden lighthouse in Egersund, Norway.
Mastered by Ian Button.
Artwork by Stanley Brinks.
All songs written by Stanley Brinks.
Recorded by Clemence Freschard on July 16th and 18th 2014 at Vibberodden lighthouse in Egersund, Norway.
Mastered by Ian Button.
Artwork by Stanley Brinks.
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