Includes unlimited streaming via the free Bandcamp app, plus high-quality download in MP3, FLAC and more.
Purchasable with gift card
€10EUR or more
Feeding Tube Records 1st Edition: Double Vinyl in Single Cover w. A3 insert.
Record/Vinyl + Digital Album
2x12" vinyl in single cover w. 6mm spine. White innersleves and printed poster insert. Hand-drawn cover artwork by Maria Torres. Black vinyl. Edition of 300. Mastered beautifully and cut for vinyl by Rashad Becker at D&M in Berlin. Includes download code.
Includes unlimited streaming of Old Chestnut
via the free Bandcamp app, plus high-quality download in MP3, FLAC and more.
Sold Out
IT Records Deluxe Edition: Double Vinyl in Gatefold Cover. Limited Edition of 300.
2x12" vinyl in deluxe gatefold cover w. 6mm spine and lyric printed innersleeves. Hand-drawn cover artwork by Maria Torres. Black vinyl. Edition of 300. Mastered beautifully and cut for vinyl by Rashad Becker at D&M in Berlin. Includes download code.
Includes unlimited streaming of Old Chestnut
via the free Bandcamp app, plus high-quality download in MP3, FLAC and more.
LIMITED TO 50 COPIES WORLDWIDE! Only 10 available here. 2x12" split bottle green/bluebell swirl vinyl in single jacket w. 6mm spine. Includes lyric printed innersleeves and colour A3 poster. Hand-drawn cover artwork by Maria Torres. Mastered beautifully and cut for vinyl by Rashad Becker at D&M in Berlin. Includes download code.
Includes unlimited streaming of Old Chestnut
via the free Bandcamp app, plus high-quality download in MP3, FLAC and more.
2x12" bottle green/bluebell vinyl in single jacket w. 6mm spine. Limited to 450 worldwide. Includes lyric printed innersleeves and colour A3 poster. Hand-drawn cover artwork by Maria Torres. Mastered beautifully and cut for vinyl by Rashad Becker at D&M in Berlin. Includes download code.
Includes unlimited streaming of Old Chestnut
via the free Bandcamp app, plus high-quality download in MP3, FLAC and more.
"Finding its way out into the world via IT records and Feeding Tube, Ned Collette’s monumental folk opus Old Chestnut is a spare and haunted record feeling its way through the heavy end of the acoustic spectrum. While there are some great players on the album, including long standing percussionist partner Joe Talia, and a cameo from Chris Abrahams of The Necks, the album is essentially a soul bared by an artist alone on his own terms. There’s a grey pallor that hangs about Old Chestnut, somber and soulful, craggy and careful. Collette brings to mind the skill sets of Roy Harper and Bert Jansch put to use with dry calculation of Jim O’Rourke and the steadfast intensity of Leonard Cohen.
At times he even brings to mind the storyteller soul of Lee Hazlewood, but Collette doesn’t share the winking humor or Lee or the aforementioned Roy Harper. Instead the album prefers the curtains drawn and the bath topped and teaming, with a curl of incense and candle flickering along with the strums. Don’t let that paint the album as hopeless, or dour, though, its contemplative, introspective and measured, but its not slipping down the drain with the remains of the bath. Instead he tucks in and revels in detached soul searching like the best half of the Waters penned Floyd years.
Despite being recorded over four years, the album paints a song cycle that’s cohesive and immediate. Collette captures a corner of folk that’s not been wrung dry over the years. The artist isn’t interested in the slightest that a song sticks to the listener through traditionally memorable means, instead he’s working to press it into the skin with the sheer weight of his writing. He has the ability to sparkle in runs of fingerpicking that lean towards the Takoma school, but he’s more tender than technical. He dips into the English tradition of Canterbury classics, but spirals the songs down a well of darkness that’s meatier than the Middle Ages could contain. Towards the end he looses the ties of folk altogether, letting noise and electricity overcome the atmosphere and bury the album in cinder and ash. Its not an album that can be listened to lightly and warrants multiple listens to let Collette’s full vision sink in, but once its under your skin, Old Chestnut is hard to shake." RAVENSINGSTHEBLUES
"Through dappled meadows and twilight forests... this hazy spellbound folk" ★★★★ MOJO (Martin Aston)
★★★★ THE AUSTRALIAN (Doug Wallen)
“Most Beguiling” 7/10 UNCUT (Wyndham Wallace)
“One of the albums of the year” ADDICT CULTURE FRANCE
“Some of his most lucid, literate compositions yet” CLASH MAGAZINE UK (Robin Murray)
"It flourishes effortlessly, remaining captivating as it offers up the pastoral with the cosmic and exists as a skilfully modern exploration of songwriting.” 4ZZZ BRISBANE (Nicholas J. Rodwell)
"Old Chestnut is a haunting prog-folk song cycle for the ages… Collette has made a goddamn whale of an album." FEEDING TUBE RECORDS (Byron Coley)
“Gentle, fragile, tender, intimate. The perfect salve for Anthropocene madness.” AN ARTICULATE FAN on bandcamp
Ned Collette’s 6th album to be released on It Records (Australia) and Feeding Tube (U.S.A) on August 24th 2018.
Old Chestnut is the stunning new double album from Melbourne/Berlin singer songwriter Ned Collette: Old Chestnut. A truly accomplished work, a gorgeous dark folk opus, fleshed out in lush but precise and sparkling instrumentation thanks to a band of extraordinary collaborators. Featuring regular Wirewalker cohorts Joe Talia (who also co- produced the album with Collette) and Ben Bourke, plus Alexander Garsden, cellist Anthea Caddy, and piano from The Necks’ Chris Abrahams on the album’s monolithic centrepiece, ‘June’.
Ned says that Old Chestnut is the first album he has made that “feels like the albums I always wanted to make. It’s just messy enough, elaborate enough, simple enough, improvised and collaborative enough...” and it does feel like Old Chestnut is an elevation, and that with it, he has attained a level of songcraft that transcends his already impressive back catalogue. With snippets written as far back as 2008 and 4 years since his last album release, it’s been a long journey. The resultant work is cohesive and articulate in a way few albums are. A mixture of melancholy balladry interwoven with daedal and often delicate instrumentals that not only frame and anchor the “songs” but beautifully showcase the calibre of Collette’s arrangements and musicianship. This is the record that will etch the name Ned Collette into the lexicon of great Australian songwriters.
credits
released August 24, 2018
Ned Collette — voice, guitar, piano, bass, synths, percussion, recorder
Joe Talia — drums, machines, drum machines
Ben Bourke — Moog and vocals on Sacred Cats, vocals on Snaky Song
Anthea Caddy — vocals on Grant’s Farm, cello on The Optimist, cello and vocals on June
Alexander Garsden — steel string guitar on The Optimist
& Chris Abrahams — piano on June
Recorded and mixed by Ned Collette and Joe Talia in Berlin and Melbourne
Pretty much the first recording Ned ever made, playing guitar on the debut album from Tim Pledger's wonderful and long running free-jazz project. Ned Collette
Angel,
I heard your interview with Jason Woodbury on Aquarium Drunkard's "Transmissions" podcast today. It was truly remarkable and touched my heart. I bought this album immediately afterward and am so grateful to you for this nourishing music in these strange, trying days. I hope I can time my next trip to Chicago to be able to see you perform live. Thank you! Michael Feltes
This album makes you feel like a better world is possible and somewhat close at hand. It isn't, clearly, we're stuck in dystopia, but it's so beautiful to dream. Fabio Viola
The Los Angeles-based indie rock artist's first full-length album is inspired by songwriters like Glen Campbell and George Harrison. Bandcamp New & Notable May 8, 2020