And Also The Trees Official



	AATT circa 1981


And Also The Trees - a Brief History There's a certain irony in the fact that a much-respected band with 10 studio albums and a quarter-century behind them need an introduction, but this is one of the many paradoxes that make And Also The Trees the unique & beguiling outfit that they are. Established in 1979 in a small village tucked beneath the wild, rural charms of the historic Malvern Hills in Worcestershire & inspired by the ideology of a still-developing post-punk movement, AATT from their very beginnings were different. Unlike more urban contemporaries like PIL & Gang Of Four, AATT were influenced almost exclusively by the landscape & history of the rural environment that surrounded them, an influence that has remained throughout their entire existence to this day. Their first, self-titled album, released in 1983 reflected those early, tentative post-punk roots, but it was with 1986's seminal Virus Meadow - an album of rich, pagan melancholy & disturbing laments - & the resulting European tours, that AATT truly found their own identity & seemingly an audience that were enraptured by the dramatic, understood the poetic nature of their work & The dense, chiming guitars & relentless rhythmic spirals perfectly complementing the rich, nursery rhyme-like lyrics of Simon Huw Jones & the almost pre-Raphaelite artwork. Subsequent albums The Millpond Years (1987), Farewell To The Shade (1989)& Green Is The Sea (1991) continued in this rich, creative, & influential vein & seemingly elevated AATT to an almost mythical status in parts of Europe where they regularly played to audiences in their thousands & introduced them to transatlantic audiences for the first time via a highly successful US tour. The release of 1993's The Klaxon, however, saw the beginning of a new chapter in the life of AATT, the esoteric, rural influences replaced by a 50's beat-group feel, still challenging & lyrical but somehow more urbane and, well, sexy. The twanging guitars, Morricone trumpets & growling organs punctuating a trilogy of releases (now endearingly referred to as the 'hard boiled crimmy' trilogy) including the critically acclaimed Angelfish (1996) & Silver Soul (1998). The last five years however saw AATT almost wilfully fade from view. No live shows or new releases gave rise to rumours of a split but in truth the band were biding their time, waiting for their muse to return with something akin to a more honest & contemporary styling. Further From The Truth, their latest album, is a testimony to the timeless quality of And Also The Trees & their music. Beautiful, tense & simple, it is perhaps one of their greatest works - some achievement for a fiercely independant band who have survived almost 25 years by confounding both their fans & critics alike. That they should be considered 'Godfathers' & innovators of a burgeoning dark-music scene is not in doubt. And Also The Trees have finally returned

1989 Farewell To The Shade
Two unused shots from the session that provided the cover to Farewell To The Shade. The session took place on a sweltering, hot summer day in the wood-beamed room where Simon wrote many of his lyrics. The book in question is a large, leather bound copy of the works of the Scottish poet Robbie Burns, famous for being the writer of Auld Lang Syne.
Two of several alternative ideas to the ones used on the rear & inner sleeves of Farewell To The Shade. The album title took it's inspiration from one William Cowper & his poem The Poplar Field. It was no coincidence that at that time an argument raged with a local farmer who chose to fell an ancient poplar tree located outside the AATT Inkberrow studio. The issue of a modern, industrial society carving it's way through the heart of a rural idyllic is something that was a prevalent lyrical theme throughout this period in the bands evolution.
The bell jar image was almost used as the front cover for the album but was changed when it was decided that a band portrait would be more appropriate.

Singles from this album
Lady d'Arbanville/The Street Organ/The Harp - released on CD, 12" and 7 "
Misfortunes/Belief in the Rose(instr) - released only in France on 7"
The Pear Tree(remix)/live tracks - released in USA only on 12" remixed by Robert Smith and Mark Saunders (remixer of Depeche Mode, the Cure and Madonna amongst others)

Farewell To The Shade
Prince Rupert
Macbeth's Head
The Nobody Inn
Belief In The Rose
The Street Organ
Lady D'Arbanville
Misfortunes
The Pear Tree
Ill Omen
The Horse Fair
The Harp
Anchor Yard

Misfortunes1989
Released as a limited 7' only in France, Misfortunes was something of an experiment, an out-&-out pop song, territory not covered by AATT since The Secret Sea back in 1984. With an instrumental version of Belief In The Rose on the b-side, it proved to be a popular release in France.
The cover image was influenced by a drawing done by Guido Crepax from the book Justine a graphic novel of the Marquis de Sade's 'Misfortunes of Virtue'. What you see here is a full colour version of the final image.

1986
Summer 1986 & seeking new inspiration in order to follow up the critical acclaim of Virus Meadow, AATT decamped to a small studio in Rome to write & record The Critical Distance. However, the glamorous location proved to be something of an obstacle to the bands creativity, it's sights becoming a beautiful distraction rather than an inspiration. Disheartened, the band returned to London, successfully completing the tracks late in the Autumn. This rather inappropriate A-side reflects the confusion & frustration felt by the band at this time & the choice of a cover version & co-write on the B-side speaks volumes about the first creative block AATT had endured. The violent nature of the material shows a band fighting, literally, their way back to creativity.
This picture was one of a series of photographs taken by Simon for the cover image of the 12" release which eventually bore a similarly themed black & white image.