My new album ‘Stare Into The Dark’ is now out everywhere.
Recorded live at Blue Sky Recording Studio in the Blue Mountains of NSW over three days, Stare Into The Dark is my third full-length release and includes many of the songs written during my 100 songs in 100 days songwriting challenge.
Like my previous album, Violet Road, the creative powerhouse Chris Gillespie lent a heavy hand in producing, engineering and mixing duties. Michael Carpenter from Love Hz also did a fantastic job mastering this record.
Adam Collins at Antidote Creative illustrated and designed all of the visuals. Such a talent.
Finally, the following musicians deserve special mention, having played on the record and collaborated in song arrangement: Cameron James Henderson, Emma Stephenson, Nick Henderson and Oscar Henfrey.
You can purchase Stare Into The Dark at the following websites:
Not into buying stuff over the internet? Thanks to distribution from MGM, if you’re in Australia or New Zealand, you can also order in the physical copy from your favourite record store.
The album is also available in limited format (6 tracks only) via streaming:
If you have any questions about the record, don’t hesitate to drop me a line or get in touch with the legendary Stuart Coupe, who is currently organising the publicity end of this release.
I’m extremely excited to announce the upcoming release of my third studio album – Stare Into The Dark – on June the 22nd.
Pre-order Stare Into The Dark now.
Pre-order is available right now via my bandcamp page and will include 3 advance tracks. Click HERE for more information.
Where can you get a copy?
The album is getting physical and digital distribution via MGM, so make sure that you keep an eye out for it at your favourite local bricks and mortar record store or online via iTunes, Google and more. If your local store doesn’t stock it, you’ll even be able to order it in. You can also find Stare Into The Dark alongside all of my previous releases on my bandcamp page.
(artwork by Adam Collins – email@example.com)
About the Album
For Stare Into The Dark, I returned to Chris Gillespie’s Blue Sky Recording Studio in the Blue Mountains. It was recorded completely live over a three day period with a killer band. Unlike previous projects, I wanted to take more of a back seat in arranging and received plenty of input from all members of the Stare Into The Dark band.
The band featured:
The majority of tracks from the album are also the fully-realised results from the 100 songs in 100 days songwriting challenge that I undertook back in 2016. For me, the arranging, recording and release of these songs signals a bittersweet close to that project/experiment.
I’m stoked with the result and I can’t wait to share it with you.
Violet Road has officially been released for several months now.
With all things that are no longer new and sparkly, the chance of getting any more press to give my album a listen and review has dwindled to almost zero. I say almost zero, because I’ve just been forwarded a great write up by Samuel J. Fell (Rolling Stone, SMH, Rhythms) with permission to publish. Unfortunately, this review did not make it to print due to powers beyond Samuel’s control.
A big thank you to Samuel J. Fell for sharing his words and Karen Conrad for her persistence.
VIOLET ROAD [Independent]
Three and a half out of five
Sydney native Sam Newton’s second full-length record is a gentle one. It doesn’t shove itself forward, jostling for attention, opting instead for a much more reticent approach – soft songs, often with the focus on Newton’s ubiquitously Australian voice which is itself unobtrusive, lilting and velvet, a real listening album.
All this isn’t to say it’s weak or insipid though. Newton proves here he’s able to conjure more than a little power with this gentle approach, the stories he tells vivid in their realism and relatability. Occasionally, he attempts to fit in a word or two too many, or add in a word which doesn’t really sit that well, but overall his songwriting is gorgeously simple, which is another reason why it projects this gentle power.
Sonically, he sits comfortably in the Americana arena, with more than a little nod to the blues and folk music, pedal steel playing an integral part in the overall sound, quietly strummed acoustic guitars and a subtle rhythm section, along with tastefully used harmonica and fiddle. Standout is ‘Homesick’, which is somewhat reminiscent of Eric Bibb, a folky number that utilises the blues as an inspiration, as opposed to direct interpretation.
Samuel J. Fell