Adam Stafford – Daylight Slavings

Adam Stafford – Daylight Slavings


Not perturbed by working with this enigma for a fourth time, Gerry Loves Records are delighted to announce the release of Daylight Slavings by Adam Stafford on Friday 28 June. This new long player is Stafford’s 12th solo album and will be available digitally and on limited edition 12” vinyl.

This record sees Stafford take influences from the likes of Glenn Gould, Dominic Lawralee, Thelonious Monk, the presence and absence of Dub pioneers Scientist and King Tubby, and Su Tissue’s Salon de Musique.

Musically we are in the imagined cinematic zone of midnight drives through threatening deserts and rain-swept plains, post-industrial throb of red haze in black skies, stuttering shadows in glistening ice palaces and an existential horror film about a middle aged suburban man who has convinced himself he has a brutal snuff film in his closet. But it’s not all terror and twilight foreboding, Stafford is at his most musically tender and poignant on ‘Catatonic Owls’ and the album closer ‘Daylight Slavings’ which sees a burst of trombones and trumpets bringing illuminating shafts of light from the troubled heavens.

Buy vinyl or digital




Praise for Stafford and previous LP ‘Trophic Asynchrony’ (2021)

“With its layered blend of glitchy bleepology, soothing loops, distorted vocals, delicate melodies and glistening piano, Trophic Asynchrony is meticulous minimalism with the kitchen sink on top”. 4/5 – The Scotsman

“So different from his previous two albums, which illustrates his far-reaching talent, Trophic Asynchrony is circular, ever-mutating, expressive, shows rather than tells in the warp and weft of a sound palette which has its roots in the recherché traditions of Moondog, Terry Riley, Masoyoshi Fujita et al, rather than the waters of folk; an octet of tracks to soundtrack the societal confusion and informational overload of political chaos, plague and ecological precarity.” 8.4/10 – Backseat Mafia,

“He is crafting filigree melodies. These are underpinned by cavernous synths. Stafford then uses lighter tones to add shading and detail and to create something awe inspiring.” – God is in The TV

More Releases