"The castle represents ‘the domineering institutions of the past’ and the decaying of mainstay pillars, and the juxtaposition between this and the garden – a lush place indicative of re-emerging health and reclamation, is both bittersweet and sharp. As one thing decays, a reincarnation emerges. The blurred divide between a truth and a lie is narrowing, and this correlates with a general decline in Church attendance. Empty shopping malls and boarded-up windows are a feature on every high street, and Cameron Day’s music deals in decay with a shocking immediacy. It’s as black as the ace of spades.
Physically, structures will fall into disrepair without proper maintenance, but decay can occur on many levels: spiritual, mental, cultural. Power corrupts, but it also leads to downfalls, as seen with a dictator who refuses to stand down even when the bombs are dropping and the end is nigh. As if it were at some nightmarish New Year’s Eve party, Cameron Day’s music sings the distorted, drunken line of ‘out with the old and in with the new’. Ghastly grey areas and forever loops have come to replace the old, familiar verse of popular song: the first shoots in an indecisive, post-truth era. The collapse of a once-mighty kingdom can be ugly theatre, but the music’s decline is a thing of ashen beauty."
Dedicated to my love, Riena; to my brother, Liam; to my parents, Kristi and Bill; to Timi, my partner on the journey through Chicago’s ruins; to Andrew, to whom I will always be indebted; and most of all to Brad Dehart and his eternal guidance. - CD
released May 31, 2018
Cameron Day - Music
Liam Day - Photography
James Plotkin - Mastering
Dan Crossley - Packaging, assembly, coordination
James Catchpole - Description
supported by 5 fans who also own “The Castle and the Garden”
A great finial to the project. It's like a glimpse of sunshine behind the clouds at the funeral. Caretaker's funeral. Like a disturbing calm in the ruins after fire. It brings to mind Basinski's classics. C'est fini. 2097