Fields of Ypres EP – “For Every Hour” – Out Now!

Sunday, October 30, 2011



The next release on the label is the wonderful EP by Fields of Ypres, “For Every Hour”.  As of Monday 31st October, you’ll find the EP available in all good digital retailers. You can also get a digital copy of the EP for a name-your-price download on the Commercially Inviable Bandcamp page.

This EP is part of an ongoing series of limited edition EPs from the label. We have 100 physical copies of the EP available as a CD single, each of which comes in a hand-made, numbered sleeve, and with a download code. These will be available from Bandcamp and at forthcoming Fields of Ypres shows.

We’re really happy to be adding Fields of Ypres to our small but perfectly formed roster. Fields of Ypres is Graham Phillips, a songwriter and multi-instrumentalist from Wolverhampton, UK who decided to contact us in 2010 to see if we’d be interested in releasing his tunes. It didn’t take us long to decide that we would like that very much indeed.

We’ll let Graham take up the story from here and allow him to explain his chosen name and what brought him here…

“The evocative name is a metaphor for new life, every year the fields surrounding the town of Ypres flush red in a sea of poppies, a beautiful contrast to their painful history.  After recovering from a long drawn out illness in 2009, I returned home to the West Midlands and set about writing a new set of songs, I felt like I’d been given a fresh start.  My debut EP,  “For Every Hour”, recorded at home and at friends houses and then mixed and mastered by Mike Odmark over at Grey Matters Studios, Nashville, TN, is the culmination of this journey.  Drawing influence from songwriters such as Aaron Roche, Nathan Phillips, Bon Iver and Nick Drake amongst others, I’ve sought to capture pieces of life in their fleeting, bittersweet and beautiful form.”

We hope you enjoy the EP. We think it’s one of the best we’ve released so far.

All the best,


One Response to “Fields of Ypres EP – “For Every Hour” – Out Now!”

  1. Allan, I guess I wonder why the focus of the Sunday article wasn’t made explicit: that is, that you were focussing on the NYC scene. It’s not remotely clear that was your intention. Maybe I should have read the article more carefully, but you make sweeping statements that imply you’re talking about the whole country. For example: “The numbers tell a very different story: for all the hand-wringing, there is immensely more classical music on offer now, both in concerts and on recordings than there was in what nostalgists think of as the golden era of classics in America.” You say above that you largely ignored opera, but you do discuss the financial history of the Met a bit.

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