John Murry: “The songs speak more clearly for them­selves”


A Short His­tory Of De­cay sounds even darker than The Grace­less Age. How did

that hap­pen? It wasn’t in­ten­tional. When I was writ­ing it, I thought the songs were some­how gen­tler and I still think the al­bum is often quite funny. Doesn’t the best hor­ror often come from comedic places? The great­est come­dies from the most tragic?

How did michael Tim­mins end up as

pro­ducer? I met Mike when I played in Glas­gow at Celtic Con­nec­tions in 2013. I used to fall asleep to Cow­boy Junkies’ The Trin­ity Ses­sions, so they were lit­er­ally char­ac­ters from a dream. Over the next few years, we stayed in touch. Some­how we both knew we needed to make a record to­gether. amaz­ing gift as a pro­ducer. He hears the essence of a song. Like Jim Dickinson, Mike is a pro­ducer in the truest sense. Like Jim, I ad­mire the hell out of Mike. He showed me that with the right peo­ple play­ing in the room with me a record could come to life and it did. It’s ex­actly what I meant it to be: de­fi­ant, tan­gled, in­dig­nant and fi­nal. The songs speak much more clearly for them­selves now, I be­lieve, and I hope by let­ting them do their own talk­ing, it will al­low me to do mine.

How much in­flu­ence did he have on the sound of the al­bum? An im­mense in­flu­ence. Mike has an

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