Artist's albums
Naked Like Water
2023 · single
Greek Honey Slick
2023 · single
Did You Know
2023 · single
Salty Road Dogs Victory Anthem
2023 · single
No Words Left
2022 · single
GOLD
2022 · album
I'm Good at Not Crying
2022 · single
Mrs Calamari
2022 · single
Don't Forget You're Precious
2022 · single
I Was Not Sleeping
2020 · album
All Who Wonder Are Not Lost
2020 · single
Broken Tooth Skyline
2020 · single
Gull Communion
2020 · single
Behold a Black Wave
2020 · EP
All of the Lights
2020 · single
Visit Croatia EP
2020 · EP
Ode To Jazzman John Clarke
2020 · single
To Cy & Lee: Instrumentals, Vol. 1
2020 · album
What Do We Want
2018 · single
The Corner of a Sphere
2018 · album
They Put the Stars Far Away
2018 · single
Be Nice to People
2017 · single
Peach
2015 · album
The Jester
2013 · album
Copernicus - The Good Book of No
2012 · album
I Don't Know
2011 · single
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Biography
Gus Fairbairn, aka Alabaster DePlume, has a pocketful of phrases that he uses all the time whether he’s walking down the street or holding court with musicians and an audience. For a long time the Mancunian would tell anyone who’d listen that they were doing very well. More recently, it’s another phrase which has a similar effect and which belies his unwavering commitment to personal vulnerability and collective politics: “Don’t forget you’re precious.” A process that is people-first not product-first ensures that the music is unique; often gem-like. Alabaster DePlume’s songs are built on sonorous circular melodies and luminous tones that transmit calmness and generosity in warm waves – unless they’re raging against complacency and the everyday inhumanity of end times capitalism. Most importantly, he brings a valuable transparency to his work. “This is what I’m really doing,” he says. “I want to talk about why I’m doing this, and how I’m doing this.” His album Gold was recorded at London’s Total Refreshment Centre over two weeks. He invited a different set of musicians each day, playing the tunes to click so that DePlume, who also produced it, could cut the 17 hours of sessions together like a collage. As with all his sessions, he ensured that the musicians didn’t have enough time to rehearse the tunes, instead requiring them to tune into each other and to rely on each other to reach the end of a song. There was another rule: no listening back to sessions after recording.