Graham Lambkin and Jason Lescalleet are both highly respected artists, with small but intensely hardcore followings. Since 2001, theyve been gradually moving closer towards realizing a collaborative project, and The Breadwinner is the results of two years of recording, reworking and polishing.Lambkin first entered the public consciousness at 19 when he formed his band The Shadow Ring, in Folkestone, a small town in Kent, England. The band was memorable and built an rabidly passionate fan base because of its sui generis approach, blending elements of folk, noise, cracked electronics, and surrealist poetry, while radically changing the overall formula with each release. A decade of increasingly skewed and inspired work culminated in 2003s Im Some Songs, constructed long distance as Lambkin had relocated to the US in 1998. Over the last few years, Lambkin has primarily worked under his own name, most notably with 2007s brilliant Salmon Run, a precursor to The Breadwinner.Lescalleet has gradually and painstakingly built a compelling discography over the past decade. He uses reel-to-reel tape decks to explore the textures of low fidelity analog sounds and the natural phenomena of old tape and obsolete technology. He is one of a growing list of master producer/musicians, whose skill lies as much in reworking, assembling and mastering the material available as in creating it (or helping create it) in the first place. He has worked with such wide-ranging artists as Ron Lessard, Joe Colley and Phill Niblock, and has released a string of superb solo discs in Mattresslessness (Cut), Electronic Music (RRR) and The Pilgrim (Glistening Examples). This is his second release for Erstwhile, after 2001s Forlorn Green (w/Greg Kelley), and his third is already in preparation, a duo with Bhob Rainey, planned for release in early 2009.The material for The Breadwinner was recorded at Lambkins house in upstate NY, over two recording sessions. The duo treated the entire building and its surrounding grounds as a studio, welcoming in outside sounds, which were later kept or eliminated as they felt appropriate. The subtitle on the front cover is -¢??musical settings for common environments and domestic situations-¢?¬ù, layering numerous submerged fragments to find beauty in everyday life. -Erstwhile
