1 Déjà Vu Guru

  2 But I’m Not

  3 Talking To Yourself

  4 Five Planets

  5 No No No

  6 Shallow Grave

  7 It’s All Right

  8 Riot

  9 Byzantine Romance

10 Remember To Breathe

11 Captain Catastrophe

Daphne & The Golden Chord was produced with the legendary producer and longtime David Bowie collaborator Tony Visconti, who also worked on Guinness’ debut album, 2016’s critically acclaimed Optimist in Black.

The new album picks up where Optimist in Black left off, with a new dynamism to Guinness’ songwriting due in part to a new band including co-writer Malcolm Doherty, Terry Miles of Go-Kart Mozart, Thin Lizzy bassist Gary Liedeman, Generation X and Chelsea’s James Stevenson and Roxy Music’s Andy Mackay contributing to the album.

In the tradition of Guinness’ great inspirations including 60s psychedelia and glam rock, Daphne & The Golden Chord was recorded live to analog tape at London’s British Grove Studios on consoles previously used on The Beatles’ Abbey Road, Pink Floyd’s Dark Side Of The Moon and Wings’ Band On The Run.

David Bowie originally introduced Guinness and Visconti. Bowie was so impressed with her music that he recommended her to his long-time producer and another chapter of her life began.

Optimist In Black

  1 Take Out What Didn’t Happen

  2 Fatal Flaw

  3 Make Up

  4 Hitch Hiking

  5 Marionettes

  6 Subtle Hand of Fate

  7 Optimist In Black

  8 Magic Tea

  9 Joke

10 The Long Now

11 Old School

12 Evening In Space

13 No Nirvana of Cooldom

14 No Armageddon

Optimist In Black- which shares its title with the album track referencing the bleak period following the suicides of her close friends McQueen and Blow- is a fascinating work, with Guinness, in elegantly commanding tones reminiscent of Nico, Grace Slick and Grace Jones, displaying a dark wit as she explores male vanity, the malleability of identity, and the effects of alienation and ennui. It's heavy with flavours of Sixties psychedelia and Seventies glam, reflecting Daphne's own lifelong loves. Her formative listening habits, as a teen, were anachronistic: “I've always been stuck in the Sixties. Jefferson Airplane, The Small Faces, as well as Robert Johnson and all the blues stuff, David Bowie, and on the top, The Doors.” The project began with a chance meeting with Irish producer Pat Donne, Daphne's main co-writer on the album, at the renowned Grouse Lodge studios near her County Westmeath home. The duo's original demos were then sent to Tony Visconti more in hope than expectation. “I was sick with nerves, emailing to him. He could have thought 'Oh, it's just this Guinness person.' But he heard me through, and he loved it.” Daphne and Pat decamped to join Visconti at Avatar Studios, where recording sessions took a deeply surreal turn when David Bowie appeared at the studio. His approval of the snippets he heard from Optimist In Black further mesmerised Daphne; “I feel so blessed that Tony believed in me,” Daphne says. “I thought I'd got an A* from the headmaster.”

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