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Alison Statton & Spike \ The Shady Tree [LTMCD 2395]

The Shady Tree is the second album by Alison Statton and Spike, a duo featuring vocalist Alison Statton (Young Marble Giants, Weekend) and guitarist Spike Williams (Weekend, Reptile Ranch).

Recorded between London, Penarth and Cardiff in 1996/97, The Shady Tree explores the complex relationship between music and math. It's a deliberately spooky record: none of the contributing musicians met or played together, with the object of inducing the same feeling of isolation given by a Walkman, or an iPod. Alison sings over highly atmospheric music filled with echoes, loops, gentle harp trills and sweetly ringing guitar. Pensive, reflective and ultimately indefinable, everything on the album ultimately conspires towards calm.

Guests include Phil Moxham of Young Marble Giants. CD includes original artwork and liner notes.


1. Where to Start
2. Unspoken Word
3. Rain
4. Blind Faith
5. Pontymister
6. Point of View
7. Crucial Timing
8. Sidings
9. Platform Ticket
10. The Seed Remains
11. Dream Monsters
12. Corridors of Blue
13. Stages
14. Time Out

Available on CD and digital (MP3 or FLAC). To order CD please first select correct shipping option (UK, EU or Rest of World) and then click on Add To Cart button below cover image. Digital copies are delivered to customers via email link.

The Shady Tree [LTMCD 2395]
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"The Shady Tree is a striking home recording effort done with two guests, Dale Reynolds on Welsh harp and Statton's old Young Marble Giants stalwart Phil Moxham on bass. Statton's light, gentle, but still at heart strong singing remains excellent. Williams, meanwhile, starts the album with a brisk but soothing synth melody loop, which contrasted with Statton's voice as the song Where to Start fully develops, showing how The Shady Tree is a distinctly different affair from the debut. Where Tidal Blues was a gently lively guitar-based work, on this song there is more texture and more pastoral flow, almost suggesting an analogue to the work of Ultramarine. It's a lovely blend and an entrancing way to begin the album, and the musicians experiment with drones and textures throughout, adding a depth and range to Statton's lovely core of careful observation and reflection. Without returning to the time of Colossal Youth in singing style, she again here captures the feeling of sudden realization and detail so beautifully. Notably, all four performers recorded their parts separately, but everything comes together in the mix, while Williams' own obsession with mathematical structures adds to the experimental nature of the album without rendering it an insular exercise. Sonically one can hear parallels to acts like Seefeel in its later years or where Boards of Canada would end up, but ultimately the sheer variety shown is the key keeping this almost truly its own unique effort. Statton's singing over different collages of lighter or darker veins not only provides the melodic core for each piece but also makes each song almost seem like its own separate short story. Whether it's the buried anthemic surge of Blind Faith or the calm keyboard buzz of The Seed Remains, The Shady Tree contains many marvels. LTM's reissue adds no bonus tracks, for once - but frankly, an album this inspired needs no further justification for listening" (All Music Guide, 2006)