The secretive Craven Faults returns with a single vinyl release which follows on from second full-length album Standers.

Bounds will be released on black vinyl and INDIES ONLY ‘Tarn Sike Blue’ vinyl limited to just 700 copies for the world.

Listen here: https://on.soundcloud.com/rFmW6VHmM7Rx48fm6

Watch the ‘Lampes Mosse’ video https://youtu.be/Od05_FRKI8Q

Each edition is presented in full bleed monochrome sleeve with its own colour-coded obi strip.

Lead track ‘Lampes Mosse’ is accompanied by a video by Michael Connolly who has been providing the hypnotic projections for Craven Faults’ live performances.

Standers scored an impressive number 6 in the Official UK Independent Chart in May 2023.

It also featured prominently in retailer and media album of the year lists including Sister Ray (#2), Norman (#3), Jumbo (#5), Electronic Sound (#20), Bear Tree (#20), Crash (#28), Loud & Quiet (#29), Get Into This (#29), Uncut (#50) and the Drift Top 100.

Craven Faults made their long awaited live debut in September 2023, with four performances at Thwaite Watermill in Leeds which sold out in a matter of minutes.

Following a sold out debut London show at Studio 9294 in February, Craven Faults will make two more live appearances in the UK this year, at The Cube in Bristol on November 6th and Salford’s White Hotel on November 8th – tickets on sale now.

Bounds follows Craven Faults’ second full-length album Standers. Following loosely in the footsteps of 2020’s Enclosures release, here’s another 37-minute journey through Northern England via a lifetime obsessing at the fringes of popular culture. New details and perspectives. Dusk gathering.

There’s some discussion over where this journey begins. Certainly, less than twenty miles north-west of the city, but possibly much closer. Ironic given we’re searching for a distance marker. A gritstone pillar is the prime candidate – destroyed by lightning almost 200 years ago, and then rebuilt a quarter of a mile away. A curiosity. Many a journey starts here these days, as we take flight and head further north and west. The tarn was drained in 1940 to protect critical infrastructure. We leave the sounds of heavy industry behind us to float weightlessly over the moors.

We pick up pace and hit those levels of repetition engineered to the highest standards in Düsseldorf and Köln, 1971. A gift to the world. At this point the altitude is no longer clear; there’s no sense of scale. We could be a matter of inches from the ground, but the patterns are the same. Eventually we arrive at a hillside with no defined boundaries. The limestone pavement is visible in parts, and snaps us into focus once again.

It’s a little way east for our next stop, very close to where the journey began on Standers. Documents from 1651 suggest an arbitrary drawing of boundaries, the distribution of power and wealth set down in pen and ink and then passed down through generations. We beat a path around the perimeter. The divides still exist although the crab apple tree is long gone. Melodies give way to bent notes and dissonance.

We take a circuitous trip to Hamburg and Rome for filming between February 11 and April 23, 1972. A slower pace. Less structure, but emotive, evolving. The master touch, indeed. One final job before retiring and living off the land for the next 373 years.

“The beauty of Standers is that it invites you to consider these lightning flashes of 20th-century transcendence on a much longer continuum, stretching back into the mists of time” 8/10 Uncut

“This is psychedelic synth head music, custom designed for zoning out” Brooklyn Vegan

“A hypnotic, idiosyncratic gem” 8/10 Loud & Quiet

“Standers – like the Yorkshire landscape itself – is both forbidding and beautiful in equal measure” Electronic Sound
on Enclosures:

“Rumours still abound about the identity of its creator, but who cares when the end results are as mesmeric and seductive as this?” 4/5 Mojo

“Three epics of electronic minimalism, imagining journeys across post-industrial Northern England” Resident Advisor