London-based singer/songwriter and guitarist Danny Green may be best known for being the frontman of acclaimed British folk pop act Laish. With Laish, Green wrote and recorded four critically applauded albums released through French indie label Tailres, which he and his bandmates supported with extensive touring across the UK, the European Union and the States.
In 2019 Green went through a number of major life changes: That March, he met Leanna “LG” Green — and by December they got married. For their honeymoon, Leanna and Danny Green decided to spend six months across South America with a simple recording setup that they carried with them in a backpack. During their trip, the couple wound up writing and recording demos that would become the earliest material of their recording project together DG Solaris. “In between swimming with sea-lions, exploring sacred plant medicines and climbing mountains, we had been searching for beautiful spaces to set up our backpack studio,” the Greens explained in press notes. “All of our recordings feature the sounds of birds, cicadas and crickets.”
Returning home to London after their honeymoon, Danny and Leanna recruited Tom Chadd, Matt Canty and Matt Hardy to help flesh out the material they demoed during their honeymoon. The end result was the act’s full-length debut, last year’s Spirit Glow, which drew from and meshed elements of 70s psych pop, synth pop, krautrock and prog rock in a unique and playful fashion — with the album’s material written as a textural journey through emotional realms. “We wanted to explore the idea of two voices, two spirits, two creative minds and see where this dynamic could take us,” DG Solaris’ Leanna Green says in press notes. Danny Green adds, “It has been an incredibly inspiring trip. We came back with over forty songs and it has been a challenge to chose our favourites for this first album.”
Recently Green has been collaborating with Somerset, UK-born, London-based singer/songwriter Jeremy Tuplin. With the release of his full-length debut 2017’s I Dreamt I Was an Astronaut Tuplin’s sound and approach gradually evolved with the Somerset-born, London-based singer/songwriter incorporating indie rock and psych music into what he has semi-ironically dubbed “space folk.” 2019’s Pink Mirror was released to critical acclaim with the album being lauded by The Line of Best fit, Loud & Quiet Magazine, BBC Radio 6 and Rumore Magazine. As a result of Pink Mirror‘s success, Tuplin received funding from PRS’ Open Fund to record last year’s Violet Waves.
Green’s and Tuplin’s first single together, “Ocean/Are You Weird Enough?” came about from some unusual circumstances: Although Green and Tuplin have been writing and recording albums during the past decade, they’ve only been vaguely aware of each other’s existence. One night in Peru, following an intense shamanic ceremony, Green had a vivid dream that he and Tuplin were floating high above the ocean. The next morning, Green contacted Tuplin to share his strange astral encounter — and the pair began a correspondence.
Written and recorded during the middle of a pandemic — which created its own challenges — “Ocean/Are You Weird Enough?” is centered around a sparse yet haunting arrangement of acoustic guitar, atmospheric synths, shuffling drums serving as a gentle and ethereal bed for a gorgeous melody — and some equally gorgeous harmonies. And while sounding a bit like a cross between The Church and Nick Drake, the song as Green explains thematically explores the oneness and weirdness of people within a collective whole.
The pair’s latest single “In The Name of Love” continues a run of meditative material centered around atmospheric synths, strummed acoustic guitar serving as a sumptuous bed for the pair’s mellifluous vocals and equally gorgeous harmonizing. Much like its predecessor, “In The Name of Love” brings The Church’s “Under the Milky Way” but while also nodding at Nick Drake. Thematically, the song tackles chaos theory, the nature of the cosmos and our tendency to distort the truth in the name of love. But underneath the seriousness of the song, there’s a a delicately wry sense of humor over the fact that everything in the cosmos may ultimately be up to chance.