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2003 Moloko + (D) / Cat.No. PLUS 067
2006 Fuego 1390 (D) / Cat.No. 1391


Free Fall
100 Degrees In The Shade
Angel Street
Don't Know Why
The Fields Of Summer
Devil's Gate
Closing Time


CD - sold out



Bruno Adams
vocals, electric + slide guitars, bass
Phil Shoenfelt
vocals, electric + acoustic guitars, bass
Chris Hughes
drums, percussion, loops + samples

Tracks 1, 3, 5, 7, 8 written by Phil Shoenfelt, published by Warner-Chappell
Tracks 2, 4, 6, 9 written by Bruno Adams, published by MDF Musikverlag GmbH (D)

Recorded May 2000 in The Church Studios / Covington, Kentucky (USA)
Produced by May + Chambers and Fatal Shore
Mixed by May + Chambers

Press Release

FREEFALL - The new CD by Fatal Shore

Fatal Shore is a Berlin-based band comprising two Australians, one Englishman and a German. Formed in 1996 by Phil Shoenfelt and Bruno Adams, the group’s first engagement was a hectic tour of war-ravaged Bosnia- Herzegovina during which they came under fire from Serbian snipers. Soon after this dangerous beginning Chris Hughes joined the band on drums, and the line-up was completed with the arrival of bass player YoYo Röhm in 2001.

The recording of the first Fatal Shore CD was similarly fraught with danger. The band travelled to the studio in Lucanec, Slovakia, by train, at the height of the Moravian floods, and spent the first day of recording time stranded on a rain-swept train station surrounded by flooded fields and impassable roads. On another railway trip across the "Wild East", the band was held hostage in a compartment by a gang of drunken Slovakian and Ukranian migrant workers returning home for the weekend. The guys wanted some music to accompany their drinking, and seeing as one of them was waving a gun in the air Fatal Shore didn’t argue.

The history of Fatal Shore is filled with bizarre events and impossible coincidences. One of the strangest was the invitation, in April 2000, to fly to a studio in Cincinatti USA to record the follow-up Fatal Shore CD. The invitation came from American record producer Dan May, who had heard the group’s first CD by chance, and within days Fatal Shore were flying out of Berlin on their way to Cincinatti.

The bizarre events continued after they arrived at The Church, a converted nineteenth century church in Covington, Kentucky, where May has his studio. The studio was full of eerie vibrations, and the presence of May’s collection of guns, automatic weapons and war memorabilia added to the already tense and edgy atmosphere. After several arguments and breakdowns in communication, the recording was finally completed two hours before the group’s flight left for Berlin. The production team in Cincinatti spent the next eighteen months mixing and re-mixing the CD, until the dark, threatening tone of the new songs was given its fullest expression. Some of the edginess of the recording sessions has definitely been transmitted onto the new Fatal Shore CD, FREE FALL.

The members of Fatal Shore have played and collaborated with many noted musicians, including Mick Harvey, Ben Becker, Nina Hagen, Hugo Race, Rowland S. Howard, Thomas Wydler and Kristof Hahn. Their own music has a wide range of influences from the Delta Blues of Robert Johnson, through songwriters such as Jacques Brel and Townes Van Zandt, to the electronic soundscapes of Einstürzende Neubauten and Can.

FREE FALL was released in December 2003 by Moloko + and will be accompanied by live concerts by Fatal Shore in Germany and Czech Republic.


Long-awaited second album from Berlin and Prague-based Aussie/English trio. Back in 1997 The Fatal Shore released their fine debut album, which deserved much greater attention than it received. This new record has been a long time coming, but it's worth the wait. Bruno Adams, Phil Shöenfelt and Chris Hughes operate somewhere in the Lee Hazlewood / Nick Cave mould, but with an eastern European twist: low-slung, gravelly vocals, an atmospheric blend of acoustic and electric guitars backed by inventive percussion. 100° In The Shade pounds along with a Paint It Black-style swagger, The Fields Of Summer could soundtrack a road movie while the sparse Closing Time stacks the chairs on the tables and collects up the empties. For the cover artwork, they made up a bunch of metal signs with the title stamped on them, took them into the woods outside Berlin and blasted them full of holes. A direct hit.
MOJO, Max Décharné (4 stars)