Transforming loss back into a form of love is no small task, yet it is an endeavor that Green Gardens have relentlessly pursued in the studio. Their second album, ‘Thistlesifting,’ released last month through Tiny Library Records, sees the band blending tributes to familiar white staircases with expansive works of instrumental intensity in a three-disc collection that unfolds in real-time. They let the harshness of grief permeate soft melodies and intertwining vocals, using careful layering and depictions of natural scenery to confront grief in every line and strum.
However, at its core, ‘Thistlesifting’ is about love, which is also central to Green Gardens. The band's rapport extends beyond the stage, reflected in their gentle harmonies and impeccable instrumental arrangements, even during live performances. Their commitment to their craft is evident, as they strive to improve as songwriters and composers while retaining an affinity for the music they create, despite its heavy origins. There’s an inherent need to produce it.
The outcome is a record that exudes warmth and comfort, infused with hope and humanity, even while tackling feelings of loneliness and loss that seem overwhelming. In rich sonic landscapes, Green Gardens channel beauty from anger, wielding guitars as their primary tools. ‘Thistlesifting’ embodies collective catharsis, representing a band that deepens its connection to one another and its artistry with each passing day, journeying through a harsh world while tightly holding the hands of those they truly love.
Shortly after the release of their second album and a launch gathering at the Brudenell, Clash spoke with lead songwriters Jacob Cracknell and Chris Aitchison in the smoking area of Hyde Park Book Club. With cups of tea and pints of beer in hand, we discussed their newfound straightforwardness in songwriting, the weighty nature of grief as inspiration, and the shared experience of performing ‘Thistlesifting’ for an audience.
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This is your second full-length release. Having two years passed since your debut album, has your perception of the first record shifted? How do you view it now?
Jacob: Both albums certainly address grief. It’s challenging for us to move away from that theme. Sometimes I ponder how one can avoid writing about grief; it feels so significant that focusing on anything else might seem weak to me. It's undoubtedly larger than anything else to compare it with. The first record dealt more with the fear of grief, serving as a sort of prelude. It was essentially processing. Grief doesn't only revolve around someone's presence or absence. Chris had been grappling with grief long before John, his father, passed away—gradually, piece by piece. It wasn’t as if everything was fine and then everything fell apart. The second album is a representation of the reality of grief, I believe.
Chris: Perhaps the first album leans more toward loss while the second is more about grief. The first one reflects on things fading away slowly, anticipating how it would feel. The second album conveys experiences after the fact and engages in raw, honest emotional processing in real-time.
Jacob: That holds true for Chris, but for me, it was almost the opposite. In terms of our songwriting, that’s certainly accurate. I had half a song completed after I lost my dad. Aside from five minutes at the end of ‘Death Thought,’ I didn’t write any heavy, overtly grief-laden songs for this album.
Chris: I think that turned out well because many of my contributions were quite weighty, to the point that I hesitated to share them. There’s a sense of, “There’s enough heaviness in the world.” I want to express it, yet it was beneficial to contrast it with some of your more hopeful songs. There’s a spectrum of light and dark in our writing. Interestingly, this might shift for the next album since a lot of the material Jacob is introducing is more grief-centered relating to his dad and other losses he’s experienced, while mine is a bit further removed. It’s obviously very early in the process.
Jacob: We’re working on synchronizing our grieving cycles.
Have you always written separately and then brought songs to the band?
Jacob: We have always composed independently before arranging together. For the first album, we did the arranging in studio as a band, which is evident in its sound—roomy, guitar-driven, and very band-oriented. For this album, most of the arrangement took place in the studio with Joel, who generously gave us his time, allowing us to make both good and bad choices. It was enjoyable but also quite draining at times, akin to banging your head against a wall.
Chris: The intensity of the subject matter made it particularly demanding. In my experience, I was finishing some emotionally charged songs in the room with everyone, songs I hadn’t revisited in a couple of years due to their heaviness, while trying to integrate various influences and sounds into a cohesive album. Jacob’s demos were
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Audi is preparing to make another play for the tier-one luxury market with the introduction of a new Q9 SUV under the Horch brand. This will be the first SUV to feature the Horch emblem. Just as Maybach is a nod to Mercedes, Horch represents Audi's historical roots. Horch—or Horchwerke—was one of the four manufacturers (alongside DKW, Audi, and Wanderer) that merged in the early 1930s to form Auto Union, which later evolved into the Audi we recognize today.
Although Horch does not carry the same prestige in America as brands like Rolls-Royce, Bentley, or Maybach, its heritage is significant. The name was associated with luxury sedans and roadsters prior to the Auto Union merger, and Audi is expected to equip this model with lavish features (and set a correspondingly steep price).
While the prototype is still largely concealed, one feature that stands out is the grille. The prominent vertical slats are reminiscent of the Horch design, similar to a circa ~1940 Horch sedan that our own Joel Feder photographed at the Goodwood Revival earlier this year.
Our insiders anticipate additional features, such as two-tone paint and captain’s chairs in the second and third rows, along with a wide range of customization options from the “Audi Exclusive” catalog. In essence, the only limitation on personalizing this vehicle will probably be your financial resources.
The Q9 Horch is predicted to be equipped with a gas engine—likely a mild-hybrid—featuring a standard twin-turbo V8, with a turbocharged V6 as a potential option. We may also see a plug-in hybrid version, particularly for the European market, though an all-electric variant is not anticipated.
According to our sources, the Audi Q9 Horch is expected to make its debut in Europe no earlier than 2027, with a U.S. launch likely occurring a year later (if it is introduced at all). Stay updated.
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Transforming loss into a form of love is a challenging task, yet Green Gardens have diligently committed themselves to this pursuit in the studio. Their second