The Gaslight Troubadours & The Mirorim - Children Of The Sun (2025)

After a three year absence The Gaslight Troubadours return with a full album of collaborations with singer and lyricist Elijah aka The Mirorim (from The Gravity Drive). How well do the beats’n’trip-hop mastermind and Britpop classicist songwriter and psych-crooner gel? Asks Ged Babey.

Perfectly. A match made in heaven. This should be all over commercial radio instead of the conveyor-belt of safe, predictable, popular hits from across the decades. This is modern pop which draws on the past but sounds fresh and easy on the ear…. and has hidden depths.

The Gaslight Troubadours are proud to announce the release of their new album ‘Children Of The Sun’ with singer/lyricist The Mirorim. It’s the band’s first album in over three years, and was recorded over the second half of 2024 after Phil (aka Professor Purblind), the producer of the Gaslights, and Elijah of The Mirorim, bonded over their shared love of The Beatles, The Doors, Hendrix, Cream, and other late 60s psychedelic bands.

There were elements of psych in the last album ‘Curse Of The Gaslights’ and Phil felt that it would be nice to explore it further with just one singer and lyric writer, instead of having numerous guest singers as he’d done previously.

Elijah, being ten years younger, was also heavily influenced by The Verve, Thom Yorke, the Gallagher brothers, and the dance sounds of The Chemical Brothers, UNKLE, and other acts of that ilk. Phil has often cited the likes of DJ Shadow, Mo Wax and Bristol trip hop, as production influences, so it didn’t take long to formulate a really interesting musical blueprint.

Lyrically Elijah was keen on exploring the concept of cult leaders, politicians, and celebrity guru types that have become de rigueur of late, and the devious ways that they manipulate and coerce people into following them unreservedly. In that sense, this album is one that is very much of its time in terms of what is going on in world right now. Indeed, it’s very hard to ignore, but this isn’t an album that’s trying to address these issues head on. Instead it informs the lyrical content in places without it being overt and obvious.