This Is Lorelei - The Singer In My Band: Muscle Vinyl LP + Bonus 7in DINKED INTERNATIONAL EDITION EXCLUSIVE 003 *Pre-Order

Release Date Friday 11th September 2026
All pre-orders will be dispatched/made ready for collection on that day.

DINKED INTERNATIONAL EDITION 003

This Is Lorelei
The Singer In My Band
Matador Records

DINKED INTERNATIONAL EDITION 003 £30.99

• Orange/white/red ‘Muscle’ vinyl *

• Bonus 7” with two non-album tracks

• Numbered edition *

• Limited pressing of 1000 * (600 UK)

*EXCLUSIVE to Dinked Edition

Side A

I Will Eat My Heart in the Morning Light
On No How My
Billy Came Back
Watching Heaven Fall
Sailing (Your Baby’s Down)

Side B

The Singer In My Band
Nitro
Hey Sarah Is It Going To Rain Forever
The Kid With the Crown
And I Haven’t Seen My Love in Quite a While
Don’t You Cry in Lonesomeness

Bonus 7” Side A

Chestnut

Bonus 7” Side B

Dust in the Wine

The last few years have been transformative for Nate Amos. Between delivering breakout records both as a solo artist — under his This Is Lorelei moniker — and with his band Water From Your Eyes, sold out shows across multiple continents, to seeing some of today’s most influential artists cover his songs, the ascending songwriter has found his stride. As the first This Is Lorelei album for Matador Records, The Singer in My Band takes the building blocks of the Great American Songbook and twists those elemental pieces into new shapes, at once both strangely familiar and endearingly offbeat in Amos’ signature style.

Written while touring the globe in support of releases from both his bands, The Singer in My Band arrives as the first true “road record” in Amos’ discography. “The ideas incubated while daydreaming in the car without access to any instruments,” he recalls, “so instead of being home and writing on the guitar or a computer, they developed slowly and subconsciously, existing as a sort of intangible thing while looking out the van window.”

2024’s Box for Buddy, Box for Star was Amos’ first attempt at an intentionally written full-length solo album, tackling newfound sobriety through a roving tongue-in-cheek take on musical personas, all strained through Amos’ genre-agnostic lens. It was a critical and word-of-mouth success, spawning a deluxe version with covers and collaborations including MJ Lenderman, Hayley Williams, Jeff Tweedy, Cameron Winter and many more.

The Singer in My Band came together in the same apartment Amos has produced much of his music, with final touches made at his parents’ house in St. Johnsbury, Vermont. Amos engineered, produced, and performed everything on Singer, save for a blistering banjo lead on the title track courtesy of his father, bluegrass musician Bob Amos, and the occasional vocals from his sister Sarah Amos and partner Al Nardo. “They’re three people who had a fundamental impact on what this album was to begin with, and the ways they could contribute were things that I had in mind as I was writing the songs,” he explains.

There’s an economy of style to Singer that’s distinct in the Lorelei catalog, harkening back to Amos’ earliest experiences with songwriting and a lifelong reverence for bluegrass music. “It’s the most fundamental form of music to me,” he says, but is quick to note any influence is more as a set of principles than a sound. “There’s a simplicity to bluegrass, where there are very particular rules and a very particular box - songs have to stand up by themselves in terms of melody, lyrics and chord progression.”

Inspired by the textured and organic production of Gordon Lightfoot, songs like “Billy Came Back” and “The Kid With the Crown” feature richly layered choruses made all the more effective by their spartan verses. The glitchy vocal harmonies on “Oh No Now My” feel beamed in from some distant future, fleetingly captured on decaying equipment for the album’s most anthemic song, second only to the widescreen climax of “Hey Sarah Is It Gonna Rain Forever.” 

There’s Joey, Billy, Genevieve, Sarah, and the ever present Buddy, an Altman-esque ensemble cast who populate the album’s stories, scattered through distinctly American scenes and landmarks. As narrators go, they aren’t terribly reliable. They traffic in wild stories and chaotic experiences that are at once weirdly specific and just a bit blurry, mirroring Amos’ experience of these last several years. “It’s funny, I sent my dad the album after I finished it, and he said it was kind of an “on the road beatnik” album and that kind of reframed it for me,” says Amos. “It really is like a collection of chaotic experiences that you have while travelling. They’re also very much little works of fiction with elements of truth to them.”

For many years, Amos’ This Is Lorelei project was known only to a close knit group of creatives in Chicago, where he relocated in his early 20s and produced hundreds of albums and EP’s, tracing the outlines for both of his prolific projects before relocating to New York. In the time since, he’s flourished as a wildly creative polymath who is equally adept at slinging heartworn hooks and eyeball-exploding art-pop. These are songs about songwriting as a way of life – messy, debilitating, transcendent – from one of the most gifted contemporary interpreters of the form.

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