Caroline Trettine, a former singer-songwriter with The Blue Aeroplanes, achieved cult success with her record Be a Devil in the 1990s, on Billy Bragg’s ‘Utility’ label. She has had an eclectic journey through music. Though a mainly acoustic artist, she worked closely with hip hop at this time. In 2001, she released her second album, Ten Light Years. It was produced by Richard Bell (The Blue Aeroplanes). In 2005, Trettine released her third album, Trail In The Sky on Oporto Records run by Spencer Roberts. Caroline was then invited by Spencer to join The Winnebago Orchestra with whom she made two CDs – Fifteen and Born in the sun – on the Tuition imprint of Schott Music, in 2006 and 2008. At the same time, she started up a poetry band Mirabeau with Richard Price (a novelist and poet) and Ian Kearey (The Blue Aeroplanes, Oysterband). They played at the Edinburgh Festival and The Centre for Contemporary Arts, Glasgow, releasing their first album Golden Key in May 2011. In December 2011 came her album – Tears – mixing sonnets, blues and Lorca’s deep song. In 2014, Caroline released Gay demo: field recordings from the audio underground. Always open about her sexuality, she created a work of art that encapsulated her experiences of the lesbian and gay community. The 2nd Mirabeau album Age of Exploration was released in 2015.
Since 2004 Caroline has written a number of solo chamber musicals, two of which – The Silver Machine and Learning to Walk – she performed at the London fringe theatre, The Rosemary Branch, in 2007 and 2009. Caroline has also written modern classical pieces: a string quartet – My Mother’s War – in 2010, a guitar quartet – The Love Bridge in 2011 and Conversations with Ian, a cello-violin concerto, in 2012.
Koral Society is the culmination of her musical journey and she combines talents with the exquisite musicianship of Alison Rayner and Mosi Conde to produce sounds praised as ‘wistfully sweet’, ‘excellent’ and ‘rather good’ by BBC Radio 6’s Gideon Coe and as ‘wonderful and really lovely’ and ‘intriguing and adventurous’ by The Arts Desk’s Peter Culshaw.
‘Like [Sandy] Denny, Trettine hovers over great melancholy with an almost detached air that only cuts closer to the quick’ **** Martin Aston, Q Magazine
‘Caroline has pursued one of the most interesting and engaging of paths in music with a vision that is as eclectic as it is heartfelt, you would do well to follow her’, Doug Darcy