Tiny Ruins Ceremony

Tiny Ruins Ceremony

"Once you get inside Fullbrook's songs, they are little private worlds of their own." 

★★★★ The Guardian


Tiny Ruins have reached peak empathy with both each other and their audience

★★★★ MOJO


Since 2009, New Zealand band Tiny Ruins have been steadily making good, blissful indie rock… 'Dorothy Bay' is a great reintroduction to a beloved, steadfast indie band 



The Crab / Waterbaby' [is] achingly pretty 



Lyrically, few do it better – sharply poetic, each revelation from Tiny Ruins takes your breath away 8/10 

Clash Music


Fullbrook synthesises these earthen poles of heaven and manmade hell over Nick Drake-like instrumentals 

FLOOD Magazine

Tiny Ruins, the project of New Zealand based musician Hollie Fullbrook, today release their new album Ceremony, available now across all platforms via Milk! Records. Reviewed in today's The Guardian, Andrew Stafford calls the record "[Fullbrook's] fullest and most colourful release to date".



The follow-up to 2019's celebrated Olympic Girls, Ceremony goes deep into all the old and murky mysteries of what it means to be human – and sometimes it nearly goes under. Yet these songs also show how you can find the strength to swim from the shipwreck, push through the silt, and surface into another new morning. Another new chance.


Ceremony washes in and takes you out like a strong tide, its songs "chapters" of a saga set on the shores of Tāmaki Makaurau's (aka Auckland's) Manukau Harbour. Known to locals as "Old Murky," its western fringe of the Waitākere Ranges are home to Fullbrook. And while the harbour itself is a treacherous and oft-polluted body of water, move to one of its many peaceful inlets and it's all tidal flats, shellfish and birdlife. "It's beautiful but also muddy, dirty and neglected. It's a real meeting of nature and humanity," says Fullbrook. Although the things Fullbrook was struck by are annotated across Ceremony as luminously as a naturalist's scrapbook, Ceremony is not a watercolour ramble through the natural world. 


These songs are not afraid of getting earth under the nails, of digging deep into some of the hardest matters of human existence. How do you move from loss and grief to acceptance and some kind of peace? How do you live knowing that you are surrounded by forces far beyond your control?


Ceremony's productions are maximal, deep, complex. No moment is squandered without a clever polyrhythm, a curious harmonic tension introduced, an unexpected timbre. The intuitive weave of instrumentation - from Freer's deft and inventive drumming and Basil's conversational bass lines to Healy's lightening-strikes of electric guitar - land Fullbrook's hard songs in an blissfully warm bedrock of sound - steadied in a kind of musical trust fall.


Photo by Frances Carter


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