Release date: 30-06-2006

2007 UK limited edition vinyl LP pressed on 180gram Heavyweight Vinyl. "On Songs From The Labyrinth, Sting Discovers The Music Of Elizabethan Songwriter John Dowland: "Beautiful Melodies, Fantastic Lyrics, Great Accompaniments." In Close Collaboration With Lutenist Edin Karamazov, He Interweaves Songs With Instrumental Solos And Evocative Readings From A Dowland Letter. Together They Create What Sting Calls "A Musical Soundtrack" To The Composer's Life." -sealed In Deluxe Gatefold.

Tracks:
01. Walsingham
02. Can She Excuse My Wrongs
03. "Ryght Honorable..."
04. Flow My Tears (Lachrimae)
05. Have You Seen the Bright Lily Grow
06. "...Then in Time Passing on..."
07. The Galliard
08. The Lowest Trees Have Tops
09. "...and Accordinge as I Desired Ther Cam a Letter..."
10. Fine Knacks for Ladies
11. Fantasy
12. Come, Heavy Sleep
13. Forlorn Hope Fancy
14. Come Again
15. Wilt Thou Unkind Thus Reave Me
16. Weep You No More, Sad Fountains
17. My Lord Willoughby's Welcome Home
18. Clear or Cloudy
19. "...Men Say That the Kinge of Spain..."
20. In Darkness Let Me Dwell

In choosing to cover the music of John Dowland (1563-1626), who is known as the "melancholy madrigalist" for his output of cheerful ditties like "Flow My Tears," Police bandleader Sting has entered into a whole new realm of austere eeriness. Originally inspired by the gift of a lute, the rock superstar and activist sings the songs - deliciously sweet and tender or spirited by turn - accompanying himself with Edin Karamazov on lute and archlute. For listeners accustomed to hearing material of this period interpreted by rigorously trained early music stylists, especially countertenors and the like, Sting's sometimes tight-jawed, chest-heavy vocals may seem amateurish. It's undeniable that in four-part harmonies, the singer, tightly overdubbed, comes across like a combination of the Swingle Singers and Queen (as in Freddie Mercury's crew, NOT Elizabeth Windsor). But it's important to remember that music of this period was routinely heard as a casual diversion in private homes, even more often than at Court. It was considered a crucial social skill to be able to join in with an adequate degree of skill, but not everyone was able to negotiate the perilous melodic twists and turns typical of the era's music. With this in mind, the overall effect is of a candle-lit, postprandial entertainment in the home of an English gentleman. Muttered readings from Dowland's letters and brief snippets of sampled birdsong aside, this is a courageous effort, displaying heartfelt admiration for the composer and a considerable degree of earnest charm. --Christina Roden