Promoting and Supporting Women in Music
Tonight Tash, Kate and Mari were reunited in the studio for the Mayor of London’s #SoundsLikeLondon campaign, playing some of their favourite new music from Colour Me Wednesday, M.I, Peluche, Hilary Woods, Bryony Williams and Lump.
They also had duo Naz and Ella in for a bit of a chat and to play some beautiful acoustic tracks.
Listen back to the show here:
“It’s about losing a sense of direction, your fate being driven by something out of your control,” explains Farao about her latest single ‘The Ghost Ship’. With her floaty electronic sounds and magnetic beats, it’s easy to get lost in the multi-instrumentalist’s brand new track.
Originally from Norway but now based in Berlin, Farao has recently signed to Western Vinyl and is currently working on a new album, with more details to be released soon. “‘The Ghost Ship’ is about seeing the end of a relationship as an empty vessel, floating endlessly and eternally into nothingness,” Farao continues. Despite the sad context, the single is a hopeful, upbeat offering.
Listen to the track below and follow Farao on Facebook for more updates.
Photo credit: Kevin Bourland
Kate Crudgington
@KCBobCut
Following the release of their sophisticated debut album oh my, Minneapolis/New York trio NADINE are fast building a reputation for their unique modern pop songs.
Taken from the album is new single ‘Pews’. Flowing with infectious glitchy beats and whirring hooks, it interweaves rich musical layers, creating an immersive, expansive soundscape. Propelled by the soaring, luscious vocals of Nadia Hullet, it’s an ethereal sonic delight, shimmering in its captivating, dreamy haze. Of her songwriting, Hullet expands:
“My body is filled with melodies and sonic textures, incubating & looping… tunes just come back and I’ll cut them up and place them with something new. Extracted from daydreams past, present & future.”
oh my, the debut album from NADINE, is out now via Father/Daughter and Memphis Industries.
Mari Lane
@marimindles
A contemplative, carefully crafted record which schools listeners in how to come undone: Hilary Woods‘ debut album Colt is an exquisitely painful exploration of grief, separation, and abandonment. The Dublin-based artist signed to altruistic label Sacred Bones to release her first full-length record, and the partnership is one we wholly approve of.
Written and recorded at her home in Dublin, Colt was later mixed by and co-produced with James Kelly (WIFE, Altar of Plagues) in Berlin in the winter of 2017. The dynamics of the production and Woods’ layering of multiple elements – including piano, synth, tape machine, field recordings, vocals, and old string instruments – has culminated in a record which comfortably overlaps both the acoustic and electronic genres.
Opening track ‘Inhaler’ is a delicate example of this. It’s a pensive, melancholy song born from Woods’ struggle with homesickness. She explores her grief through tentative electronics and orchestral sounds, with her mysterious vocals floating calmly above. Following track ‘Prodigal Dog’ is a mesmeric examination of emotional claustrophobia: a disarming fusion of strings, understated synths, and hushed vocals.
There is a gentle urgency that permeates each of the eight tracks on Colt, and on ‘Take Him In’ Woods’ reflective lyrics and cautious keys instill this delicate unease further. Poetic track ‘Kith’ bleeds in after, with it’s divine, yet somber themes of “running on empty” in what feels like emotional purgatory. The persistent, steady beats and fluttering keys on the remarkable ‘Jesus Said’ mark a brief change in tempo on the record, as Woods laments a sincere disconnection and a search for absolution for almost six minutes. ‘Sever’ is equally as affecting with its heartbeat-like percussion, and more of Woods’ measured, poignant vocals.
Penultimate track ‘Black Rainbow’ though bleakly named, is an enchanting listen, and closing track ‘Limbs’ is a captivating collection of distant, alluring keys. Under all of the melancholy lurks a quiet power: a power that comes from being open and honest about genuine pain and how to deal with it.
To call Hilary Woods’ work on Colt siren-like is to do her a disservice; her music has a far wider, more disarming reach. Her emotional articulation and manipulation of sounds makes the record a dizzying but rewarding lesson, and we are grateful to have been allowed to endure this aural exploration of grief with her.
Colt is released via Sacred Bones on 8th June. Pre-order your copy here.
Hilary Woods headlines St Pancras Old Church on 11th June. Grab a ticket here.
Photo Credit: Joshua Wright
Kate Crugington
@KCBobCut
