Boomkat Product Review:
Following the remarkable gothic pop excavations of her recent ‘Birthmarks’ album, Hilary Woods provides the 7th instalment in our Documenting Sound series, recorded in County Galway earlier this year and conjuring a claustrophobic and fractious fever-dream somewhere between suffocating Lynchian interior and Deathprod’s astral/metaphysical gateway.
Woods’ backstory is by now well known, she was the bassist for JJ72 while still a teenager, left the band in 2003 to study film and literature and eventually returned to music solo, culminating in that incredible ‘Birthmarks’ album earlier this year, co-produced with Lasse Marhaug and for our money one of the most brutally beautiful albums we’ve heard in a long time.
The three pieces on this tape were made in the weeks just after that album was released - right at the cusp of lockdown - and reveal an artist coming to grips with the minutiae of everyday existence. Quiet field recordings are drowned out by anxious drones; immense, shuddering bass rumbles approach on the horizon, a vision of bowed strings circles above like a swarm of insects you can’t see - intensifying and curdling until there’s a complete loss of vision, all that’s left is quiet dread.
On the closing piece, the gaze turn inwards. The incessant mechanism of a polaroid camera provides spatial fuckery. Hilary’s voice is there for the first time as well, but it's only right at the end - in the closing moments - that she lets you hear what she has to say.