Scott Walker, or long-running British TV soap and drama actress, Keeley Forsyth? It’s the latter, but you’d be forgiven for mistaking her rich baritone and baroque backdrops on 3rd album ‘The Hollow’, which really dials up the resounding darkness after acclaimed LPs for Leaf.
‘The Hollow’ is Forsyth’s first with Fat Cat’s classical label 130701, and follows her ever diversifying bonds, as on her duo with Louis Carnell (Visionist), with a masterful album sweeping from sepulchral settings to grandly bleak, northern english panoramas, across a dozen finely wrought stagings of her striking vocals. While the latter-day Scott Walker comparisons are inescapable, Forsyth dominates the stage of ‘Hollow’ with an incandescent spirit of her own that, like Walker or ANOHNI, taps into a vein of timeless songcraft indebted to the tragedy and trauma of existentialism.
The dozen songs collapse a lifetime of channelling others’ words and feelings into her carousel of characters on screen and stage, and likewise she acts as a vessel for the characters of her own mind here, regaling “stories of freedom and entrapment, hard-won triumphs and the darker corners of domestic life” enriched by the stark but stately string and horn arrangements, ranging from the dense swells of Kali Malone esque organ on ‘Answer’ to the rapturous string majesty and sounds of protest marches in ‘Eve’, to whirligig folk-dance modes in ‘Turning’, and haunted electronica shivering with traces of Ayya-esque bittersweet dissonance in ‘Do I Breathe’, with a devastating closer of faltering, torchlit piano.
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Scott Walker, or long-running British TV soap and drama actress, Keeley Forsyth? It’s the latter, but you’d be forgiven for mistaking her rich baritone and baroque backdrops on 3rd album ‘The Hollow’, which really dials up the resounding darkness after acclaimed LPs for Leaf.
‘The Hollow’ is Forsyth’s first with Fat Cat’s classical label 130701, and follows her ever diversifying bonds, as on her duo with Louis Carnell (Visionist), with a masterful album sweeping from sepulchral settings to grandly bleak, northern english panoramas, across a dozen finely wrought stagings of her striking vocals. While the latter-day Scott Walker comparisons are inescapable, Forsyth dominates the stage of ‘Hollow’ with an incandescent spirit of her own that, like Walker or ANOHNI, taps into a vein of timeless songcraft indebted to the tragedy and trauma of existentialism.
The dozen songs collapse a lifetime of channelling others’ words and feelings into her carousel of characters on screen and stage, and likewise she acts as a vessel for the characters of her own mind here, regaling “stories of freedom and entrapment, hard-won triumphs and the darker corners of domestic life” enriched by the stark but stately string and horn arrangements, ranging from the dense swells of Kali Malone esque organ on ‘Answer’ to the rapturous string majesty and sounds of protest marches in ‘Eve’, to whirligig folk-dance modes in ‘Turning’, and haunted electronica shivering with traces of Ayya-esque bittersweet dissonance in ‘Do I Breathe’, with a devastating closer of faltering, torchlit piano.
Scott Walker, or long-running British TV soap and drama actress, Keeley Forsyth? It’s the latter, but you’d be forgiven for mistaking her rich baritone and baroque backdrops on 3rd album ‘The Hollow’, which really dials up the resounding darkness after acclaimed LPs for Leaf.
‘The Hollow’ is Forsyth’s first with Fat Cat’s classical label 130701, and follows her ever diversifying bonds, as on her duo with Louis Carnell (Visionist), with a masterful album sweeping from sepulchral settings to grandly bleak, northern english panoramas, across a dozen finely wrought stagings of her striking vocals. While the latter-day Scott Walker comparisons are inescapable, Forsyth dominates the stage of ‘Hollow’ with an incandescent spirit of her own that, like Walker or ANOHNI, taps into a vein of timeless songcraft indebted to the tragedy and trauma of existentialism.
The dozen songs collapse a lifetime of channelling others’ words and feelings into her carousel of characters on screen and stage, and likewise she acts as a vessel for the characters of her own mind here, regaling “stories of freedom and entrapment, hard-won triumphs and the darker corners of domestic life” enriched by the stark but stately string and horn arrangements, ranging from the dense swells of Kali Malone esque organ on ‘Answer’ to the rapturous string majesty and sounds of protest marches in ‘Eve’, to whirligig folk-dance modes in ‘Turning’, and haunted electronica shivering with traces of Ayya-esque bittersweet dissonance in ‘Do I Breathe’, with a devastating closer of faltering, torchlit piano.
Scott Walker, or long-running British TV soap and drama actress, Keeley Forsyth? It’s the latter, but you’d be forgiven for mistaking her rich baritone and baroque backdrops on 3rd album ‘The Hollow’, which really dials up the resounding darkness after acclaimed LPs for Leaf.
‘The Hollow’ is Forsyth’s first with Fat Cat’s classical label 130701, and follows her ever diversifying bonds, as on her duo with Louis Carnell (Visionist), with a masterful album sweeping from sepulchral settings to grandly bleak, northern english panoramas, across a dozen finely wrought stagings of her striking vocals. While the latter-day Scott Walker comparisons are inescapable, Forsyth dominates the stage of ‘Hollow’ with an incandescent spirit of her own that, like Walker or ANOHNI, taps into a vein of timeless songcraft indebted to the tragedy and trauma of existentialism.
The dozen songs collapse a lifetime of channelling others’ words and feelings into her carousel of characters on screen and stage, and likewise she acts as a vessel for the characters of her own mind here, regaling “stories of freedom and entrapment, hard-won triumphs and the darker corners of domestic life” enriched by the stark but stately string and horn arrangements, ranging from the dense swells of Kali Malone esque organ on ‘Answer’ to the rapturous string majesty and sounds of protest marches in ‘Eve’, to whirligig folk-dance modes in ‘Turning’, and haunted electronica shivering with traces of Ayya-esque bittersweet dissonance in ‘Do I Breathe’, with a devastating closer of faltering, torchlit piano.
Out of Stock
Scott Walker, or long-running British TV soap and drama actress, Keeley Forsyth? It’s the latter, but you’d be forgiven for mistaking her rich baritone and baroque backdrops on 3rd album ‘The Hollow’, which really dials up the resounding darkness after acclaimed LPs for Leaf.
‘The Hollow’ is Forsyth’s first with Fat Cat’s classical label 130701, and follows her ever diversifying bonds, as on her duo with Louis Carnell (Visionist), with a masterful album sweeping from sepulchral settings to grandly bleak, northern english panoramas, across a dozen finely wrought stagings of her striking vocals. While the latter-day Scott Walker comparisons are inescapable, Forsyth dominates the stage of ‘Hollow’ with an incandescent spirit of her own that, like Walker or ANOHNI, taps into a vein of timeless songcraft indebted to the tragedy and trauma of existentialism.
The dozen songs collapse a lifetime of channelling others’ words and feelings into her carousel of characters on screen and stage, and likewise she acts as a vessel for the characters of her own mind here, regaling “stories of freedom and entrapment, hard-won triumphs and the darker corners of domestic life” enriched by the stark but stately string and horn arrangements, ranging from the dense swells of Kali Malone esque organ on ‘Answer’ to the rapturous string majesty and sounds of protest marches in ‘Eve’, to whirligig folk-dance modes in ‘Turning’, and haunted electronica shivering with traces of Ayya-esque bittersweet dissonance in ‘Do I Breathe’, with a devastating closer of faltering, torchlit piano.
Out of Stock
Scott Walker, or long-running British TV soap and drama actress, Keeley Forsyth? It’s the latter, but you’d be forgiven for mistaking her rich baritone and baroque backdrops on 3rd album ‘The Hollow’, which really dials up the resounding darkness after acclaimed LPs for Leaf.
‘The Hollow’ is Forsyth’s first with Fat Cat’s classical label 130701, and follows her ever diversifying bonds, as on her duo with Louis Carnell (Visionist), with a masterful album sweeping from sepulchral settings to grandly bleak, northern english panoramas, across a dozen finely wrought stagings of her striking vocals. While the latter-day Scott Walker comparisons are inescapable, Forsyth dominates the stage of ‘Hollow’ with an incandescent spirit of her own that, like Walker or ANOHNI, taps into a vein of timeless songcraft indebted to the tragedy and trauma of existentialism.
The dozen songs collapse a lifetime of channelling others’ words and feelings into her carousel of characters on screen and stage, and likewise she acts as a vessel for the characters of her own mind here, regaling “stories of freedom and entrapment, hard-won triumphs and the darker corners of domestic life” enriched by the stark but stately string and horn arrangements, ranging from the dense swells of Kali Malone esque organ on ‘Answer’ to the rapturous string majesty and sounds of protest marches in ‘Eve’, to whirligig folk-dance modes in ‘Turning’, and haunted electronica shivering with traces of Ayya-esque bittersweet dissonance in ‘Do I Breathe’, with a devastating closer of faltering, torchlit piano.