The Obsession With Her Voice
Montréal-based Swedish singer and composer Erika Angell's solo debut is an operatic quiver of delicate electronics, cinematic orchestral swoops and post-rock pressure, tipped for fans of Carla Bozulich or Esmerine.
Best known for her tenure in Thus Owls, The Moth and Josef & Erika, Angell goes it alone on this 'un, twisting her voice around a backdrop of terse, moody electronics and fractured, freeform jazz. Her vision is made clear on the stark 'German Singer', when she booms over a solemn kick drum. As the track develops, her voice begins to shift, granulated into whirrs and flutters that push it towards the surreal before fictile horns careen into electro-plated synth noise. It's assured, bold material that rests on the power of Angell's versatile voice: on 'Never Tried to Run', she lightens the mood significantly, singing Kate Bush-like over dainty drums and folky violins, while on 'One' she bellows through a hot mic over furious punk rhythms.
But those gloomy, pensive tracks are where she really flourishes. 'Let Your Hair Down' is buoyed by simmering rage as Angell cries with operatic precision over tempestuous drums and distorted strings, and on 'Good and Bad', she distorts her voice into a ferric moan, whispering and scatting and singing over blown-out electronic percussion.
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Montréal-based Swedish singer and composer Erika Angell's solo debut is an operatic quiver of delicate electronics, cinematic orchestral swoops and post-rock pressure, tipped for fans of Carla Bozulich or Esmerine.
Best known for her tenure in Thus Owls, The Moth and Josef & Erika, Angell goes it alone on this 'un, twisting her voice around a backdrop of terse, moody electronics and fractured, freeform jazz. Her vision is made clear on the stark 'German Singer', when she booms over a solemn kick drum. As the track develops, her voice begins to shift, granulated into whirrs and flutters that push it towards the surreal before fictile horns careen into electro-plated synth noise. It's assured, bold material that rests on the power of Angell's versatile voice: on 'Never Tried to Run', she lightens the mood significantly, singing Kate Bush-like over dainty drums and folky violins, while on 'One' she bellows through a hot mic over furious punk rhythms.
But those gloomy, pensive tracks are where she really flourishes. 'Let Your Hair Down' is buoyed by simmering rage as Angell cries with operatic precision over tempestuous drums and distorted strings, and on 'Good and Bad', she distorts her voice into a ferric moan, whispering and scatting and singing over blown-out electronic percussion.
Montréal-based Swedish singer and composer Erika Angell's solo debut is an operatic quiver of delicate electronics, cinematic orchestral swoops and post-rock pressure, tipped for fans of Carla Bozulich or Esmerine.
Best known for her tenure in Thus Owls, The Moth and Josef & Erika, Angell goes it alone on this 'un, twisting her voice around a backdrop of terse, moody electronics and fractured, freeform jazz. Her vision is made clear on the stark 'German Singer', when she booms over a solemn kick drum. As the track develops, her voice begins to shift, granulated into whirrs and flutters that push it towards the surreal before fictile horns careen into electro-plated synth noise. It's assured, bold material that rests on the power of Angell's versatile voice: on 'Never Tried to Run', she lightens the mood significantly, singing Kate Bush-like over dainty drums and folky violins, while on 'One' she bellows through a hot mic over furious punk rhythms.
But those gloomy, pensive tracks are where she really flourishes. 'Let Your Hair Down' is buoyed by simmering rage as Angell cries with operatic precision over tempestuous drums and distorted strings, and on 'Good and Bad', she distorts her voice into a ferric moan, whispering and scatting and singing over blown-out electronic percussion.
Montréal-based Swedish singer and composer Erika Angell's solo debut is an operatic quiver of delicate electronics, cinematic orchestral swoops and post-rock pressure, tipped for fans of Carla Bozulich or Esmerine.
Best known for her tenure in Thus Owls, The Moth and Josef & Erika, Angell goes it alone on this 'un, twisting her voice around a backdrop of terse, moody electronics and fractured, freeform jazz. Her vision is made clear on the stark 'German Singer', when she booms over a solemn kick drum. As the track develops, her voice begins to shift, granulated into whirrs and flutters that push it towards the surreal before fictile horns careen into electro-plated synth noise. It's assured, bold material that rests on the power of Angell's versatile voice: on 'Never Tried to Run', she lightens the mood significantly, singing Kate Bush-like over dainty drums and folky violins, while on 'One' she bellows through a hot mic over furious punk rhythms.
But those gloomy, pensive tracks are where she really flourishes. 'Let Your Hair Down' is buoyed by simmering rage as Angell cries with operatic precision over tempestuous drums and distorted strings, and on 'Good and Bad', she distorts her voice into a ferric moan, whispering and scatting and singing over blown-out electronic percussion.
180g black vinyl.
Available To Order (Estimated Shipping between 7-14 Working Days)
This item is to the best of our knowledge available to us from the supplier and should ship to you within the time-frame indicated. If there are any unforeseen issues with availability we will notify you immediately
Montréal-based Swedish singer and composer Erika Angell's solo debut is an operatic quiver of delicate electronics, cinematic orchestral swoops and post-rock pressure, tipped for fans of Carla Bozulich or Esmerine.
Best known for her tenure in Thus Owls, The Moth and Josef & Erika, Angell goes it alone on this 'un, twisting her voice around a backdrop of terse, moody electronics and fractured, freeform jazz. Her vision is made clear on the stark 'German Singer', when she booms over a solemn kick drum. As the track develops, her voice begins to shift, granulated into whirrs and flutters that push it towards the surreal before fictile horns careen into electro-plated synth noise. It's assured, bold material that rests on the power of Angell's versatile voice: on 'Never Tried to Run', she lightens the mood significantly, singing Kate Bush-like over dainty drums and folky violins, while on 'One' she bellows through a hot mic over furious punk rhythms.
But those gloomy, pensive tracks are where she really flourishes. 'Let Your Hair Down' is buoyed by simmering rage as Angell cries with operatic precision over tempestuous drums and distorted strings, and on 'Good and Bad', she distorts her voice into a ferric moan, whispering and scatting and singing over blown-out electronic percussion.
Available To Order (Estimated Shipping between 7-14 Working Days)
This item is to the best of our knowledge available to us from the supplier and should ship to you within the time-frame indicated. If there are any unforeseen issues with availability we will notify you immediately
Montréal-based Swedish singer and composer Erika Angell's solo debut is an operatic quiver of delicate electronics, cinematic orchestral swoops and post-rock pressure, tipped for fans of Carla Bozulich or Esmerine.
Best known for her tenure in Thus Owls, The Moth and Josef & Erika, Angell goes it alone on this 'un, twisting her voice around a backdrop of terse, moody electronics and fractured, freeform jazz. Her vision is made clear on the stark 'German Singer', when she booms over a solemn kick drum. As the track develops, her voice begins to shift, granulated into whirrs and flutters that push it towards the surreal before fictile horns careen into electro-plated synth noise. It's assured, bold material that rests on the power of Angell's versatile voice: on 'Never Tried to Run', she lightens the mood significantly, singing Kate Bush-like over dainty drums and folky violins, while on 'One' she bellows through a hot mic over furious punk rhythms.
But those gloomy, pensive tracks are where she really flourishes. 'Let Your Hair Down' is buoyed by simmering rage as Angell cries with operatic precision over tempestuous drums and distorted strings, and on 'Good and Bad', she distorts her voice into a ferric moan, whispering and scatting and singing over blown-out electronic percussion.