Heather Leigh Profiled

Source: Bandcamp Daily.

“You’re the last romantic in this world, it’s true / Come on dance with me drunkenly, feel my hips sway,” Heather Leigh incants on her new LP Throne’s final song “Days Without You,” nodding to the dissolution of romanticism, while simultaneously invoking its power. One part is a dirge, the other a quickening. Few artists manage to reckon the ecstatic joy of being alive in the world with the pain it doles out, but Leigh’s a seasoned pro; she’s been releasing music since the early 2000s. She’s taken part in noise, vocal acrobatics, slide guitar improvisation (see her duo with free jazz luminary Peter Brötzmann), and—with Throne‘s release—experimental chamber pop. Her previous solo full-length, I Abused Animal, was a stark, tense musing on survival and damage created entirely from her pedal steel guitar and voice. The difference between that record and Throne is massive. Where I Abused Animal in some ways felt like a warning, Throne is sirenic, enthralling—catchy and orchestral.

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