Glider by Heather Woods Broderick

‘Glider’ is the latest LP release from melancholic, multi-instrumentalist and vocalist, Heather Woods Broderick. The album is comprised of richly textured, atmospheric dreamscapes crafted from Broderick’s, uniquely ethereal, wall of sound vocals, carried by untreated, exposed piano and layers of hypnotic guitar sounds.

Vinyl LP £15.99 WEST135LP

LP on Western Vinyl.

This item needs to be ordered in from a supplier. Currently ships in 5-7 days but delays are possible.

CD £9.99 WEST135CD

CD on Western Vinyl.

This item needs to be ordered in from a supplier. Currently ships in 5-7 days but delays are possible.

REVIEWS

Glider by Heather Woods Broderick
1 review. Write a review for us »
7/10 Robin 06 July 2015

Heather Woods Broderick’s winning new record is full of cliches that haven’t become cliches yet. It’s ethereal, as we like to say, but it doesn’t wallow in the ethereal; it’s climactic, but not melodramatic, instead letting its emotions pour out through subtly added layers of synth or well placed piano. On the spectrum of Sigur Ros beauty, we’re talking ‘Valtari’ over ‘( )’; no particular intensity, just music that sounds like it’s been predicated on its feelings and doesn’t need to delve further.

‘Glider’ is Broderick’s richest work yet, and what’s most impressive is how she calibrates the layers: her voice can be clean one moment and reverberate the next, with no contradictions in terms of the song’s framing. Joined with harmonies, she sounds as singular as ever, which may be thanks to the backdrop she’s provided: tremors of synth and bare percussion abide by the textbook of anonymity -- bold music a la London Grammar, Broderick’s songs are soundtracks to lonely characters lost in huge landscapes.

Broderick is proving herself to be an intriguing artist of secret genre multitudes; on the wonderful “A Call For Distance”, she talks herself out of ambience and into a number that has the jazzy resilience of Talk Talk. The way she integrates this soundscape into her brooding pop music is testament to her dissatisfaction with songwriting tropes: there’s got to be more to making Big Music than just feeling big.




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