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Excellent collaboration here between Claire Potter, an intense writer and spoken word artist from Merseyside, and Bridget Hayden, one of the unsung heroes of Vibracathedral Orchestra and producer of fantastic torrents of sharp guitar. Mother To No Swimming Laughing Child brings them together on Fort Evil Fruit, in a cassette edition of just 100.

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  • FEF36
  • FEF36 / Limited tape on Fort Evil Fruit. Edition of 100 copies
  • Includes download code

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Mother To No Swimming Laughing Child by Claire Potter & Bridget Hayden 1 review. Add your own review. 7/10
4 people love this record. Be the 5th!

7/10 Staff review, 23 June 2015

One of four Fort Evil Fruit tapes this week comes from Claire Potter and Bridget Hayden (of Vibracathedral Orchestra crew), two artists offering a supplementary slice of discomfort for each other’s particular artforms; Potter, a spoken word artist, offers tremors of transgression and suffering through her words to Hayden, while Hayden’s grainy tape noise acts as pathetic fallacy to Potter’s prose poems. ‘Mother To No Swimming Laughing Child’ is not always supposed to elucidate either’s art, both choosing to disguise and compartmentalise their art in raw, inscrutable ways.

While “Ste’s Face Is Full” brings in Potter and Hayden loudly in their respective roles, they quickly begin to subvert and shock with tracks like “Still Woman Cold”, where Potter whispers indecipherably into a mic so that one’s ears have to squint to hear her. The room creaking around the recording, it’s hard not to feel perturbed merely by the assertion of Potter’s words -- it feels like they could at any point split into screeching noise or divert into a completely different type of utterance. Eventually the track merely ends, leading to “Brendan Brady”, a sort of organic power electronics piece about rape survivors over a torrential but strangely subtle blast of noise.

The intensity of Fort Evil Fruit is easy to ambiguate, and Potter’s words are not straightforward in terms of meaning or motivation, but this is not a work of art that’s merely meant to cause discomfort in the nihilistic patterns of a Whitehouse record. This music’s intensity is pointed; it harrows with nuance, and not for shock factor. An interesting release that begets tension even when it’s not performing it.


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