A Decade of Muruch!

This month marks a decade of Muruch! Well, I created the original site in 1999, but didn’t post music on it until July, 2000. If you’re interested in the site’s convoluted history, you can read the saga on the About page. To celebrate Muruch‘s 10th anniversary, I asked my very favorite artists if I could share some of their mp3s with you (see below). And I also have a favor to ask you readers at the end of this post…

Anyone who’s read Muruch over the years knows that I like and write about music in just about every genre imaginable. The five artists that this site has helped promote more than any other (because they are my favorites) are: Allison Crowe, Gaba Kulka, Hannah Fury, Xavier Rudd, and The Dresden Dolls (part of Muruch’s “demented circus genre“). If you click on their names, you can read most of my reviews (sadly, the early archives were lost during a domain shuffle).

Unfortunately, The Dresden Dolls and Xavier Rudd albums were released on labels that aren’t mp3-friendly, so I couldn’t obtain permission to share their music. But my favorite independent gals Allison Crowe, Gaba Kulka, and Hannah Fury were all very enthusiastic and generous in granting me permission to include their mp3s in this celebratory post. I’ve chosen to share two songs from their early recordings with a more recent track to show the progression of each artist over the years…

Hannah Fury – The Necklace of Marie Antoinette (mp3)*
Hannah Fury – It Was Her House That Killed Nessarose (mp3)*
Hannah Fury – Beware The Touch (mp3)*

Does anyone remember the music site Epitonic.com? That’s where I first heard Hannah Fury’s music 10 years ago. Hannah is the prime example of how a random mp3 on a music site can create a devoted fan (that would be me) and she is one of the more unique artists I’ve written about over the years. The eerie “The Necklace of Marie Antoinette” first reeled me in and her Wicked-inspired songs (like “It Was Her House That Killed Nessarose”) on The Thing That Feels sealed the deal. “Beware The Touch” is from Hannah’s haunting last album Through The Gash.

Buy Hannah’s Music @ Amazon
Hannah Fury Official Site
Hannah Fury Reviews

Gaba Kulka – Detuned Radio (mp3)*
Gaba Kulka – Coup d’etat (mp3)*
Gaba Kulka – Hat Meet Rabbit (mp3)*

I can’t remember if it was 2000 or 2001, but sometime around then a mutual friend introduced me to Gabriela Kulka (now known as Gaba Kulka) on an old journaling site we used to frequent. Back then I thought of Gabriela much more as an online friend than as an artist, though she did share her pretty cover of Sting’s “Russians” with me. In the years that followed, I had the privilege of learning through her of the joys and difficulties that go into the writing and recording process of an album. I saw how Gabriela struggled to balance her then “real job” with her artistic pursuits, and I’ve been so happy to see that music has since become her very successful “real job.” In the decade I’ve known her, Gaba has gone from releasing her own CDs through DIY sites like mp3.com to performing with Amanda Palmer and becoming quite the rising star in Poland. And her impressive catalogue of music over the past decade has been prolific and genre-defying. “Detuned Radio” is one of the first songs of hers that I heard, from her now out of print Mp3.com demo King of Rats. “Coup d’etat” is from her second album Miss Scylla and a Hard Place. The last song is the frenetic title track from Gaba’s latest release Hat, Rabbit (one of my Best of the Decade) and better represents the music she makes now. I’m happy to say you can now purchase her last two albums (which are also her best) on Amazon.

Buy Gaba’s Music @ Amazon
Gaba Kulka Official Site
Gaba Kulka Reviews

Allison Crowe – By Your Side (mp3)*
Allison Crowe – Independence Day (mp3)*
Allison Crowe – I Don’t Know (mp3)*

As I’ve said before, I consider Allison Crowe to be Muruch‘s true musical mascot. A friend sent me Allison’s cover of a Tori Amos song about five or six years ago and it was love at first listen. Back then, no one seemed to be writing about this Canadian wonder and over the years I’ve seen other bloggers credit this site as where they first heard her music. Allison has also consistently been supportive of mp3 blogs and file sharing in general, recognizing the value of this new form of “word of mouth” as the best way to spread music that doesn’t get played on mainstream radio. She is still relatively unknown in the U.S., but her astounding cover of Leonard Cohen’s “Hallelujah” has brought her international attention in recent years. Her extraordinarily emotive way of singing and the subtle beauty of her songs stand out from just about any other artist ever. I think Allison has inspired more writing on this site than anyone else, though she may be tied with Gaba Kulka on that. “By Your Side” and “Independence Day” are from her spectacular Live at Wood Hall album (another of my Best of the Decade), and “I Don’t Know” is from her most recent release Spiral.

Buy Allison’s Music @ Amazon
Allison Crowe Official Site
Allison Crowe Reviews

I want to thank Hannah Fury, Gaba Kulka, and Allison Crowe (also Allison’s manager Adrian) for being so generous with their music. And a huge thanks to my host Song, By Toad, without whom this site would no longer exist. Also, thanks to all of the artists, labels, agents, PR companies, and everyone else who has supported this site over the years – especially all of you readers. Oh, and a special thanks to my oldest friend “Grasshopper” since most of the time I think she’s the only one who actually reads my reviews.

Now, since I’ve spent the past 10 years rambling to you about music and sharing mp3s, I would love if everyone reading this would comment! Share how long you’ve been reading Muruch, how you first found it, any music you’ve liked, loved, and/or bought because of this site, and any other memories you have about it. But even if you just say hi, please comment just this once. And link to this post anywhere and everywhere. I’d like a big crowd to help me celebrate the decade I’ve devoted to this site and to the music I love.

*all mp3s hosted for 2 weeks w/ permission of each artist

Contrast Podcast: Poetry

This week’s episode of Contrast Podcast features poetic introductions. I read “The Erl King” by Johann Wolfgang von Goethe (text below), which I paired with Hannah Fury‘s “Beware the Touch” (from her Through The Gash album).

Contrast Podcast – Poetry (mp3)

Hannah Fury – Beware The Touch (mp3)

Or if that link doesn’t work, you can grab the song on this page.

“The Erl King” by Johann Wolfgang von Goethe

Who rides there so late through the night dark and drear?
The father it is, with his infant so dear;
He holdeth the boy tightly clasp’d in his arm,
He holdeth him safely, he keepeth him warm.

“My son, wherefore seek’st thou thy face thus to hide?”
“Look, father, the Erl-King is close by our side!
Dost see not the Erl-King, with crown and with train?”
“My son, ’tis the mist rising over the plain.”

“Oh, come, thou dear infant! oh come thou with me!
Full many a game I will play there with thee;
On my strand, lovely flowers their blossoms unfold,
My mother shall grace thee with garments of gold.”

“My father, my father, and dost thou not hear
The words that the Erl-King now breathes in mine ear?”
“Be calm, dearest child, ’tis thy fancy deceives;
‘Tis the sad wind that sighs through the withering leaves.”

“Wilt go, then, dear infant, wilt go with me there?
My daughters shall tend thee with sisterly care
My daughters by night their glad festival keep,
They’ll dance thee, and rock thee, and sing thee to sleep.”

“My father, my father, and dost thou not see,
How the Erl-King his daughters has brought here for me?”
“My darling, my darling, I see it aright,
‘Tis the aged grey willows deceiving thy sight.”

“I love thee, I’m charm’d by thy beauty, dear boy!
And if thou’rt unwilling, then force I’ll employ.”
“My father, my father, he seizes me fast,
Full sorely the Erl-King has hurt me at last.”

The father now gallops, with terror half wild,
He grasps in his arms the poor shuddering child;
He reaches his courtyard with toil and with dread,–
The child in his arms finds he motionless, dead.

Interview: Hannah Fury

Hannah Fury was kind enough to thoroughly answer my rather long email interview regarding her life, career, interests, and and her latest release Through The Gash. You can read my review of the CD here and the email interview with Hannah is below.

Tell us about your new album, “Through The Gash”. What was the songwriting and recording process like for you, and what hopes do you have for the album once it is released?

Hannah: Well, I was rearranging my philosophies about everything at the time. I was incredibly sad about a lot of things. But, as a whole, the album is just about my obsessive nature, and the fact that I’ve finally come to terms with it being a necessity rather than a negative trait, which is how I always viewed it before. So a lot of the songs deal with that, and with things and situations resulting from that basic personality flaw, or whatever it is. Also, after my friend died, I was writing a lot and I found that the songs were very helpful to me. It felt like they were messages. Messages telling me that he was okay, in some way that I don’t really understand. And so I also became very fascinated by the idea of not needing any guarantees in life. But still, I found myself compelled to do some pretty in-depth research into things like time and space, near-death experiences, and quantum physics and things like that. I read things in books, online, saw films, and talked to my friends, and I kind of cobbled together a philosophy or theory that made sense to me but that isn’t based on belief so much as on intuition and hope. I really don’t have any use for knowing anything definitively. It’s the mystery that interests me, and when I look back at my life I realize that that’s actually how it’s always been. It just came very clearly into focus on this album. So I guess my hopes are that some of those things will come across. As far as writing and recording, the creative process is always manic and largely subconscious for me. No thinking allowed.

After so many years of being an independent artist, would you consider signing with a label now if you were offered a recording contract?

Hannah: Sure. But it would have to be something that makes sense for everyone involved.

Has your approach or attitude toward songwriting and music changed since you composed “The Vampire’s Waltz” as a teenager?

Hannah: Not really. I’ve always just done what I feel and the songs have always been — and still are — just the result of me being overcome by something emotionally. The way the songs come about nowadays is exactly the way they did back then.

You taught yourself to play piano. Do you think this gives you a disadvantage toward composing songs on the piano, or do you feel this allows you more creative freedom than classically trained pianists?

Hannah: I kind of think it makes it possible for me to write at all. I would never have cared to learn an instrument if I didn’t have songs to write. Learning piano was a direct result of having one song rattling around in my mind and suspecting that I had other songs to write if I could only get at them.

Your sound seems to have evolved over the years, with the focus shifting from delicate and ghostly piano melodies to a more sensual electronic beat. Was this change intentional or just the natural progression of your songwriting? And what other styles or genres would you like to explore with your music in the future?

Hannah: I knew I wanted to make an album that was confrontational because a lot of the songs were very confrontational. And so I really wanted to have a lot of drums on this album. I also knew that I wanted the music to sound like it was coming through wires from outer space. Because so much of the subject matter has to do with loss and death and trying to retain some connection despite those things, I wanted some of the music to sound like it was coming from very far away. So I used things like walkie-talkies for some of the vocals and I used a lot of effects. I also knew that I wanted it to have some circus, carnival and music-box sounds, but nothing that would suggest music that already exists in a certain place or time. I wanted those elements to be more organic and detached from chronology than they usually are when people use them in music. Other than those things, I didn’t have any preconceived ideas about how this album should be. In the future I would love to be able to do lots of string arrangements and things like that.

What do you think of the comparisons to Tori Amos and Kate Bush that you often receive? Did either artist influence your music? What other artists have influenced your style of music?

Hannah: I haven’t listened much to either of them in years, but I really love a lot of what they’ve done and I always will. I think they’re two of the most important artists in music, ever. In the past, I’ve definitely been inspired by both of them.

In terms of the comparisons, I guess it depends. On the positive side, I think that people might be responding to the music in a similarly strong way, and that may be part of why those comparisons come up. I do think that there are some similar elements to the music. And I think there is an intense quality that some people can hear in my music, and in theirs as well. But I think anyone that says it actually sounds the same isn’t really listening. Some people mistake some similarities in sensibility for actual sameness, and that’s the negative side. Those people don’t know what they’re talking about.

As for influence, and other artists, I’m very inspired by things that other people do, but only in a general way. I love music, and if I love a song I will listen to it over and over again. But when I’m writing, everything else just goes away. So I don’t run around feeling like I have to wear a HAZMAT suit to protect myself from influence. I have never, ever decided to write a song. It doesn’t happen that way. My songs never come from “ideas.” They only come from emotion and inspiration. And I don’t record unless I’m inspired by the song to record. And when you’re in that state, there’s no way that any falseness is going to get through. It just isn’t possible. And even if it was possible, it wouldn’t feel good. I think most of what people call influence is actually blood memory, anyway.

But having said that, there are so many amazing people that I’ve listened to in my life, and think: I want my music to be as much mine as theirs is theirs, you know? That’s the goal of anyone doing anything creative, I think. So in that sense, I’ve been influenced by tons of people. In the past, Daniel Johnston, Lisa Germano, Stevie Nicks, Siouxsie and the Banshees, the Damned, the Cure, Pixies, Crowded House, Nirvana, Hole, Jeff Buckley, early Peter Gabriel, early Elton John, Cat Stevens, Leonard Cohen, David Bowie, Blondie, Olivia Newton-John, Throwing Muses, Cocteau Twins, Dolly Parton, Radiohead, Katell Keineg, the Beatles, ABBA and on and on…

And for the past several years or so I’ve been really into rap music, and that’s about all I’ve listened to during that time. Not all rap music, just certain artists. Most of the artists I listen to can’t actually be summed up by the rap “genre.” Like OutKast, Wu-Tang Clan, Everlast, Public Enemy, NWA, Fili Stylez, Eminem, and Snook. And then I’ve listened to a few other things like Bright Eyes and Aimee Mann and Minnie Riperton. Sometimes it’s an artist in general and sometimes it’s just one album or even just one song or one performance that makes an impact of some kind.

What are your favourite artists, albums, and songs of all time? What modern artists, albums, and songs do you like?

Hannah: It is so hard for me to list artists and albums because I really feel like I need to be complete, and that’s impossible. But some stuff I’ve been listening to in the past year are Heathen by David Bowie, which I never had before now, and it is a great album. I’m also listening a lot to a Jerry Rafferty compilation CD. And I’m With Stupid by Aimee Mann. Other than that, rap music. Snook in particular right now.

But a few (and just a few) of my all-time favorite songs are:

(in no particular order)

“If You Could Read My Mind” Gordon Lightfoot
“Baker Street” Jerry Rafferty
“Never My Love” The Association
“Steppin’ Out” Joe Jackson
“Year of the Cat” Al Stewart
“Golden Brown” The Stranglers
“Landslide” Stevie Nicks
“Honey I Sure Miss You” Daniel Johnston
“Wasteland” The Jam
“September” Earth, Wind & Fire
“Les Fleurs” Minnie Riperton
“Found Out About You” Gin Blossoms
“Save Me” Aimee Mann
“If You Have Ghosts” Roky Erickson
“Walk on the Ocean” Toad the Wet Sprocket
“In the Meantime” Spacehog
“She Divines Water” Camper van Beethoven
“Dream On” Aerosmith
“Heart-Shaped Box” Nirvana
“Doll Parts” Hole
“God Only Knows” Beach Boys
“Dirty Work” Steely Dan
“Africa” Toto
“Jolene” Dolly P

What is your favourite song that you have written, and what song do you wish that you had written?

Hannah: Right now I like “No Man Alive” and “The Apple.”

Wish I’d written: “Landslide,” “Doll Parts” or “If You Have Ghosts”

What is your favourite book, piece of art, film, and tv show?

Hannah: A few favorite books:
One Hundred Years of Solitude
House of the Spirits
Wicked: The Life and Times of the Wicked Witch of the West
the Harry Potter series

A few favorite films:
Amelie
Moulin Rouge
City of Lost Children
Wings of Desire
Frankenstein
Freaks
Rize
The Devil and Daniel Johnston
Heavenly Creatures
The Elephant Man
Metropolis
Blade Runner
Brazil

A few favorite pieces of art:
“The Angel of Meat” by Mark Ryden — I love all his paintings
Ray Caesar’s stuff (hard to pick a favorite)
Kendra Binney — all of it, but I have a little print of “They’re Saying Mean Things About You” that I love so much.

TV:
Lost
Aqua Teen Hunger Force
Carnivale
Six Feet Under
The Office (both versions)
Strangers With Candy
Battlestar Galactica (new one)
Levi’s commercial “French Dictionary”

Are there any other connotations of the title “Through The Gash” besides as a reference to lyrics in “Defenstration” and “Beware The Touch”?

Hannah: It just kept coming up in the lyrics of the songs, and it connected with the album cover and the dream that inspired it. I just wanted to evoke any kind of transformation, any kind of passageway. It could be getting through something negative or positive.

Were the lyrics of “Don’t Be Scared” directed toward yourself or someone else?

Hannah: Mostly toward someone else.

Is there a Part I to “Carnival Justice” and if so, will we ever hear it?

Hannah: There is no part I.

The lyrics of “The Apple” seem to refer to the Biblical Garden of Eden. Is Eve the narrator of the song, or is she an archetypal Eve representing independent females in general?

Hannah: It’s more the idea of the poisonous thing. The delicious thing that can cause trouble. In terms of atmosphere, it’s more like Snow White’s apple than the apple in the Garden of Eden. In the song, it’s not meant to actually be Snow White’s apple, but something similar to it. Something inherent to one person and passed to another in an unintentionally harmful way. So that’s how Snow White’s apple doesn’t really fit, because that was intentional. But the dark sparkliness of Snow White’s apple was sort of the feeling I wanted to get across. Brightly colored apples and people being wrong for each other but not caring. Beautiful things that make you forget that they could be bad for you. But I guess the original dangerous apple was in the story of Eve… that’s really an interesting aspect that you bring up, but one that didn’t occur to me as I was writing it. It could be that, though, definitely.

The lyrics of “Where The Wounds Are” obviously played a part in the striking cover art for the album – were there any other inspirations for the picture?

Hannah: The stitched-up back is entirely from a dream I had years and years ago. Actually, the whole album can be traced back to that dream in some ways.

Gregory Maguire contacted you regarding your songs that were inspired by his novel. Have you read the sequel, “Son of a Witch” and if so, what are your thoughts on the book? Do you foresee writing more literary-based music in the future, or were the “Wicked” songs a solitary event in your career?

Hannah: I haven’t read it, but that’s only because I’ve been reading mysteries for the past few years. I will definitely read it eventually. I don’t ever foresee writing anything specific. The Wicked songs were totally unplanned. They just came about because I was so attached to Elphaba and so sad about the end of her story. I felt real loss when that book ended, and that’s what inspired all those songs. I can never predict what or who will cause the next obsession.

I didn’t realize when I reviewed your first album that Jeff Buckley was the inspiration for “Away”? What was your experience with his music and death?

Hannah: Well, I just love him. I saw him live a bunch of times in small clubs in Austin. He was amazing. And I was working at this clothing store at the time, and my friend who worked there was also a huge fan of his. So she came in one night and said “Jeff Buckley is missing, he went swimming in the Mississippi river and they can’t find him.” And we were just really freaked out, but we thought for sure that he would be okay. So she kept calling people to find out the latest news all during our work shift. And then I got home and I said to my boyfriend, “But they’ll find him. He’ll be all right, right?” And he was kind of noncommital and that was the first thing that clued me in to the fact that maybe Jeff wouldn’t be all right. So then my boyfriend went to the store, and when he got back I’d written the song. I don’t remember anything about writing it except that I was so sad. But looking back at it, I think I knew that he wouldn’t be found alive.

Many if not all of the lyrics on this album seem so full of raw emotion. Does such personal content make performing the new material easier or more difficult than older songs?

Hannah: Thank you so much for saying that! I am so glad you feel that way. It has been a frustration to me over time, that some people seem to think the music is theatrical. It’s not, and never was. All of my songs have resulted from something personal, but of course they’re dealt with in sort of fantastical or metaphorical ways. But I think the personal sources are more obvious on these songs.

Is it true that you’ve never performed live infront of an audience before? Do you think that you will in the future, or do you consider yourself more of a recording artist?

Hannah: It is true. I think I’m getting over my stage fright a little. I never enjoyed getting up in front of groups of people. Even in school it was really hard for me to go up and read stuff in front of the class and stuff like that. But I do want to do some live performances eventually, even if I feel terrified. I am looking for some cool musicians to be in my band. And I would love to open for someone on a tour of some kind. I definitely feel like recording is the most important thing to me, though.

Is music your profession or do you have another “day job”?

Hannah: I have always had day jobs. Different things at different times.

Besides music and making jewelry, do you have any other hobbies or talents you’d like to share? You seem to be an art lover, do you paint or draw?

Hannah: I used to draw. Growing up, I drew constantly. All the time. After I started writing songs, I never really drew again, because I found that music was a much better medium for me. I was using the same energy, I just transferred it to music instead of pictures. But drawing is actually something I wouldn’t mind getting into again at some point.

You dedicate the album to Alan. Was he the high school sweetheart referred to in your Penny Dreadful newsletter, and if so would you like to share his story?

Hannah: Yeah, we were together when we were in high school and for some years after. Actually, we were only in high school together for half a year because he was a bit older than me. I was 14 and he was 17 when we met. He was the reason I ever started writing. He was the inspiration behind my very first song, and thinking about that song now, knowing what I know now, I realize that that song was a premonition. I never really understood the ending of it until he died, and then it all became clear. The ending of that song was actually written several years after the rest of it, when we were no longer in touch with each other. But anyway, he was just one of those people that impacted my life in every possible way. We lost touch for many years, then he got back in touch, but not long after that he died. I was sadder than I’d ever been in my life, and a lot of songs came out of that. I think everyone has people that they’re supposed to know, and he was one of the people that I was supposed to know. I’ve been lucky enough to meet a few of those people. I think they are very rare. But just for the record, he was not the catalyst for all of the songs on the album.

What are your plans for the future, other than releasing “Through The Gash”?

Hannah: To buy a run-down building in Philly and trick it out somethin’ fierce! It’s more of a dream than a plan, though.

Hannah Fury – Beware the Touch (mp3)
Hannah Fury – Carnival Justice (The Gloves Are Off) Part II (mp3)
Hannah Fury – Girls That Glitter Love The Dark (mp3)

Hannah Fury’s Official Site
Buy the CD

Hannah Fury: Through The Gash

Hannah Fury’s Through The Gash will be released on August 7th. The mood of this new album is often quite different than that of her eerie 2000 release The Thing That Feels. There are plenty of moments on the new disc that do recapture that delicately uncanny sound, but many of the tracks alternate between the dark electro-pop beats of Hannah’s Subterfuge EP/DVD set and a lighter tone that touches on the higher, more ethereal extremity of Hannah’s layered vocals. Comparisons to Kate Bush are probably inevitable, but I find Hannah’s unusual lilt and romantically morbid style much more interesting.

The defiantly sensual opening track “Defenstration” allows Hannah to explore both ends of her vocal range as she effortlessly floats from a deeper throaty tone up into to that unmistakably haunting whisper. The prominent beat hints at the synth-pop drum sound of “Carnival Justice (The Gloves Are Off) Part II” and the vengeful “Status”. “Carnival Justice” and the gorgeous “Girls That Glitter Love The Dark” were originally featured on the Subterfuge set.

“Don’t Be Scared” reminds me a little of the Wicked inspired songs of The Thing That Feels or even of the music of Antony & The Johnsons in that it is so softly subtle and lovely that it’s utterly captivating. The song is the most quiet moment on Through The Gash, and yet it casts an inescapable spell. Like many people, I often listen to music as I read or write or do a number of other things. But each time I play “Don’t Be Scared”, I find myself involuntarily pausing to give my full attention to the song.

“You Don’t Leave A Trace”, “You Had Me”, and “Never Look Back” are also noteworthy for their hushed sincerity, clever verse, and breathtakingly pretty vocals. And I was bound to love the menacingly mesmerizing “No Man Alive” as well as the album’s hidden track – both of which include samples of the traditional carousel song “Skater’s Waltz” – due to my obsessive affection for circus and carnival music.

As I listened to Through The Gash and thought about Hannah Fury’s other recordings, I recalled how I used to feel as a teenager when I listened to Tori Amos. While I’m not exactly a fan of Tori’s music anymore, the haunting music and strangely poetic lyrics of her first few albums spoke to me in a way that no other artist had at the time. That is how Hannah Fury’s music affects me now as an adult. It speaks to me. It evokes emotion from me. It simultaneously comforts, excites, and unsettles me. What more could you want from music?

Hannah Fury – Beware the Touch (mp3)
Hannah Fury – Carnival Justice (The Gloves Are Off) Part II (mp3)
Hannah Fury – Girls That Glitter Love The Dark (mp3)

Hannah Fury’s Official Site
Buy the CD

Hannah Fury: Subterfuge

Hannah Fury’s Subterfuge is surprisingly short for a two disc set. The first disc is a music DVD for “Carnival Justice (The Gloves Are Off) Part II”, which shows Hannah singing and running from menacing puppets in a circus tent. You know I loved that! I only wish it had been a full length movie instead of merely lasting the length of one song. The second disc is a CD of six songs, each of which bear Hannah’s eerie and beautifully distinctive mark.

The cover of The Turtles’ “You Showed Me” mixes Hannah’s signature whispery vocals and haunting piano with a more prominent drum beat. “Je T’aime” has a feeling of distance with slightly muffled, echoing vocals and piano.

“Carnival Justice (The Gloves Are Off) Part II” is also featured in the DVD and the title of the album is taken from the song’s lyrics. The track calls to mind certain Kate Bush songs, blending Hannah’s soft vocals with a dream pop melody and drum beat.

“My Next Victim” and “Girls That Glitter Love The Dark” are my favourites on the album. Both tracks recall the ghostly layered vocals and darker musical tone of The Thing That Feels.

The album’s finale, “A Latch To Open”, is a softer, melancholy piano melody.

Hannah Fury – Carnival Justice (The Gloves Are Off) Part II (mp3)
Hannah Fury – Girls That Glitter Love The Dark (mp3)

Hannah Fury’s Official Site

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