Bridget Hayden and the apparitions - cold blows the rain
he reinterpreted traditional folk songs that make up 'cold blows the rain' are shaped by the land and the weather. the experimental musician, who invites the ghosts in for the classic folk songs that make up her stunning new album, knows only too well about such weather, how rare and treasured the breaks from it are. her favourite thing to do in the valley, she says, is “to make the most of every tiny minute of sunshine.” there’s a good chance, however, that it had to be this way. the songs that make up cold blows the rain are not made for the sunlight. they come, instead, wrapped in mist and coated with drizzle, those elements shaping the album as much as the voice and the instruments held within, as real but ambiguous as the ghosts that linger in the shadows. the sound of the dark valley floor.underpinned by waves of analogue reverb, and led by bridget’s stirring and weather-beaten voice, the songs on cold blows the rain drift and crawl like low heavy clouds on flat-top hills, shaped by the land. the backdrop is equally as arresting, all subtle gloom cast in shadow, a gentle but pronounced swirling of textures, crafted from harmonium and violin courtesy of the apparitions (sam mcloughlin and dan bridgewood-hill).
he reinterpreted traditional folk songs that make up 'cold blows the rain' are shaped by the land and the weather. the experimental musician, who invites the ghosts in for the classic folk songs that make up her stunning new album, knows only too well about such weather, how rare and treasured the breaks from it are. her favourite thing to do in the valley, she says, is “to make the most of every tiny minute of sunshine.” there’s a good chance, however, that it had to be this way. the songs that make up cold blows the rain are not made for the sunlight. they come, instead, wrapped in mist and coated with drizzle, those elements shaping the album as much as the voice and the instruments held within, as real but ambiguous as the ghosts that linger in the shadows. the sound of the dark valley floor.underpinned by waves of analogue reverb, and led by bridget’s stirring and weather-beaten voice, the songs on cold blows the rain drift and crawl like low heavy clouds on flat-top hills, shaped by the land. the backdrop is equally as arresting, all subtle gloom cast in shadow, a gentle but pronounced swirling of textures, crafted from harmonium and violin courtesy of the apparitions (sam mcloughlin and dan bridgewood-hill).
he reinterpreted traditional folk songs that make up 'cold blows the rain' are shaped by the land and the weather. the experimental musician, who invites the ghosts in for the classic folk songs that make up her stunning new album, knows only too well about such weather, how rare and treasured the breaks from it are. her favourite thing to do in the valley, she says, is “to make the most of every tiny minute of sunshine.” there’s a good chance, however, that it had to be this way. the songs that make up cold blows the rain are not made for the sunlight. they come, instead, wrapped in mist and coated with drizzle, those elements shaping the album as much as the voice and the instruments held within, as real but ambiguous as the ghosts that linger in the shadows. the sound of the dark valley floor.underpinned by waves of analogue reverb, and led by bridget’s stirring and weather-beaten voice, the songs on cold blows the rain drift and crawl like low heavy clouds on flat-top hills, shaped by the land. the backdrop is equally as arresting, all subtle gloom cast in shadow, a gentle but pronounced swirling of textures, crafted from harmonium and violin courtesy of the apparitions (sam mcloughlin and dan bridgewood-hill).