Despite the underlying wildness of her songwriting, Marika Hackman appreciates and makes use of the power of restraint. Previous songs such as Bath Is Black and Itchy Teeth have revealed a compelling songwriter with a cool fascination for messy play, for psychological dirt and guilt and the wracked physicality of the uneasy soul. That she doesn’t scream these things out adds to her power. Her cool, polished folk tones deliver her surreal, slithering insights and her deft, subtle analyses with the same thoughtful poise, whether she’s chiding or sharing, empathizing or emphasizing.
Underneath the spooky Latinesque folktronica groove of ‘Animal Fear’ (full of Shankar-ish string wails and spaghetti western gunshots) a menstrual werewolf subtext is swirling. Part ‘Ginger Snaps’ and part ‘Being Human’, it embraces blood and feminity, bandages, and the helpless stink of male terror. “I’ve been weeping silent like a wound. / Would you stitch me up or let the blood soak through, / watching my world turn from white to blue?” She sings as if she might be dying; she sings as if to a lover or a brother; but she’s never really pleading, never wholly dependent. She sits inside her transforming body and watches the changes come; watches the fumblings of her companion with the same half-resigned curiosity. “Look into my eyes and convince us both that I’ll last through the night; / I could land on my feet if I tried. / I’ve never jumped a chasm so wide / and made it to the opposite side. / Even now as we’re standing here, / I can see the doubt in your eyes, / I can smell the animal fear.”
The song is a tender, chiding mixture of vulnerability and disappointment, but its observations are shot through with self-awareness. “I was not a heavenly child,” admits Marika, “savage, with a temperament wild.” As the song travels through the changes, it blends into acceptance, a new understanding bleeding through in flashes (“oh, my body trembling… / and teeth… / I won’t bite.. / Sweet too soon, treacherous night.”) We don’t get to find out how this ends, but even as Marika (now more initiate than invalid) murmurs “she calls my name” you’re left with her finely-honed sense of self. Under the fur and nipples, under the wracking pain, an image emerges of a woman who may wander but will never be truly lost.
* * * *
Tanya Tagaq – a Canadian Inuit throat singer – also seems to have some empathy with this kind of lycanthropic humanity. She’s recently delivered a forthright cover of Pixies’ ‘Caribou’ like a tundra bolero with violins and horns, picking up on its occult hints and dreams of a changed, more animal life outside the city and slinging it back with an Inuit twist and the bloody-minded wit of a hard-bitten outdoorswoman. Tanya first came to broader attention a decade ago (thanks to her four-song turn on Björk’s ‘Medúlla’), and has continued to work her way into Western musical awareness via work with the Kronos Quartet and Mike Patton. This kind of collaborator choice suggests a determination to broaden and involve her music rather than dilute it. With last year’s award-winning Canadian success for her ‘Animism’ album, she’s pitched to continue making breakthroughs on her own terms.
‘Uja’ confirms this. A trailer single for a broader overseas release of ‘Animism’, it has something in common with previous deeply-involved folktronic endeavours such as or Foxout! and Mouth Music. It might mate and merge with electronic beats in longstanding worldbeat fashion, but rather than pandering to easy tastes it’s a stirring textural affair, deliberately pitched between ritual and pounding. It feels like an Arctic club night with all of the technology freezing round the edges and only kept functional by fierce body-warmth.
Log-clock ticks, harsh electronic reverb, and a ragged fabric of synth-noise and incisive drumming make up a base and a blanket. Over, under and around this Tanya works in multiple layers of percussive hum-grunts, drawls, gasps, seal barks and harmonic growls. Occasional shamanic interjections in Inuit (sliding in over the top like a wake-up call filtering through sleep) might be terse warnings, defiant fuck-you statements or camouflaged jokes at the expense of Anglo monolinguals. With Tanya being an assertively political artists and performer, they could be any or all. If I’m the butt of the joke, though, I can take it this time. ‘Uja’ made the blood jump in my feet and in my temples.
* * * *
London/Angeleno good-time band Swim Mountain retrofits, but in an easier, breezier way. They cover Beyoncé’s ‘Love On Top’ like someone flirting under a blanket, musical lines and instrumental parts wriggling under the surface like coy, excited limbs. As he showed on the debut Swim Mountain EP last autumn, head Swimmer Tom Skyrme is very good at disguising fairly limitd resources under a swelling, lucid-dream production style. He claims to have put this one together on a whim, belatedly falling in love with the song’s bravura modulations and ‘80s-inspired peppiness.
Personally, the Beyoncé diva-juggernaut leaves me cold. Despite her well-honed skills and precision vocals, much of what I see is branded, sub-Madonna acquisition and media powder-puffing (if she is the twenty-first century Madonna, we’ve all gone beige) so it’s interesting to hear the song outside her wind-tunnel of glamour. Tom’s lightly buttered, lysergic popcorn-soul take makes no attempt to match the ceiling-bumping, helium balloon assertiveness of the original. The pace is agreeable ‘70s midtempo; the wah-guitar plays peekaboo; the boinking bass comes sheathed in a tight reverb. The phaser button adds a gentle, sexy yawn; Tom’s warm nasal drawl (just on the likeable side of bland) dawdles amiably on the swooping paths Beyoncé cut, making no attempt to match her commanding calisthenics. A cloudy puff of keyboards fills the gaps, like a lazy pink smoke-bomb.
Previous Swim Mountain stylings have mostly recalled the stoned, sleeting Byrds guitar of ‘Five Miles High’: this one sounds like what Arnold Layne might have become if Syd Barrett had drunk deep on Memphis soul before he rolled another one, or like a more nappy-headed tie-dyed version of the Clarke/Duke Project. It’s all a little throwaway (despite the unexpected ending, which scrambles down an unexpected dip and clunks like a plastic lyre) but it’s lovingly crafted throwaway; a sugar basket which takes less time to eat than it does to admire. Plus I do like the way that Tom’s mix rolls out individual delicate moments for our attention, as if his faders were the sliding drawers in a jeweller’s desk.
Marika Hackman: ‘Animal Fear’
Dirty Hit Records (no barcode or catalogue number)
Download-only single (released 9th January 2015)
Tanya Tagaq: ‘Uja’
Six Shooter Records (no barcode or catalogue number
Stream-only single (released 6th January 2015)
Swim Mountain: ‘Love On Top’
Swim Mountain (no barcode or catalogue number)
Stream-only single (released 7th January 2015)
Get them from:
Marika Hackman: ‘Animal Fear’ – Soundcloud stream or iTunes (as part of ‘We Slept At Last’ album)
Tanya Tagaq: ‘Uja’ – Youtube stream; or Six Shooter Records store or iTunes (as part of ‘Animism’ album)
Swim Mountain: ‘Love On Top’ – stream-only at Soundcloud.
Marika Hackman online:
Tanya Tagaq online:
Swim Mountain online:
Misfit City 
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