Speaking from her current base in south-east London with bassist Rob Riggs,
singer/guitarist Luciel Brown recounts the record's somewhat chaotic gestation.
"Most of last year was spent touring, so we were squeezing writing and recording
in from the beginning of 2018 until end of August." In-between a headline tour,
support slots with Ought and METZ, and multiple festival appearances - including at Meltdown at the request of The Cure's Robert Smith - Brown, Riggs and
Wakefeld-based drummer Mike Ainsley managed 10 days in the studio in total. It
was the unsettled nature of the period that part-inspired the album's title. "[Useless Coordinates] summarised all of our situations," Brown explains.
The set's sharp angles, stark tones and claustrophobic textures are refected in the
album's artwork. Designed by Brown and Riggs - as per all previous record sleeves
and promotional videos - the minimalist, mixed media creation takes inspiration
from Talking Heads and Gang Of Four album art, the work of American artist Cy
Twombly, and the economical, regimented aesthetic of the Bauhaus movement.
"Drahla came about of the back of needing an outlet for creative expression,"
Brown explains. "So the whole aesthetic is hugely important. As important as the
Whatever the medium, Brown's interests lie in looking beyond the immediate to
the abstract and indefnable. Her lyrics are developed from observations, notes
and poems, and the fragmented imagery is spliced together to disorientating effect. On Gilded Cloud elegant snapshots from the golden age of Hollywood are
juxtaposed with abrasive guitar textures, Pyramid Estate draws parallels between
Ancient Egypt and the present day, and Serenity evokes the violent energy of a
Francis Bacon painting. Beneath the abstraction are a diverse array of themes,
including gender fuidity (Invisible Sex), city living (Primitive Rhythm) and artistic
The result is an uncompromising but deeply rewarding debut where the internal
and external, cerebral and visceral coalesce to quite startling efect