A.A. Williams covers Deftones
Having last week announced her debut album Forever Blue, released 3rd July via Bella Union, and shared a video for the track ‘All I Asked For (Was To End It All)’, today A.A. Williams shares a stunning cover version of the Deftones track “Be Quiet And Drive” as part of her ‘Songs From Isolation’ video project; solo renditions of songs suggested by her fans recorded from her home. Of the Deftones recording Williams says: “Right from the start there have been many requests to cover a Deftones song so I chose Be Quiet And Drive, a favourite track of mine from Around The Fur, one of the albums that first opened the door to heavier music for me as a teen.”
Making her stage debut in April 2019 and selling out her first headline show at London’s prestigious Southbank Centre less than a year later, A.A. Williams has hit the ground running. Similarly, the acclaim for her performances and her music has been unanimous from the start. After one self-titled EP and the 10” vinyl collaboration Exit in Darkness with Japanese post-rockers MONO, the London-based singer-songwriter has signed to Bella Union and made a stunning debut album, Forever Blue.
A rapturous blend of post-rock and post-classical, Forever Blue smoulders with uncoiling melodies and haunted atmospheres, shifting from serenity to explosive drama, often within the same song. Williams is a fantastic musician as well as songwriter, playing the guitar, cello and piano, and her voice has the controlled delivery of a seasoned chanteuse whilst still channelling the rawest of emotions.
Forever Blue is named after a song that didn’t make the album’s final cut, “but it still encapsulated these songs,” Williams explains. “It sounded timeless and in the right place.” The album’s threads encapsulate the anxieties and addiction of love and loss with haunting detail, though Williams admits the theme was shaped more by her subconscious than any grand plan.
“The lyrics come at the end, they fall into place, rhythmically, and link together,” she explains. “And then it’s my job to decipher what I’ve written! I want the words to get my point across but still let the listener map on their own experiences. I find it really therapeutic.”
Therapy is intrinsic to Williams’ approach: to not just express and unpick her feelings of longing and loss but to work through them. “Verbalising something, you feel a weight has been lifted,” she says. The transition can be mirrored in the dynamic shift from ‘quiet’ to ‘loud’, as on ‘Glimmer’ and arguably at its most euphoric on ‘Melt’. “There’s something very satisfying and elating about songs that have that drop in them, to stomp on the guitar pedal on and let it all out.”