Happy Release Day To Soundwalk Collective with Patti Smith

Today at Bella Union we’re celebrating the Soundwalk Collective & Patti Smith deluxe box set release of The Perfect Vision, the triptych of acclaimed albums that encompasses The Peyote Dance, Mummer Love and Peradam. The box set, which includes a remix album featuring contributions from Brian Eno, Jim Jarmusch, Laraaji and more, is available to buy now and all copies (limited to 500 for the world) come with a signed Patti Smith print. The box set also includes a book which features an interview with Patti Smith and Stephan Crasneanscki of Soundwalk Collective along with photos and drawings.

Between 2019 and 2021, Soundwalk Collective and Patti Smith collaborated on the creation of The Perfect Vision: a triptych of albums which took their inspiration from the writings of three emblematic French poets: Antonin Artaud, Arthur Rimbaud and René Daumal. Central to the work was the poets’ necessity to travel to different lands to acquire a new vision and perspective on themselves and their art. Recorded in the Sierra Tarahumara of Mexico (The Peyote Dance), the Abyssinian valley of Ethiopia (Mummer Love), and the Himalayan Summit of India (Peradam) respectively, each album retraces the poets’ footsteps, channelled through recorded soundscapes, in search of hidden, earthy sounds that hold embedded existence, with Patti Smith revisiting the poets’ words that have been inspired by the landscapes.

Stimulated by these metaphysical journeys, the musical and sound composition of The Perfect Vision is the starting point for a new site-specific and multidisciplinary exhibition – “Evidence” – that Soundwalk Collective and Patti Smith have conceived for the Pompidou Centre. Evidence is a poetic and immersive quest, an ode to a world without borders, a contemporary reflection on the infinite and the universal, a spiritual quest for oneness as a living and life-giving presence. The physical, sound and visual journeys of Soundwalk Collective enter into a conversation with the poetic trajectories of Patti Smith, to create a new vision and language. The exhibition space presents sound, film, abstract imagery, objects and found art collected from their travels, leading the visitor towards a large investigative installation that juxtaposes photography, text and original artwork by Patti Smith, from both her personal collections as well as those of Musée national d’art moderne and MoMA, as an evidence of the existence of these poets and their inspiration, offering a true immersion in their thought and art. The exhibition will run through to January 2022 at the Pompidou Centre. More info HERE.

Happy Release Day Helen Ganya

Today, at Bella Union we are celebrating the release of Helen Ganya’s excellent drama-filled album polish the machine. Formerly known as Dog In The Snow, this will be Ganya’s second album release under the Bella Union label. To celebrate the release, she has shared a self directed video for the albums title track.

Critical acclaim for polish the machine

“Stellar melodies… From ‘Afterparty’ to the title track Ganya ensures that this journey of deep emotional discovery is framed in an uplifting way, through soundscapes of propulsive beats and glistening synths. Mixing art-pop, dreampop, atmospherics and psychedelia, this record thrums with energy, confidence and euphoria, making it a startlingly original statement.” Electronic Sound

“Mesmerising electro-rock… From the opening lines of her third LP, Helen Ganya promises something out of the ordinary… ‘I Will Hold That Hand For You’ coalesces into luscious electronic pop; ‘Young Girls Never Die’ a grinding, quasi-industrial denunciation of patriarchal ideology, Björk crossed with Trent Reznor… Ganya’s elegant arrangements mesmerise, her vocals taut and poised.” Uncut

’I had a fear of the ordinar’  begins Helen Ganya on the impressive polish the machine. Her song-based electronica succeeds in transcending it through sheer force of personality. The grafting of grit onto a glam sonic surface ensures that tracks like the multi-layered ‘Young Girls never Die’ work as both statement and entertainment. This is a poised, powerful voice arriving.” PROG

Polish The Machine’s opening cut ‘I Will Hold That Hand For You’ suggests a rhythmic and atmospheric kinship with Enya’s Orinoco Flow. Elsewhere, there are hints of Hounds Of Love Kate Bush and Cocteau Twins. A grandeur too, with swelling choruses and boom-crash percussion.” MOJO

Approaching a new decade in age can bring with it a sort of existential search for meaning. As we grasp at reflections and try to draw a line into a new phase, expectations can be amplified, leaving us reeling in the wake of some unobtainable self. For Helen Ganya, entering her thirties made her question and pull away from the heteronormative social constructs that surround us. On her new album polish the machine, the Brighton-based songwriter stretches away from the suburban nightmare, seeking a cathartic reprieve that looks beyond the ordinary. “I was looking to the truth of removing any expectations that we’ve acquired along the way,” she says.

Previously performing under the moniker Dog in the Snow, Ganya’s 2017 album Consume Me (Battle Worldwide) introduced a meticulous and elegant voice, while 2019 album Vanishing Lands (Bella Union) – inspired by the striking imagery in a period of vivid dreams – utilised swirling dream-pop and haunting post-punk to present an eerie, unflinching look at the often nightmarish reality of the present world. polish the machine leans further into Ganya’s interiority, but refuses to succumb to despondency, instead pursuing a platform for community and tentative optimism. Here, the constraints of societal roles are loosened to encourage a different route: a wandering, ever-evolving path. “I’ve always slightly feared the ordinary,” Ganya explains. “It never really represented how I feel and how many people feel.”

This sentiment introduces the album, as Ganya utters “I had a fear of the ordinary” on the glistening electro-pop opener “I will hold that hand for you.” Inspired by sculptor Harriet Hosmer and her piece Clasped Hands of Robert and Elizabeth Barrett Browning, Ganya strives for community in an ever-isolated existence. “What we aspire to is to have human connection,” she explains. “I was drawn to this idea of setting the truth of something before it collapses. Setting this connection in stone.” Through staccato percussion and fluttering electronica, “I will hold that hand for you” pierces through the veil of societal stagnation. Elsewhere, “afterparty” further advocates vulnerability, while brooding horns and a climactic sonic crescendo imitate the overwhelming feelings that often overtake us during those moments of in-between, of unknowing. “I envisioned this actual space of disappointment,” she adds. “But I’m here, still hoping for something better.”

On the propulsive “young girls never die” hammering synths and haunting electronic strums create a canvas for an aggrieved Ganya who delivers a biting declaration towards the patriarchal norms of today: “Young girls never die, we just rot inside.” “The individual girl is often not allowed to grow,” she explains. “Instead there’s this sort of festering.” Later, the album’s title track delves deeper into the idea of lost autonomy, as all-encompassing, repetitive melodies mimic the hands of a puppeteer. The track features a looping bass line, fed through a Roland MC-202, that was created after the bass became stuck. Rather than trying to fix it, Ganya and her co-producer Rob Flynn decided to lean into the mistake. “It’s this idea of not being precious and counteracting the puppetry of what we’re supposed to be doing with our lives” she says.


This open-minded approach offers much of the foundation for polish the machine. By loosening the grip of perfection, Helen Ganya makes room for the unexpected, where our different selves can be explored. Here, she surrenders to all there is to feel, crafting a window into a world where the universal existential pull is acknowledged but not permitted to overwhelm. polish the machine creates connection by offering an evocative, electronically-charged deliverance, where we can aim to liberate ourselves from the fear, anger and anxiety that so often isolates us through a kind of cathartic communion.

polish the machine is out now on Bella Union.

Jambinai Announce Apparition EP

JAMBINAI today announce the release of Apparition, a new 4-track EP, out 11th November via Bella Union and available to preorder here. To celebrate the announcement the band have shared an intense live performance video for “Once More From That Frozen Bottom”, the EP’s incendiary opening track, filmed last winter at the ARTE museum in Yeosu. Additionally, JAMBINAI have been announced as one of the headline acts at the Portals Festival at EartH in Hackney on 27th May 2023.

For JAMBINAI, South Korea’s maestros of intense folk-infused post-rock, it has been the best of times and the worst of times since the release of their third album ONDA in 2019. 

In February 2020, the quintet won Best Rock Album for ONDA and Best Rock Song for the title track at South Korea’s Music Awards, but then came the pandemic. The quintet’s brilliant new four-track EP Apparition captures the depth and range of emotions that JAMBINAI have felt these last few years, from anxious lockdowns and thwarted plans to the thrill of renewed creativity, hunger and hope. 

As co-founder and band spokesman Lee Il-woo recalls, “After ONDA we saw 2020 as a new opportunity to work on a bigger stage. I personally wanted to release a new album and tour to exhaust the energy of ONDAand find new inspiration, but it didn’t work out that way. We didn’t find enough energy to make a full album yet, so for now we are releasing four songs.”

The title Apparition stems from Lee’s perception of the band he has steered since 2011. “JAMBINAI have been making intense music for an intense group of devotees in invisible places,” he says. “Overall, I have tried to express a message of comfort to everyone living in a difficult time due to the pandemic and what’s going on in the world.”

Lee’s projection of comfort starkly contrasts with the energy force that carries it: a unique combination of primary rock colour (electric guitar, bass, drums) and Korean folk instruments: the piri (bamboo oboe), the yanggeum (hammered dulcimer), geomungo (zither) and saenghwang (reed mouth organ). 

Apparition’s four song titles alone nail the otherworldly sensations that define the JAMBINAI experience. Lead track ‘Once More From That Frozen Bottom’ instantly conjures up a landscape that feels volcanic as well as icy. At other times, JAMBINAI  employ the slow burn, establishing a mood of serenity before the volume blasts upward and the atmosphere turns supremely dark, such as ‘Until My Wings Turn To Ashes’ and a live version of ‘Candlelight In Colossal Darkness’ which closes the EP with a sense of reflection and acceptance.

That leaves ‘From The Place Been Erased’, featuring the guest vocals of K Pop legend swja (also known as sunwoojunga, well known for working with 2NE1, Black Pink, and BTS). “I thought swja’s voice would go well with our music,” says Lee, “so I asked her for help. I am honoured that she willingly participated. Despite our heavy and strong sound, she understood its inner emotions.”

Apparition proves that JAMBINAI are not just alive and kicking, but more energised than ever, making up for lost time and momentum. Playing the 2018 Winter Olympic Games closing ceremony in their home city of Seoul had set up the forward momentum that produced ONDA. The South Korean awards similarly upped the ante for the follow-up. Though JAMBINAI also won the Asia category at global music bible Songlines’ annual awards at the end of 2020, only the thrill and thrust of new music and performance would truly count. First, money reserved for airfares for a cancelled tour in 2020 was used to film online performances for the digital TV channel Audiotree. Then in the spring of 2021, JAMBINAI played at the ‘virtual’ SXSW festival, from which the performance video for the aptly named ‘Time Of Extinction’ was taken, followed by a show for the Tiny Desk (home) Concert series. 

By the end of 2021, JAMBINAI were finally recording what became Apparition, but they didn’t stop there. Through April 2022, the band released four acoustic performances. There was even a collaboration with Soojung Baek’s boutique Craft Codes, combining two of her scents, “that seemed to match our music the best,” says Lee.

The urge to create has only driven JAMBINA’s members further on. In September, Lee will be working as a concert master of the traditional Gyeonggi Sinawi Orchestra for performances in Poland, Hungary, Austria, Slovenia and the Czech Republic then collaborating with hardcore rock trio PAKK at London’s annual K-Music Festival in October. He also wrote the music for the first series of the BBC’s Korean-set crime podcast “The Lazarus Heist”. 

JAMBINAI other two co-founders have been busy too. Kim Bomi and Sim Eunyong co-wrote the music for a modern art piece in South Korea’s National Museum of Contemporary and Modern Arts; having released a solo album at the end of 2019, Sim wrote and performed the music for a piece by choreographer Jinyeob Cha in June 2022. Kim also currently DJs for a Korean traditional music radio broadcast.

The three members, with JAMBINAI drummer Jaehyuk Choi and bassist B.K Yu, will join forces for a tour starting in May 2023, and “when there’s an empty space, I want to make a new album,” Lee confirms. Not being able to celebrate the band’s tenth anniversary in 2021, “was a very disappointing moment,” he says. “But it’s okay. We will release more albums and become a better band until the 20th anniversary show.”

Apparition tracklist below…

1. Once More From That Frozen Bottom

2. From The Place Been Erased (featuring swja)

3. Until My Wings Turn To Ashes

4. Candlelight In Colossal Darkness

A.A. Williams Shares “Golden”

With her new album As The Moon Rests due out 7th October via Bella Union, and having previously shared a video for lead track ‘Evaporate’, today A.A. Williams unveils new single “Golden”. Commenting on the track Williams says: “It is sometimes possible to find ourselves in a situation unable to be objective, unable to see one’s part in the greater picture. Sometimes we are even the root of a problem we didn’t even realise was occurring. Golden speaks of the push and pull between enjoying being in a loving situation, yet simultaneously, unwittingly, ruining it.”

“Traditionally, your second album is the worry; where there’s the weight of expectation,” A.A. Williams contends. “But I must create music I like myself, and I’ve had more time on this record; I’ve felt more confidence and conviction. As The Moon Rests is both heavier and softer, there’s more texture and weight, and a string ensemble. It’s Forever Blue times ten!”

Released in July 2020, Forever Blue was the London-based singer-songwriter’s album debut, a brilliantly dramatic, unique and intimate walk on the dark side that fused bold and smouldering hues of post-rock and post-classical. By turns, it was glacial and volcanic, blissful and violent, through moments of disarming quiet and explosive volume, equally appealing to alt-rock and metal camps.

“The shifts between moments of high drama and quiet tension point to her kinship with Chelsea Wolfe and PJ Harvey,” stated Uncut. “Stirring and evocative… The chances of a more heartrending and fully formed debut emerging this year are practically zero,” reckoned Metal Hammer.

As Williams contends, As The Moon Rests amplifies the scale of her ambitions, crystalised by ‘Evaporate’, the first track released from the sessions. It comes with a video that embodies the thrilling tensions of Williams’ world, where emotions walk a fine line between control and chaos. Likewise, the impact of William’s deep-trawling voice and lyrics that ask all the right existential questions throughout As The Moon Rests: who am I? What can I change? What can’t I change?

Forever Blue had already set in motion Williams’ quest for self-improvement, but the pandemic presented more challenges. As Forever Blue was about to be released, she started posting solo videos – cover versions suggested by her fans, such as Radiohead’s ‘Creep’, Nick Cave’s ‘Into Your Arms’ and Deftones’ ‘Be Quiet and Drive’, alchemised to fit her own crepuscular sound and vision. Songs From Isolation, as she called it, “was a positive experience to focus on through the overwhelming reports of bad news. And I could have a dialogue with my listeners.”

Songs From Isolation subsequently turned into a nine-track album of covers, a definite and heartaching document of solitude and fortitude. Next came arco, a re-imagining of Williams’ debut (self-titled) EP for just voice and strings. She’d played the string parts (as well as guitar and piano) on Forever Blue, but here she wrote the arrangements for a ten-piece ensemble, transposing the rhythm and low end of a rock band into sumptuous and elegant orchestrations.

Forever Blue had already set in motion Williams’ quest for self-improvement, but the pandemic presented more challenges. As Forever Blue was about to be released, she started posting solo videos – cover versions suggested by her fans, such as Radiohead’s ‘Creep’, Nick Cave’s ‘Into Your Arms’ and Deftones’ ‘Be Quiet and Drive’, alchemised to fit her own crepuscular sound and vision. Songs From Isolation, as she called it, “was a positive experience to focus on through the overwhelming reports of bad news. And I could have a dialogue with my listeners.”

Songs From Isolation subsequently turned into a nine-track album of covers, a definite and heartaching document of solitude and fortitude. Next came arco, a re-imagining of Williams’ debut (self-titled) EP for just voice and strings. She’d played the string parts (as well as guitar and piano) on Forever Blue, but here she wrote the arrangements for a ten-piece ensemble, transposing the rhythm and low end of a rock band into sumptuous and elegant orchestrations.

The string ensemble returns for As The Moon Rests, bolstering the album’s cinematic dimensions and underlining the palpable drama of Williams’ quest to forge a more liberating path. The album’s opening track ‘Hollow Heart’ sets out the emotional terrain: “Give me time and I will learn / that I am only human,” she sings before the instruments begin their slow climb to boiling point. Williams’ voluminous guitar and keyboards are embellished by co-producer (and husband) Thomas Williams’ bass guitar, Geoff Holroyde’s drums and engineer / mixer Adrian Hall at his London studio Clever Pup (as opposed to the Williams’ two-bedroom flat for Forever Blue). “We had better equipment, and more experience at hand,” says Williams. When they were finished, As The Moon Rests clocked in at a mighty 62 minutes. “I was expecting to take a few recordings away after we’d finished, but the consensus was that everything was good, and worked as a collection.”

The album takes its title from the closing track. “For me, ‘As The Moon Rests’ jumped out as evoking a change in direction in the lyrics,” she explains. “It’s a love song, not necessarily romantic, but between two people with an unwavering bond. It seemed poignant and prominent enough to work as the title.”

That unwavering bond could equally exist between two conflicting parts of the self. “Most of Forever Blue’s text was quite insular,” she recalls. “I was trying to understand myself, trying to cure, or eradicate, parts of myself. But I realised that if you remove things; you might remove parts of your personality too. You just need to learn how to manage things, to be kinder to yourself. It’s all a journey, a progression.”

Williams would rather not specify any incidents, triggers or memories behind each individual song. “It’s all part of an overriding arc,” she says. “With hindsight, some songs I figure things out, others I disappear into a hole. For example, in ‘Evaporate’, I’m trying to keep a lid on fizzy complicated thoughts, which just explode. Other times, I’m more relaxed. Mostly, writing is more retrospective, not about the here and now. The lyrics are the place where I figure things out.”

Now Williams and her live band – Thomas Williams, Wayne Proctor and multi-instrumentalist Matthew de Burgh Daly – get to figure out a proper headline tour in support of an album, since lockdown meant that their first headline show on London’s South Bank in early 2020 became her last for well over a year, until a short headline tour in Autumn 2021 that at least gave them the chance to commune with fans and feel the white heat and spark of performance. In August of this year, they’re supporting Japanese post-rockers MONO, Williams’ collaborators for the 10” vinyl single ‘Exit in Darkness’; in September, to launch As the Moon Rests, comes their biggest headline show yet at London’s Queen Elizabeth Hall. Following that, Williams will undertake her first comprehensive headline tour: a 6-week trek across the UK and Europe, taking in 34 shows over 12 countries. Williams’ journey may have been held up by events, but in all other aspects, everything that culminates in As The Moon Rests is incontrovertible proof that it continues to build and thrive.

Thursday 18th August – Bristol – Arctangent Festival

Sunday 21st August – Oslo – Kulturkirken Jakob

Monday 22nd August – Stockholm – Sodra Teatern

Tuesday 23rd August – Copenhagen – Pumpehuset

Wednesday 24th August – Hamburg – Uebel & Gefahrlich

Thursday 25th August – Berlin – Hole44

Friday 26th August – Koln – Luxor

Sunday 28th August – Antwerp – Kavka Zappa

Wednesday 31st August – Zurich – Mascotte

Thursday 1st September – Paris – Le Trabendo

Saturday 3rd September – Barcelona – Apolo 2

Sunday 4th September – Murcia – Garage Beat Club

Monday 5th September – Seville – Sala Custom

Tuesday 6th September – Porto – Hard Club

Wednesday 7th September – Lisbon – RCA Club

Thursday 8th September – Madrid – Mon Madrid

Friday 9th September – Biarritz – Atabal

Sunday 11th September – Bensancon – L’antonnoir

Monday 12th September – Lille – Aeronef

Saturday 19th November – Dunkerque – Les 4Ecluses

Saturday 17th September – London – Queen Elizabeth Hall

Sunday 13th November – Leeds – Brudenell Social Club

Monday 14th November – Milton Keynes – Craufurd Arms

Tuesday 15th November – Birmingham – Hare & Hounds

Wednesday 16th November – Cardiff – Clwb Ifor Bach

Thursday 17th November – Falmouth – The Cornish Bank

Friday 18th November – Bristol – Thekla

Saturday 19th November – Dunkerque – Les 4 Ecluses

Sunday 20th November – Savigny -le-temple – L’Empreinte

Tuesday 22nd November – Nantes – Le Ferrailleur

Wednesday 23rd November – Rouen – Le 106

Thursday 24th November – Lyon – Hard Rock Café

Friday 25th November – Metz – L’Aerogare Station Lothaire

Saturday 26th November – Strasbourg – Artefact La Laiterie

Sunday 27th November – Duffel – Cinema Plaza

Monday 28th November – Tilburg – Cultuurfabriek Hall Of Fame

Wednesday 30th November – Hamburg – Hafenklang

Thursday 1st December – Copenhagen – Vega

Friday 2nd December – Aalborg – 1000Fryd

Sunday 4th December – Bergen – Landmark

Monday 5th December – Oslo – Bla

Tuesday 6th December – Stockholm – Hus 7

Thursday 8th December – Helsinki – Kuudes Linja

Saturday 10th December – Gdansk – Drizzly Grizzly

Sunday 11th December – Warsaw – Klub Hydrozagadka

Monday 12th December – Krakow – Hol

Tuesday 13th December – Wroclaw – Akademia Club

Wednesday 14th December – Berlin – Urban Spree

Friday 16th December – Milan – Bloom

Saturday 17th December – Lucernce – Sedel

Sunday 18th December – Karlsruhe – Stadmitte

Monday 19th December – Frankfurt – Brotfabrik

Tuesday 20th December – Cologne – Buhmann & Sohn

Wednesday 21st December – Haarlem – Patronaat

Father John Misty Premieres “Buddy’s Rendezvous” Video

Father John Misty was part of history in April when his hugely acclaimed new album Chloë and The Next 20th Century entered the UK album chart at Number 2, with Wet Leg at number 1 and Jack White at number 3, the first time in more than a decade that independent artists have taken the top three positions! Today, Father John Misty is sharing the official video for “Buddy’s Rendezvous”, directed by filmmaker and photographer Emma Elizabeth Tillman (The History of Caves; The Wheel), and is a highlight from the album.

Emma says of the video: “‘Buddy’s Rendezvous’ is a world unto itself. It is a place out of time. My dream for the video is that it would surrender itself to the power of the song. An unnamed man (played by Craig Stark), fresh out of jail and down on his luck makes his way across the fractured landscape of Los Angeles to meet his daughter (played by Arrow DeWilde). All the while he is beset by memories of a more innocent time. Despite her hesitance, his daughter and her boyfriend (played by Gilbert Trejo) agree to meet her father and find moments of sadness and sparks of tenderness in the connection made. Although the video and the song can be considered love letters to Los Angeles, the themes are universal. Disappointments, regrets, forgiveness, tenderness, perseverance, and love. The incredible performances by Arrow, Craig, Gilbert, and David Haley all coalesce to bring this vision to life. Cinematography by James Wall on 16mm evokes the down and out feeling of LA, merging past and present. This video could not have been accomplished without the talent of producer Bria Little and creative director and editor Jonathan King.”

Also out today is Lana Del Rey’s gorgeous cover of “Buddy’s Rendezvous,” available now on all DSPs. Her interpretation of the song was previously only available as a 7” single included with the limited edition box set of Chloë and The Next 20th Century. 

Chloë and The Next 20th Century and its singles are earning “Best Albums” and “Songs of 2022 (So Far)” placement from the likes of The Guardian, StereogumConsequenceUproxx and more. 

Father John Misty’s previously announced international headlining tour schedule in support of Chloë and The Next 20th Century begins June 26th and runs through to March 17th, 2023.

Helen Ganya Announces Heart To Heart Mirage EP

Helen Ganya, who previously recorded under the name Dog In The Snow, has today announced news of a new 4-track EP, Heart to Heart Mirage, out 13th May via Bella Union. Of the EP Helen says: “Heart to Heart Mirage is a collection of four songs written to accompany and precede the next album, crafted around similar imagery and themes but standing alone as an independent collection. The title comes from a lyric in the song ‘Haze/revolution’ which lent itself well thematically.”

To coincide with the announcement Helen has shared a lyric video for the EP’s opening track, “Beautiful Country” of which she says: “Beautiful Country is a little tongue-in-cheek heartbreak on the illusion of meritocracy. It was a joy to write a sax line for this which was then re-interpreted with wondrous flair from fellow Brit-Thai musician Rittipo.”

Born to a Thai mother and Scottish father, Helen Ganya spent her formative years in Singapore before returning to the UK, settling in Brighton. As a teenager, learning guitar and discovering GarageBand simultaneously became a gateway into songwriting. She absorbed influences such as Sufjan Stevens, Scott Walker, David Lynch, Clint Mansell and Brian Eno: brooding, immersive and filmic universes that helped transcend her ongoing sense of fragmented identity, of being mixed race.

Since moving to Brighton, Helen has been a session player for bands such as Fear Of Men as well as Lost Horizons – the project of Bella Union’s label boss Simon Raymonde. After a short-run debut record, she signed to Bella Union and released her first album proper, Vanishing Lands, a haunting and luminous collection of songs covering themes of environmental destruction, lifted by euphoric melodies and absorbing lyrics.

In a rave review MOJO said this of the album: “Echoing the rich gothic drama of 80’s post-punk, the aerial swirl of 90s dream-pop and Kate Bush, Vanishing Lands unfolds in a dreamlike manner.” It was also specially selected by Tim Burgess for one of his Listening Parties during the height of lockdown.

Since the pandemic, Helen felt a sense of panic and urgency surrounding anti-Asian hate that re-surfaced and amplified in western societies due to Covid. This partly inspired the name change from Dog In The Snow to Helen Ganya to reflect the importance of visibility “particularly for those that move in predominantly white spaces”. She now also runs a regular radio show on Brighton’s Slack City radio called Mixed Tapes which showcases music from musicians of colour in the independent music world as well as interviews with POCs in different parts of the music industry. She has since returned to school and is currently finishing a Master of Science in Climate Change, a subject matter that has been a recurring theme in much of her music.

Heart to Heart Mirage tracklist:

1. Beautiful Country

2. Haze/Revolution

3. Patient Zero

4. Pleasure Dome