Described by Pitchfork as “one of the most innovative voices in British Music” Anna Meredith is a genre-crossing composer and producer whose work straddles the worlds of contemporary classical, art pop, electronica and experimental rock.
After building an established career in the classical world and two EPs, she released her much-anticipated debut album, Varmints on Moshi Moshi Records in March 2016 to critical acclaim with 4 and 5 star reviews across the board from the likes of The Wire, Sunday Times, Uncut, Q Magazine, The Line of Best Fit, DIY and the coveted Best New Music [8.4] on Pitchfork. As well as being Loud & Quiet’s Album of the Year, Varmints also won the 2016 Scottish Album of the Year Award.
The New York Times described her live show as “sheer exhilaration” while NPR’s Bob Boilen described it as “a stormy, ecstatic, endlessly danceable thrill to behold…the best artist I’ve seen at SXSW and one of the most creative bands I’ve seen in years. Music for the head, the heart and ass and the feet”.
Her CV includes being Composer in Residence for the BBC Scottish Symphony Orchestra, a piece written for MRI scanner, soundtracking PRADA’s Spring/Summer 2015 campaign, music for park benches in Hong Kong and sleep-pods in Singapore. Her body-percussion piece HandsFree received rave reviews from it’s performances at Southbank Centre, Royal Albert Hall, Barbican Centre, Utah Youth Symphony, the new Elbphilharmnie in Hamburg.
With the release of Silver Eater, Grace Lightman has achieved something fiendishly rare, a concept album that combines narrative ambition with a sly
undercurrent of dark humour.
The London bred musician makes sense of a tangle of competing influences- ranging from David Lynch, to classic disco and melodic big-stakes pop- to craft a sound that resists lazy characterisation. One part ABBA, two parts Twin Peaks, and mediated through the character of the eponymous Silver Eater- an extraterrestrial fallen to the earth, doomed to imitate and fall in love with the very humans they must remain a fugitive from. Lightman’s best-known song, and the albums opening track, Repair Repair, speaks to the origins of the concept. It started life as a jingle for a fictional protein shake and a witty comment on the occasional absurdities of self-care mantras that have more to do with self-promotion, than any actual feats of reinvention. It’s a lush piece of chorus driven pop, propelled along by the refrain that reminds us “people don’t change, they just become something they can’t remember to repair”.