Transmissions – Bridget Hayden

Bridget Hayden has been a regular fixture at OTO over our 13 year history, either treating us to her distinct brand of lonesome avante-blues, or sending scattered aural junk skywards in Leeds-based collective Vibracathedral Orchestra.
In this new solo work, she pares back her hushed songcraft, opting instead for a foggy psychedelia, seeing her spill cyclical lines of bowed guitar, tone generator and synth - as well as vocal apparations and wisps of flute - into a throbbing vaporous mass.  Each element feels like it is blowing from a spectre's mouth: rendering each low-end guitar riff, shrill of feedback or squelched synth-line in an ethereal, clouded greyscale.
Whether summoning something of earthly matter or from somewhere else, Bridget feels like she's turning off the lights, lighting candles and welcoming us to a haunted ritual. Recommended listening for late winter nights.


Bridget Hayden - All instruments, edits, compositions, recordings


1 - The Etheric Well [07:00]

2 - The Ground Rises [14:48]

Bridget Hayden

Bridget Hayden is a singer, guitarist, piano player, and a visual artist, based for a while now in semi- rural West Yorkshire. In the seven-year period since her last solo LP – A Siren Blares In An Indifferent Ocean, released by the Belgium-based Kraak organisation – she has put out a number of short-run cassettes, such as last year's fine tape of blown-out synth/vocal recordings on Fort Evil Fruit, and contributed to several interesting compilation projects, but a vinyl follow-up is what the 'Other' music community has been craving.

Her new LP "Pure Touch Only From Now On, They Said So" (september 2018, Early Music Records) has been a long time coming and provides the first full-length documentation of a number of zones that the artist has been inhabiting in live performances of the recent past: blasted, highly personal blues that has lurked under the surface of previous releases but that appears here in starker form; two-chord torch songs that use minimal structure to achieve maximal atmospheric tension; and a vocal melodicism abstracted by a gravitation towards the ecstatic possibilities of noise.

This is a record of significant heft and rare intensity, driven by the slow movement of heavy metal slides and the distorted surge of the guitar's lowest end. The contrasts herein – of density and starkness, turbulence and calm, grounded instrumental drone and vocal soar – are suggestive of great weights being borne and lifted, and of an artist letting go.