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Glory Days with exclusive signed postcard
Released: 15th January 2021
|LP with signed postcard||£22.99||Buy Now||In Stock. Dispatched on Monday.|
In the height of 2020's lockdown, Boomkat commissioned Glasgow-based musician Heather Leigh to record an album at home, quickly and instinctively and the result is Glory Days, an incredible stream of consciousness meditation on stir crazy desire and the small gems of pleaure to be wrung from isolation.
For an artist so wedded to the pedal steel for much of her career - either in her first groups, as a solo artist or improvising musician, Leigh's opener on Glory Days slits open reality with an analog synth line, a simple arpeggiation to introduce the masterful vocal intoning a caged animal lustfulness, almost like the narrator's desire is caged by the robotic synth line. It's a simple chant-like refrain that builds in tension and reminds us that Leigh's most powerful weapon is probably her towering voice box.
Glory Days hits a sweet spot between internal excavation and cosmic outward gaze. Heather Leigh's performances on and off recorded media often ascend into pure, wild chaos, a great eruption of primal force she seems to carry within her but Glory Days's effectiveness is its restraint. On Molly, Leigh's cavernous reverb'd strings are augmented by simple birdsong (recorded at home?), bringing a dawn-like light to the void. The intimacy on show through out feels warm in fact, like Leigh is welcoming the listener in rather than providing an uncomfortable confrontation. With the brief in mind, Leigh's vocals are often simple repeated phrases that create texture, loops like threads, creating a minimalist maximalism from the texture alone. Simplicity is the key to the heart here.
Glory Days is by far not a howl into the winds of enforced isolation. As a postcard of the narrator's experience we see humour, desire, meditation and a generosity of spirit that should really come as no surprise to any follower of Leigh's music. The Peace Of Wild Things seems to be simply a dictaphone recording of Leigh's phrase over birdsong and what could be primates, foxes, who knows clearly fornicating. A reminder that life goes on, a lovely cosmic joke. We end on Riding, with a slow synth rising with each note and the eponymous phrase in duet. What can it all mean? Are we riding out into a new post-lockdown horizon, are we riding into new relationships with eachother and ourselves in these new glory days, or are we all just really hungering for a human touch? Hopefully Heather Leigh will keep us guessing forever.