When Hannah Fury isn't flailing about on the merry-go-round in a ridiculously giddy frenzy, or making shady back-room deals in order to secure a steady supply of cotton candy and other fairground delights, she is very, very busy separating the heart cards from the rest of the deck.
She's often distracted by bright and/or shiny objects, but sometimes she manages to do things, like write and record music.
After Mick Mercer referred to Hannah as "a parasol-wielding OutKast," she became totally impossible to live with and would not shut up for days. For Reals. It was hell, and we threw her out of the house -- permanently this time.
Then, as if that wasn't bad enough, Hannah got this:
"... I enjoyed listening to your music."
— Jemaine Clement (of Flight of the Conchords)
After that, things quickly got worse. Even though we told her that it was probably Murray pretending to be Jemaine, Hannah is now completely obsessed with water-dwelling mammals, cutlery, and the possibility of locating someone named "Steve."
Some Press:
... this is a fantastic album. Seductive and breathtaking from the start... — Gothic Beauty
... a masterwork in minimalism and stark beauty... — AbsolutePunk
... unnerving yet simultaneously beautiful... — Pop Matters
... the production is extraordinary... play it loud... — ninthspace
... sensitive and imaginative, uniquely vengeful and confiding, marking Fury out as an artist long overdue for some real critical attention... — Wears the Trousers
... possibly the most gorgeous record you can buy this year... — Mick Mercer
... melodies that will chill the spine... — Delusions of Adequacy
... a revelation... a startling and unconventional lyrical quality... — Morbid Outlook
... there is real venom behind the line, "So you love her? That little stain?" Through the Gash constantly alternates between quiet balladry and aggressive proclamations... — Keenly Observed
... The production value on Fury's work has been commented on by other reviewers, and rightly so. Every element here is in perfect balance, and the album has a very full, almost decadent sound that could have come out of one of the majors... — Suburban Horror
... beautiful, hypnotic... — SLUG Magazine
... spooky and peculiar... — LMNOP
... Her unrivaled ability to twist or change the mood of a song on a single note or measure is still present. "You Don't Leave A Trace" changes entirely 220 seconds in and I can guarantee it will burst your heart... — ninthspace
... a twisted and subtle personality... — Skyline Press
... I'm hopelessly caught in her baroque sugar spun spider web... — Ghettoblaster
... delicately uncanny... — Muruch
... the dark side of the female heart... — Treasure.Hiding
... lush, dense orchestrations... — Denver Westword
HANNAH FURY
Through the Gash
(MellowTraumatic)
Hannah Fury continues to carve out her distinct musical vision with Through the Gash, her first full-length album in seven years. Though loosely fitting under the recently trendy “dark cabaret†banner (a term that didn’t exist when she started), the singer/songwriter’s Tori Amos-meets-Tim Burton sound has always been her own. Her black-humored muse certainly has her game on here—the record is practically a song cycle of lovers here, gone and, more importantly, not quite gone. Fury’s swirling vocal overdubs make tunes like “Carousel,†“Defenestration†and “No Man Alive†even creepier than usual—few other artists are able to evoke so much dread with so little melodrama. Fury also reprises “Carnival Justice (The Gloves Are Off) Part II†and “Girls That Glitter Love the Dark,†two of her very best tunes, from last year’s Subterfuge EP. As romantic as a William Blake poem but as ghostly as a Richard Matheson novel, Through the Gash is Hannah Fury at her most darkly beautiful.
— Michael Toland
Please visit Hannah's Last.fm page:
Last.fm Hannah Fury community
