Emma Gatrill – ‘Come Swim’ album review: a hopeful synthesis of past, present and future
THE SKINNY: In times more uncertain than ever, a sprinkling of hopefulness and an emphasis on the power of human connection is more than welcome. Luckily, Emma Gatrill’s third album, Come Swim, invites us to appreciate ourselves and our surroundings — even when it feels incredibly hard to do so.
For this project, Gatrill wanted to switch up her approach to songwriting, as she revealed: “I asked loads of different drummers to send me drum loops and beats – electronic or real – to write to. The aim was to invert my writing process and not start with the harp so that I’d bypass the muscle memory part of writing.”
Using these beats as a starting point, Gatrill has developed an album that relies on instruments that we typically associate with classical pieces – harps, violins, clarinets – immersing them among synths to create a mesmerising blend of sounds that melds the past, present and future. While each song features a mix of classic and modern sounds, Gatrill allows them to work harmoniously – or sometimes purposefully against each other – to create a consistently interesting sonic palette. Moreover, every track has a distinctively feminine essence to it, perhaps due to the harp’s long connotations with femininity and beauty.
This is aided by Gatrill’s captivating voice, which floats with an effortless sensibility. It echoes the type of vocals associated with traditional British folk, back when singing was an oral tradition, often performed while working or gathering with others, specifically women. This ties into Gatrill’s lyrical evocations of reassurance, community and the human experience. There is a simultaneous air of magic and otherworldliness to these songs, with the celestial strings often placing Gatrill’s songs in a cosmic, infinite realm.
For Fans Of: knitting a new pair of lilac socks while spinning out on a micro-dosed LSD concoction, where the ratios have fallen a little too heavily in favour of the acid.
A concluding comment from Tom’s mother: “I’m both comforted by her music and also slightly scared of her. I think if you invited her around for a cup of tea, she’d be very pleasant but muddy the rug with her hiking books. And I’d have no idea what she was on about.”
Come Swim track-by-track:
Release Date: 12th January | Producer: Emma Gatrill, Marcus Hamblett | Label: Willkommen Records
‘Seed’ – While ‘Seed’ is a good introduction to what Come Swim has to offer, it doesn’t reveal its true brilliance until halfway through. Until the clarinets kick into full swing, the first half of the song is a little lacklustre, itching to transform into something more enticing. [3/5]
‘Out of the Dark’ – Moody synths pop and pulsate until harps meld into them, with Gatrill’s voice blending into the instrumentation magnificently. ‘Out of the Dark’ harnesses perhaps one of the most interesting uses of synths on the album. [3.5/5]
‘Offshore Disco’ – You can certainly dance to ‘Offshore Disco’, with a rather stable beat anchoring the song down. Still, it is not one of the album’s most memorable tracks, especially since it is sandwiched between two considerably more fascinating cuts. [3/5]
‘Adonis Blue’ – An ASMR-esque clicking sound opens this track, so if you’re particularly sensitive to such sounds, maybe don’t listen with headphones on. With that being said, ‘Adonis Blue’ is a beautiful piece which mounts into a feeling of quiet euphoria. [3.5/5]
‘Dance With Me’ – This track features prominent clarinets and unusual synth beats that cut in and out, all while Gatrill’s voice eddies over the top. Quite simply, you can imagine yourself floating around the kitchen with a lover to it, gently swaying to the gentle instrumentation that slowly builds. [4/5]
‘Moonmilk’ – The album’s most danceable song, ‘Moonmilk’, features considerably more brass than other songs, practically demanding the listener to shake their hips and shuffle back and forth. It is easily the most summery, sun-drenched song on the album. [4/5]
‘Anchor Me’ – Cinematic and intense, with Gatrill singing, “Anchor me, weigh me down with your love,” this track is one for those who feel love deeply. The scope of the strings and Gatrill’s layered vocals make this one of the album’s most mesmerising moments. [4/5]
‘Corners’ – Possibly the least captivating song on the album, namely because Gatrill’s vocal performance is slightly grating. Luckily, the unnerving, slightly apprehensive-sounding violins prevent the song from becoming a total piece of filler. [2.5/5]
‘Cloudburst’ – An immediate standout. Beginning with poignant beats and harp sounds, the song slowly builds with distant violins and deeper, rich bass sounds that give it an irrevocably emotive atmosphere. “I do not want to go back/ back into the storm,” Gatrill defiantly states, allowing her instruments to swirl around her. [4.5/5]
‘Juna’ – Dedicated to one of her friend’s children, ‘Juna’ is a comforting five-minute cut that centres Gatrill’s curious-sounding harp as a steady beat backs the rippling strings. Gatrill’s vocals really shine, using plenty of oceanic imagery that is effortlessly calming. [4/5]
‘Come Swim’ – More synth-focused, ‘Come Swim’ is as inviting as its title suggests. The song is an apt ending, with Gatrill allowing us to imagine rich pools of water, with her voice as silky soft as a calm wave washing over you. [4/5]
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