introduction by trevor elkin
We like emotionally engaging, intellectually stimulating songwriting and Helen Ganya Brown’s Dog In The Snow project has always delivered on both counts. While ‘Consume Me’ is labelled a ‘debut’ by virtue of it being their first long player, this album is no tentative first step into the world. Highly personal and compassionate, incisive but never clinical, ‘Consume Me’ reveals itself as a series of unanswered questions, doubts, hopes and fears, all acutely tuned into the shifting tectonic plates of modernity. With music like this, there really are no labels we can apply other than ‘absolutely essential’.
We’re pleased to share the full album with you today, ahead of its release this Friday, alongside an exclusive album guide from Helen Ganya Brown below.
words by helen ganya-brown
The lyrical inspiration for Consume Me hit me quickly during a long moment of tour van silence when on the US tour as session player in Fear Of Men last year. I remember travelling down the west coast, feeling as detached from everything as ever; passing the largest California slaughterhouse and ranch, the burning factories at night. I was an anywhere-observer, likening everything to an apocalyptic vision, but in the most perversely paradisal and non-cynical way I could.
There is huge warmth to this LP though despite being steeped in fragmented explorations of the self and world, and finding where and how we can fit in.
There are beds of warm synths, large hall reverbs for guitar; mixed in with drum-machine beats and jagged phase distortion as grit. It was the first time I wasn’t afraid of re-introducing the same sounds into different songs, cohesion and minimalism, so my lyrical ideas could come through and hold meanings longer. Repeated song-titles that show up in other songs also played a part in creating an album more cyclical as opposed to linear.
My first question is a direct rhetoric question about the Sea. Will I ever see the sea again? I think of this in the perspective of a Child of the over-consuming generation. On tour, every motel, hotel room, breakfast room had a TV that showed me nothing I wanted to see.
What I really wanted to see was the all-encompassing sea, but instead I’m presented with the ever-growing land of trash floating in the middle of the sea.
So I don’t feel the Safety of my parents’ generation, I feel atheistic and shunned but also stunned by the extent of our consumption. And what does that do to my identity? A mixed race child with the Blood of countries that have confused me with their profound and unnecessary nationalism. I’d like to hold a Mirror up to the world as it slips further away from what I’d like it to be. I remember the Magic and opportunity I once felt from the world as a child, but now as crises turn to Face Me I hold less of a sense of self and would some times love for the world to wake up and just swallow us whole, in a moment of bright apocalypse. In the mean time though, I’m Still Here, we’re still here, hopefully always searching for the realness of being.
Here is Consume Me.
5. Face Me
9. Consume Me
10. I’m Still Here (Encore)
‘Consume Me’ is out October 20th, on Battle Worldwide. Order it here
25.10 – The Waiting Room, London†
28.10 – Wagner Hall, Brighton†
18.11 – The Rialto, Brighton*
19.11 – 100 Club, Londo
20.11 – Brudenell Social Club, Leeds*
21.11 – Soup Kitchen, Manchester*
23.11 – Ramsgate Music Hall, Ramsgate*
† ‘Consume Me’ album launch show
* Supporting Lost Horizons
photo by clementine blue