Feature, News, Reviews

Clara Mann Releases New Live Intimate Session of Debut EP “Consolations” – Out Now via Sad Club Records

March 17, 2021
Photo Credit: Chiara Gambuto





Bristolian newcomer Clara Mann releases intimate acoustic live session filmed on a Lightship 95 moored in London with Delinquent Zine, showcasing her intimate debut EP ‘Consolations’ out via Sad Club Records. The 4-track EP stands both as a collection of reflections into her own private world, and as a soothing dose of medicine used to ‘console’ herself. It documents the progression of adulthood, focusing on the fragility of the self and highlighting the importance of connection, whilst offering us a well-needed moment of tranquillity. These themes are embodied by coming-of-age title track Station Song’ which joins previous singles Thoughtless’, ‘I Didn’t Know You Were Leaving Today, alongside new track Waiting For The Flight which completes the release. Whilst nodding towards the sounds of other contemporaries like Shannon Lay and Dana Gavanski, Clara sets herself apart with her intimate soundscapes and unique voice, creating a distinct ethereal sonic landscape.

A beautiful and intimate live session that captures Clara Mann in their stunning element. Delivering such reflective pieces in a raw backdrop, which in turn adds to the power of each composition. Of the recent EP release, Clara conjures this wonderfully pure sound and the orchestrations emit such fragility. Clara delivers these thought-provoking ensembles which proudly boast such intimate tangents and luxuriant melodies. Now we can see this captured effortlessly within this live environment.

Clara provides these completely wholesome creations filled with dreamy notions and captivating your full attention, these stunning serenades exude such power which moves the audience, to see this transcribed so flawlessly in this fragile aura solidifies the importance of this unique and compelling artist. Even live Clara can craft this spell-binding journey that captures the tender connection between artist and audience, we may be watching from behind a screen but Clara’s force will reach you.

On recording on the lightship, Clara says: “I really didn’t want to have an airy-fairy shoot, where I fell into the tired cliches of folk music: there was something strong and modern about the red steel of the boat, and to me it reflected the side of my music that is about resilience and strength.”

Clara has always maintained the importance of visual aspects within her music, as well as nature, in particular, the water: “There was something special about being close to the water, too- so much of my music is influenced by the landscapes I lived alongside through my childhood- by rivers, by holidays by the sea, by the way light falls on water. It felt like a return to that landscape in my adult life- more urban, and with a bit more edge, but still familiar.”

“We were looking for a venue for the session that would give a bit of contrast to my music- the Lightship was perfect, and I was so thrilled to be shooting there. It’s elegant, and classic, and feels removed from the rest of the world.”

For Clara, music is a way to create a safe place for herself, with the EP documenting Clara’s own longing to be understood by others around her. Clara embeds a visual element into her music and tries to give a sense of her world, in the hope that others will recognise themselves in it, and want to enter it too: Hopper’s paintings have been a constant over the last few years- I looked at them, dreamed about them, read anything I could find on them.  Often I  tried to imagine myself in one of those paintings, to make life a bit more romantic than it really was: maybe today I was the hunched figure from ‘Nighthawks’, tomorrow, the woman in the empty bedroom of ‘Morning Sun’. I guess the pictures bled into the songs- the movie-still feeling, the muted colours.”

The EP was recorded with producer Benjamin Spike-Saunders (Cruelty) and mastered by Alice Western (BUGS). Due to the constraints of COVID, this track was recorded and mixed remotely, being recorded alone in Clara’s bedroom and mixed by Ben in his, both of them playing a part in the arranging process. Piano, guitar and vocals were done by Clara Mann, with the fiddle played by Marika-Tyler Clark and Felix M-B on harmonium and second guitar. Due to this recording process, the songs have emerged as a natural and intimate reaction to her environment. 

Clara Mann hopes that this EP can offer a sense of solace to listeners: “Writing this EP has been a way of consoling myself through any hard times, and I’d like it to do the same for other people!”


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