Available languages: EnglishKnown for her heavily atmospheric and dreamy mix of psych-pop, desert rock, and neo-torch music, Alexandra Savior (full name, Alexandra Savior McDermott) is a Los Angeles-based singer/songwriter who rode a wave of industry buzz in advance of her 2017 debut, Belladonna of Sadness, which was produced by Alex Turner from U.K. band Arctic Monkeys. After switching labels from Columbia to 30th Century, she returned in 2020 with her sophomore set, The Archer. Developing an eclectic musical taste during her teenage years in Portland, Oregon, Savior became interested in writing her own songs at the age of 14. Inspired by a broad range of artists such as Otis Redding, Jack White, Amy Winehouse, and Etta James, she began penning her own lyrics and figuring out her artistic direction by logging melody ideas and different guitar techniques via tape recorder. She first garnered industry attention in 2012, when she uploaded a cover of folk-blues musician Angus Stone's "Big Jet Plane." Earning praise from Courtney Love, the magnetic performance also landed the young creative on the radar of multiple industry representatives. The following year, she scrapped her original plans of attending art school and relocated to Los Angeles to pursue her music career more directly. The same year also saw further praise from established artists, particularly from Grammy-nominated Linda Perry, who compared her to Fiona Apple. Toward the end of 2013, Savior had signed with Columbia Records and begun to work on more material. Subsequently, the label sent some of her work to Arctic Monkeys' Alex Turner to propose a possible collaboration. With radically different structures and songwriting style, Turner helped to hone the young singer's songs along a specific route, more accurately encapsulating Savior's artistic sensibility and sound. Throughout 2014 and 2015, she got to work on her first full-length effort with Turner and producer James Ford of Simian Mobile Disco (Foals, Depeche Mode). Around that time, her song "Risk" appeared in the second season soundtrack of HBO's popular anthology crime drama True Detective. Although credited on the soundtrack as Alexandra McDermott, she soon decided to use her first and middle names to better represent her stage persona. Savior's debut, Belladonna of Sadness, arrived in April of 2017. Although well-reviewed, the album failed to find mainstream success and she was subsequently dropped from Columbia's roster. The artist-friendly 30th Century Records, run by Danger Mouse, was happy to take Savior on and she began working with producer Ben Cohen on a follow-up release. Preceded by a string of singles, 2020's The Archer revealed a more focused, though still deeply atmospheric sound.
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Alternative en Indie - Verschenen op 10 januari 2020 | 30th Century Records
“This girl is going to be huge!” When Courtney Love first said this about Alexandra Savior way back in 2012, the statement didn’t really make many waves. Yet over the years and after every successive release, she has begun to establish her presence on the scene, especially when, after appearing on The Last Shadow Puppets’ album Everything You’ve Come To Expect (she is Alex Turner’s protégé), she released her first opus in 2017 entitled Belladonna of Sadness, which was actually recorded between 2014 and 2015. The American singer from Portland was quickly labelled as a darker version of Lana Del Rey. Her second album, The Archer, released in early 2020, further underlines their differences. Releasing the album on 30th Century Records, Brian Burton aka Danger Mouse's record label and with Sam Cohen on production (the experimental brain behind Kevin Morby’s latest work), the operative word to describe this newer work remains dark. It’s certainly mesmerising (that voice!), but never depressing. The Archer’s cinematographic pop is reinforced by a core of bass, sometimes cold wave, Gainsbourg-esque even. Artistically similar to Hope Sandoval, Aldous Harding, Fiona Apple, Jessica Pratt and of course Lana Del Rey, she has a tendency towards vintage textures, especially those from the 60s (Can’t Help Myself). The melancholy of her pop is never artificial, and her songwriting has also matured well, the compositions of this second album going up a notch. She may not be huge just yet, but she’s certainly getting there! © Marc Zisman/Qobuz