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Alternative & Indie - Released January 17, 2011 | Domino Recording Co

Hi-Res Distinctions 4F de Télérama - 5 étoiles Rock and Folk - Sélection Les Inrocks - Hi-Res Audio - Sélection du Mercury Prize
Citing the likes of Debussy, Captain Beefheart, and Nina Simone as her main influences, it's clear from the outset that Anna Calvi isn't your average, run-of-the-mill singer/songwriter. She may have been tipped for success by everyone from the broadsheet music press to Brian Eno, but her blend of sultry blues-rock and dark, mysterious flamenco is a million miles away from the chart-friendly output of her fellow Sound of 2011 nominees. Her self-titled debut, therefore, is unlikely to reap the same commercial rewards as the likes of Jessie J and Clare Maguire, its uncompromising, gothic, David Lynch-esque nature certainly won't spawn any bite-size TV ad soundtracks or airplay favorites your mom can sing along to. But in a music scene dominated by female solo artists, Calvi's romantic but often sinister ten songs certainly helps her to stand out from the crowd. Opening track "Rider to the Sea," sets the scene immediately, a brooding instrumental whose atmospheric twanging guitars would provide the perfect score should Quentin Tarantino's much rumored Kill Bill 3 ever come to fruition. Calvi's haunting and intense vocals first come to the forefront on "No More Words," a gloriously menacing number which evokes the shimmering distorted harmonies of My Bloody Valentine. But it's on the grandiose "Desire" when Calvi really unleashes the impassioned post-punk tones that have drawn favorable comparisons with the likes of Patti Smith and PJ Harvey (whose regular collaborator, Rob Ellis, is also here on production duties). Backed by an impressively tight backing band, the likes of "Suzanne and I," a future James Bond theme in the making, "I'll Be Your Man," which would sit comfortably on Florence and the Machine's Lungs, and "Blackout," which evokes Phil Spector's expansive Wall of Sound, prove Calvi isn't averse to delivering slightly more accessible material. But it's the more unconventional "The Devil," which undoubtedly provides the album's highlight, a mesmerizing, stripped-down fusion of classical, rock, and flamenco that showcases her virtuoso guitar skills, and her effortless shifts from whispering restraint to primitive aggression before ending in layers of drenched feedback. By the time the epic strings have reverberated on closing track "Love Won't Be Leaving," you're left in no doubt as to why the industry appears to be so excited about her. Capturing the intensity and raw emotion of her captivating live shows, Anna Calvi is an ambitious and always intriguing debut which heralds the arrival of a unique and inventive addition to the plethora of U.K. female singer/songwriters. ~ Jon O'Brien
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Alternative & Indie - Released October 7, 2013 | Domino Recording Co

Hi-Res Booklet Distinctions Qobuzissime - Hi-Res Audio
On her 2011 Mercury-nominated debut, bewitching, guitar-slinging Brit Anna Calvi delivered enough atmosphere to terraform her own planet. Elegant and poised, yet undeniably coiled and ready to strike at the first sign of a threat, songs like "Desire," "Suzanne & I," and "Blackout" sounded like a radio caught between Roy Orbison's "Crying" and PJ Harvey's "Man-Sized." One Breath, her intoxicating sophomore outing, picks right up where her eponymous first impression left off, offering up a pair of fevered, reverb-drenched, bordello-rock gems in "Suddenly" and "Eliza," before shifting gears with the icy and elliptical "Piece by Piece," one of several tracks that owe more than a cursory nod to the punchy, overcast minimalism of late-period Scott Walker. Calvi's more comfortable with pushing the envelope this time around, and One Breath feels like the work of an artist who has been given (or has at least given herself) carte blanche. Songs like "Cry," with its explosive blasts of Carlos Alomar-borne feedback, the hypnotic "Bleed into Me," which sounds like Jeff Buckley taking on King Crimson's "Matte Kudasai," and the nervy, incredibly intimate title track, may mine different areas of the sonic map, but they remain firmly entrenched in the ever-expanding Anna Calvi universe. Having eschewed much of the cavernous chamber pop of her debut for more challenging yet no less rewarding fare, Calvi's less adventurous fans may find themselves at a loss as to how to process it all, but there's something both immaculate and broken about One Breath that ultimately transcends its more difficult moments. ~ James Christopher Monger
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Alternative & Indie - Released August 31, 2018 | Domino Recording Co

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Anna Calvi can trumpet that the shy and sick child has become a sexual lioness; the score of her third album is in no way radical in its form. Still, her transformation is rather powerful as she described on social media when she came out as queer. In 2011, she released a stunning first eponymous album, where she revealed herself as much more than yet another PJ Harvey… Gifted with a mysterious organ a-la Siouxsie, armed with a 50s-sounding guitar in the vein of Duane Eddy and productions worthy of improbable Morricone/Badalamenti soundtracks, the British artist released One Breath two years later, an astounding second album, slightly evolving her singular art. Calvi leaned on dreamlike curves bordering on gothic, but also dared explore dirty and powerful sounds. With complete mastery over the writing, interpretation, arrangements and singing, she reasserted how much of a well-rounded artist she was. Something she does once again with Hunter and its very symbolic title. Supported by Nick Launay for the production (Nick Cave), Adrian Utley from Portishead on the keyboards and the Bad Seeds’ Martyn Casey on the bass, she strings together ten stunning tracks and reaches sublime heights by refining them to the extreme like on her ghostly ballad Away. © Marc Zisman/Qobuz

Alternative & Indie - Released July 31, 2018 | Domino Recording Co

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Alternative & Indie - Released July 14, 2014 | Domino Recording Co

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A stop-gap release between 2013's One Breath and her third full-length studio album, 2014's more than servicable Strange Weather EP rounds up five covers, all of which are delivered with the usual impeccable taste and gothic flair that have become Calvi's trademarks since her debut in 2011. Recorded in New York with Doveman (aka Thomas Bartlett), Strange Weather includes evocative renditions of songs by FKA Twigs ("Papi Pacify"), David Bowie ("Lady Grinning Soul"), Suicide ("Ghost Rider"), Connan Mockasin ("I’m the Man That Will Find You"), and Keren Ann ("Strange Weather"), the latter two of which feature guest vocals from ex-Talking Head and serial collaborator David Byrne. ~ James Christopher Monger
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Alternative & Indie - Released February 20, 2017 | Domino Recording Co

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Alternative & Indie - Released October 27, 2014 | Domino Recording Co

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Alternative & Indie - Released June 6, 2018 | Domino Recording Co

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Alternative & Indie - Released October 11, 2010 | Domino Recording Co

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Alternative & Indie - Released February 20, 2012 | Domino Recording Co

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Alternative & Indie - Released March 21, 2011 | Domino Recording Co

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Alternative & Indie - Released June 20, 2011 | Domino Recording Co

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Alternative & Indie - Released December 16, 2013 | Domino Recording Co

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Alternative & Indie - Released July 31, 2018 | Domino Recording Co

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Alternative & Indie - Released August 29, 2018 | Domino Recording Co

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Alternative & Indie - Released August 19, 2013 | Domino Recording Co

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Alternative & Indie - Released September 30, 2013 | Domino Recording Co

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Alternative & Indie - Released March 31, 2014 | Domino Recording Co

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Alternative & Indie - Released August 29, 2018 | Domino Recording Co

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