WAM FESTIVAL // WORDS AND MUSIC // DAY 2
4 days of spoken word and music performances curated by Dave Haslam.
The Orielles formed in Halifax, England when sisters Sidonie B Hand-Halford and Esmé Dee Hand-Halford met Henry Carlyle Wade at a birthday party. Still in their teens, the threesome bonded over a love of ’90s music like the Pixiesand Sonic Youth, as well as the films of Quentin Tarantino, and began writing songs together. With Esmé on vocals and bass, Sidonie on drums, and Henry on guitar, the trio crafted a sound that brought in influences as far afield as Afro-pop, disco-funk, baggy dance music, and indie pop. They began releasing music in 2014, with the “Entity” single for Scruff of the Neck, the Hindering Waves EP for Cacti, and the cassette single “Yawn” for Swirly Records. They stayed almost as busy in 2015, releasing two singles (“Space Doubt” and “Joey Says We Got It”) while playing live and going to school. The Orielles only released one record in 2016, the Jobin EP for Art Is Hard Records, but along the way they caught the attention of Heavenly Records, who signed them to a contract. Early in 2017, they hit the studio with producer Marta Salogni to record their first single for Heavenly, “Sugar Tastes Like Salt.” The nearly nine-minute track was a departure for the Orielles, as they expanded their sound and brought in a stronger dance music influence. It also got an Andrew Weatherall remix, something that definitely pleased the ’90s-loving trio. They spent the summer playing festivals and in the studio with Salogni working on their debut album. “I Only Bought It for the Bottle” was released as a single in July; then the full album, Silver Dollar Moment, followed in early 2018.
As a member of Stereolab, Lætitia Sadier helped to champion analog synthesizers during an era when fetishism for all things digital was on the rise, the British group took cues from Krautrock, lounge music, psychedelic rock and minimalism, still managing to be one of the more progressive bands of their time.
Sadier’s cool, instantly recognizable voice recalled French pop singers of the 1960s. There was an amusing irony that she was cooing anti-consumerist messages and Marxist ideology, themes she has retained in her solo work. (She was born in Paris during May, 1968, after all.)
Sadier has also carried much of Stereolab’s sound into her three solo albums, and her voice is such a focal point it’s often overlooked that she is an accomplished multi-instrumentalist, playing guitar, keyboards, percussion and trombone
LE PRINCE MIIAOU