![Lampwork by Blew the Veils - Blackford Hill [BH012]](https://media.kudosdistribution.co.uk/bh012/800/cover.ki)
Lampwork
A 10 track indie pop album (33m 25s) — released November 18th 2022 on Blackford Hill
Blew the Veils is a new musical and visual collaboration between Scottish artist Vivien McDermid and Icelandic singer-songwriter Benedikt H. Hermannsson.
'Lampwork' is the duo's debut release. It's a collection of warm art-pop with emotive melodies and surreal folk lyrics with an accompanying limited-edition book of artworks by Vivien. Available Autumn 2023 as a CD with digital download plus a short run of lathe-cut vinyl singles.
The roots of the project stem from McDermid's multi-faceted approach to painting, which sees her incorporate clay, wood, fabric and found objects into her experiments. While instinctive in her approach, McDermid found herself surprised by words floating to the surface.
These evocative everyday fantasias were woven into lyrics and sent to Hermannsson in the form of scribbles and typewritten sheets, and the songwriting process would begin with guest musicians visiting the studio over the coming weeks and months.
The result of this two-year collaboration has grown into a work of lustrous beauty.
Vivien McDermid is a painter and songwriter based in Edinburgh. Recent exhibitions include 'Over Under Winter Summer' at Whitespace Gallery, Edinburgh and the group show 'Chorus' at Arusha Gallery, Edinburgh.
"McDermid's paintings are the physical manifestation of a curious mind. They are ethereal and truly captivating, transporting the viewer into a dark and playful world" Susie Brown, Founder of TRADE artists residency.
Based in Iceland, Benedikt H. Hermannsson's band Benni Hemm Hemm has toured widely, written music for theatre plays and performed at art festivals and all kinds of happenings worldwide. The band have released ten albums (written and produced by Benedikt) to critical acclaim…
"Whispy, ruminative strums with brass, strings, and fiercely emotive rhythms." Pitchfork
"Hearty brass sugared with glockenspiel and Hawaiian-whine guitar — that evoked both the ragged glories of Broken Social Scene and the sunshine prospect of Brian Wilson conducting a troupe of Salvation Army horns at a 1967 Smile session." Rolling Stone Magazine
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