Flora Hibberd

Like a textile artist, Flora Hibberd weaves layers of meaning into their music. The London-born, Paris-based musician’s debut album, Swirl, garnered critical attention. As likely to veer into guitar or synth driven pop as to take up a 17th century traditional, Hibberd’s music presents a tapestry of everyday life shot through with cosmic signs. It is a walk in a strangely familiar neighbourhood, revealing the mystic undertones of everyday life.

Hot on the heels of Swirl comes Mammoth, which gets weirder. Produced by Ben Lanz (Beirut, The National) between a Basque mountain and the Paris suburbs, the album is populated with ghosts of history and prehistory that roam the present, to stare into the future with a clear and unblinking eye. Echoes of Lanz’s trombone and longtime collaborator Victor Claass’ feverish guitar, and whispers of familiar voices drift down from the hill, the swirling mists of an album that is at once more energetically pop, and more odd and disquieting, than what came before.