The Glasgow artist’s latest cut Liquid Love kicks this off and is uniformed by sexy bass tones, a lax beat, and a beautiful sound mixing influences from dream pop, trip hop and jazz, inducing sensation like you’re floating in an exotic astral plane. It’s super chilled and super engaging; especially the sax solo; and Hannah’s voice is incredibly endearing.
Shadows follows, and again just such an indescribably authoritative drawing power enforced from such low-key music. The reflective pondering words sparks images in your head, and the environmental extras like the chirping of birds emphasises them; more of that in the brief Too Far Gone itself, where the distorted piano keys are so sweet, the pounding beat is sharp and it’s altogether loose and wistful.
Then that brings us to Flames, the very single that got me enamoured by Hannah in the first place. The acoustic chords intermixed with the electronic notes and other eventually added details, I love a lot, and the writing packs a punch as they consider all their faults, acknowledge them, apologises for them, and sets to burn them to bits and be shed of them once and for all.
Too Far Gone is an immaculate debut EP, and Hannah is special. It cannot be understated enough just how gripping their music is on both a sonic and written level, it must be experienced to be believed. Terra Kin is handily one of my favourite Scottish discoveries of 2022, and you can expect them to rise fast in 2023.
SMALL MUSIC SCENE 