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A vocalist, a painter, and a producer... is there anything Anastasia Coope can't do? This aural exploration finds her indulging in what Jagjaguwar are calling "ghostly, spectral, far-out folk", but in reality is so much stranger. Daring, contemporary, and strikingly strange, Darning Woman takes threads of language past and transmutes them into modern magic, and we're absolutely here for it. - Flying Out
The feeling that Anastasia Coope's music transmits seems to emanate from a precipice beyond the material world, like a void or memory pressing up against the veil. It’s exacting and enveloping, but unmoored in space and time: ghostly, spectral, far-out folk. Darning Woman, her debut album, feels like a dispatch from another past. Akin to lullabies or nursery rhymes, its minimal folk instrumentation contorts into something staccato and strange led by Coope's expressive, stratified vocals.
In spite of the suggestion of antiquity that runs through Darning Woman, 21-year-old, Brooklyn-based Coope is very much a contemporary artist. Born to an English father and American mother (whose original Martin acoustic she uses to compose), she was raised in the New York village of Cold Spring. The lonely landscapes and small towns of the Hudson Valley populate her songwriting, setting wintry backdrops against the acrobatics of her voice. Her experience making this record was a largely insular one, too; she began recording music while staying at a relative’s empty home in Beacon, NY, experimenting with recording software in an empty living room, singing directly into the open space. Until that point, Coope had only thought of herself as a visual artist, not a musician– but it felt right immediately. Throughout the next year, she worked to invent the lush, sweeping universe conveyed here.
Tracklist
- He Is on His Way Home, We Don’t Live Together
- Women’s Role in War
- What Doesn’t Work What Does
- Darning Woman
- Sounds of a Giddy Woman
- Woke up and No Feet
- Sorghum
- Newbin Time
- Return to Room
