Blurring the boundaries between Electro and Alt-pop, Art School Girlfriend’s Moon explores the interactions that can only exist in the darkness whilst providing an ethereal follow up from her debut EP Measures.
Polly Mackey cut her teeth as part of the brooding post-punk inspired band Deaf Club – another young group tipped for greatness only to never really emerge. It was a period which saw her make the move from North Wales to London, giving plenty of opportunity to become at home on indie stages across the UK.
Deaf Club’s atmospheric and moody outlook provided the perfect setting for Polly’s ethereal voice; a sound which seems to have shaped Art School Girlfriend’s debut EP, Measures, released last autumn on Wolf Tone records.
Moon feels like a step change however. Sharper, snappier and more self assured, it brushes away any previous Siouxsie or Smith influences and establishes what is and what will be Art School Girlfriend. A track that fizzes with energy, Moon feels vastly spacious and rich in electronic texture. The production techniques and sounds are undoubtedly vintage: poly pads, drum machines and so much vocal reverb she could be in the next room (I’m looking at you Phil Collins…) It actually comes together in a form that feels very present.
Despite being both producer and singer, the vocals are not overly prominant and instead sit neatly amongst the soundscape. As the track progresses, a simple drum acoustic drum groove really fills out the mix as the ostinato drops away and distorts, giving a much more organic feel to the track. With Paul Epworth’s Church Studios at her disposal, it’s no surprise that her’s is a polished sound. Having been picked up by Epworth’s Wolf Tone record label, Art School Girlfriend now follows a producer who has worked with everyone from Adele through to Bloc Party, with writing credits for Kate Nash’s Foundations and Friendly Fires’ Jump In The Pool.
Definitely one to watch, Art School Girlfriend will be touring the UK this October.