Kathryn Williams简介
英国一女歌手。她出生于28年前，这成长于民谣家庭家庭的利物浦女孩一度想当艺术家，直到朋友坦言不讳，她才真正放下画笔，正视自己写歌演唱的才华。2001年，她以独立发行的第二张专辑《Little Black Numbers》，获水星音乐奖(Mercury Music Prize)提名年度最佳专辑。最后没得奖，惹得一堆媒体为她叫屈。 Birth name Kathryn Williams Born 15 February 1974 Liverpool, England Genres Folk Occupation(s) Musician Instrument(s) Vocals, guitar Years active 1998–present Kathryn Williams is an English singer-songwriter who to date has released fourteen studio albums, written and arranged for a multitude of artists and was nominated for the 2000 Mercury Music Prize. Kathryn Williams (born 15 February 1974, Liverpool, England)[1] is an English singer-songwriter who to date has released 14 studio albums, written and arranged for a multitude of artists,[2] and was nominated for the 2000 Mercury Music Prize.[3] Williams released her first album, Dog Leap Stairs, on her own Caw Records label in 1999 with a budget of £80. The follow-up, Little Black Numbers, garnered a Mercury Prize nomination in 2000, bringing her to the attention of a wider public.[4] In this new musical world when we talk about an artist’s body of work, we tend to think of a handful of records stretched out across of a handful of years, if we’re lucky. A changing industry and a focus on immediacy has done little to alter such notions, which makes Kathryn Williams something of an anomaly - releasing eleven full-length albums under her own name (and more with various side-projects) since her debut LP, Dog Leap Stairs, was released in 1999 via her own CAW Records label. As impressive a stat as that might be, it does little to capture the true magic of Williams work; the enchanting craft that has grown and expanded as she’s moved from one project to the next, from the breakthrough success of her Mercury Prize nominated Little Black NumbersLP all the way to her Sylvia Plath tribute project and 2017’sGreatest Hitscollection - not a greatest hits at all, in fact, rather an imagined retrospective for a fictional artist and an inspired soundtrack to Laura Barnett’s novel of the same name.
个人简历
Kathryn Williams (born 15 February 1974, Liverpool, England)[1] is an English singer-songwriter who to date has released 14 studio albums, written and arranged for a multitude of artists,[2] and was nominated for the 2000 Mercury Music Prize.[3]
In this new musical world when we talk about an artist’s body of work, we tend to think of a handful of records stretched out across of a handful of years, if we’re lucky. A changing industry and a focus on immediacy has done little to alter such notions, which makes Kathryn Williams something of an anomaly - releasing eleven full-length albums under her own name (and more with various side-projects) since her debut LP, Dog Leap Stairs, was released in 1999 via her own CAW Records label.
As impressive a stat as that might be, it does little to capture the true magic of Williams work; the enchanting craft that has grown and expanded as she’s moved from one project to the next, from the breakthrough success of her Mercury Prize nominated Little Black NumbersLP all the way to her Sylvia Plath tribute project and 2017’sGreatest Hitscollection - not a greatest hits at all, in fact, rather an imagined retrospective for a fictional artist and an inspired soundtrack to Laura Barnett’s novel of the same name.
So how do we capture that magic? One way is to pick them apart, piece-by-piece, admiring the craft that goes in to them, that elegant vocal, the eloquent way with words. Another is to simply allow these records to be absorbed, one at a time, project by project, as music should be. From dusty Americana to playful jazz re-workings, and so much more besides, every record Williams puts her name to burns with a meticulousness and an honesty that casts a spell all of her own making, following in the shadow of the listener for days at a time, for years to come.
While her best-known work is characterised by rich and honest songwriting, inspired by the greats - from Nick Drake to Joni Mitchell and beyond - Williams has continually been able to evolve as an artist because she’s always looked outside of such genre boundaries. “The things that influence you aren’t necessarily going to come out in obvious ways, unless you’re trying to copy,” she said in a 2007 interview. “I don’t sound like Lou Reed or Tom Waits. But when I listen to them, I learn.”
That aforementioned debut record, Dog Leap Stairs, which was recorded for just £80, drew favourable reviews upon release but it was Williams second record, Little Black Numbers, that saw her reputation blossom, garnering significant critical praise and earning a shortlist nomination for the much-coveted Mercury Music Prize. Continuing her somewhat prolific release schedule, 2002 brought her third album, Old Low Light, which was swiftly followed in 2004 with ‘Relations’ - a covers record which included subtle reworkings of Big Star, Neil Young, Leonard Cohen on more.
In 2006, Williams worked with producer Kate St John, who would go on to produce 2010’s The QuickeningLP, the result being Leave To Remain, Williams’ sixth studio album, and one that The Guardian claimed to be 'both beautiful and intense, her best album yet’. There was another record, of course, between these two St John-produced LPs; a collaboration with Neill MacColl, whose father, Ewan MacColl, wrote ‘The First Time Ever I Saw Your Face’, which Williams had previously performed at a special Daughters Of Albion concert in 2005.
The Quickening, was warmly welcomed, the BBC saying that it “reminds us that quietness can resound so loudly”, and it not only signified the third decade within which Williams had released a full-length album - some feat in itself - but it also kick-started her relationship with One Little Indian, the label that would go on to release both of its follow-up records in 2013’s Crown Electric(“Magnificent and melancholic” - The Metro) and 2015’s Hypoxia; a striking collection of songs that were inspired by Sylvia Plath’s The Bell Jar.
Perhaps it was the deviation from standard structure that inspired Williams next two pieces of work, both of which feel outside of the traditional form she had crafted for herself over the previous decade or so. 2016 saw the release of Resonator, a beautiful collaboration with Anthony Kerr (1995’s Young Jazz Musician of the Year), which found Kathryn “trying, voicing, and breathing new life into world famous beauties.”
Williams is an artist that continues to listen and learn from the greats while, at the same time, undoubtedly becoming one herself; approaching her twentieth anniversary with a fiery spirit and a sense of adventure that has never once wilted.
Williams released her first album, Dog Leap Stairs, on her own Caw Records label in 1999 with a budget of £80. The follow-up, Little Black Numbers, garnered a Mercury Prize nomination in 2000, bringing her to the attention of a wider public.[4]
Williams has collaborated and recorded with artists including Chris Difford, Ted Barnes, Thea Gilmore, John Martyn, Joel Salakula, Tobias Froberg, Ed Harcourt, James Yorkston, Marry Waterson, Boo Hewerdine, and Paul Smith.
In March 2021 Kathryn published her debut novel The Ormering Tide via Wrecking Ball Press
Williams sold homemade CDs of her music at her early shows which led her to setting up her own record label, CAW Records, to release her debut album Dog Leap Stairs. After her second album, Little Black Numbers, was nominated for the Mercury Prize, she signed a licensing deal with Eastwest Records. Little Black Numbers reached No. 70 in the UK Albums Chart in 2001.[7]
Her influences include Nina Simone, Nick Drake, Joni Mitchell, Bob Dylan, John Lennon, Simon And Garfunkel and Velvet Underground.[8]
Throughout her career she has toured extensively solo and with bands as well as supporting roles with David Gray, Damien Rice, Ray LaMontagne, Damien Dempsey, Melanie, Be Good Tanyas, The Riptide Movement, David Gates, Beth Orton, and in 2006 she was a special guest on Tom McRae's Hotel Cafe Tour,
In 2010, Williams signed with One Little Indian Records, who released her album The Quickening, produced by Kate St John later that year.
Her second release on the label, Crown Electric, was produced by Neil MacColl. Its lead single "Heart Shaped Stone" featured a video produced and directed by James Serafinowicz and Al Campbell.
Williams performed the title song "Beyond the Sea" for The Café, first screened on Sky1 in 2011. Her songs have also featured on episodes of How I Met Your Mother, Holby City, Weeds, David Walliams' Big Swim, and C.S.I.
In 2013, Williams was commissioned by New Writing North to produce songs in celebration of 50th anniversary of the publication of Sylvia Plath's The Bell Jar. She performed five of the resulting tunes – "When Nothing Meant Less", "Battleships", "The Mind Has Its Own Place", "Tango With Marco", and "Part Of Us" – at the 10th Durham Book Festival. Teaming up with Ed Harcourt as producer, she released Hypoxia on 15 June 2015.[9]
In 2015 Emji, a finalist on the French TV talent show Nouvelle Star, won the 11th series singing "Toboggan (You Are The One)", a song written by Williams, David Saw and John Quarmby, which was her first single.[10]
Williams appeared with Maxïmo Park at BBC 6Music Festival, Sage, Gateshead on 21 February 2015.
In 2016, Williams released her first full length jazz project with Anthony Kerr, Resonator and undertook a tour supporting Scott Matthews as well as contributing vocals to the musical Fancy Pants written by Squeeze's Chris Difford and frequent collaborator Boo Hewerdine.[11]
Her 14th album, a collaboration with author Laura Barnett featuring songs based on Barnett's second novel, Songs From The Novel 'Greatest Hits', was released on 16 June 2017[12]
A multi CD box set of Kathryn's solo work from 1998 to 2015 encompassing 10 previously released albums with 10 further CDs of bonus material was released on One Little Indian 30 August 2019.[13]
The Crayonettes[edit]
Williams collaborated with friend / former member of punk band Delicate Vomit, Anna Spencer, on a new project entitled The Crayonettes. Williams and Spencer, both tired of the same old children's CD format, decided to make their own record using their own children as an in house focus group. They released the album Playing Out: Songs For Children & Robots from One Little Indian (6 September 2010). The Guardian wrote that "Pirates On the Bus" "sounds like the Moomins playing The Slits."[14]
The Pond[edit]
The Pond consisted of Williams alongside Simon Edwards, formerly of Fairground Attraction and fellow singer/songwriter Ginny Clee, releasing their self-titled CD in 2012.[15]
BBC.co.uk called it "An elegant, charming and quietly profound record",[16] and MOJO magazine "A whirling magimix of hypnotic, funky loops, vintage beats and sensuous harmonies".[17]
Songwriting and art[edit]
Williams has been involved in writing retreats and sessions that enable songwriters to share, collaborate and produce ideas as well as learn new skills and techniques. Firstly tutoring at such events alongside Tom McRae, Samantha Parton and Chris Difford whose own retreats Williams has attended.[18] As a result, Williams has established her own writing residential courses which took place in 2014-16.
Williams was given a New Writing North commission as poet in residence at Alnwick Garden in 2006. An audio CD Words from the Garden was released in 2007 featuring writings from Williams, Nev Clay, Emma McGordon and Anna Woodford set in a soundscape by Caroline Beck, with music by Williams and Clay.[19]
As well as creating artwork for her debut album and Two, her collaboration with Neill MacColl, Williams produced the cover art for David Rotheray's Life Of Birds album.[20] and Mardous' "Revolution Over The Phone" single.[21]
Williams collaborated with The Guardian writer Tim Dowling, Chris Difford and Ed Harcourt on a 2014 Christmas single "Snowfall" in aid of The Guardian's Christmas charity appeal.[22]
She was selected as a judge for the British Poetry Society's Ted Hughes Award for Poetry 2016 in conjunction with poet laureate, Carol Ann Duffy.[23].. She also performed specially commissioned material for 'A Poet Laureate's Peterloo' commemorating the 200th anniversary of the Peterloo massacre featuring Carol, Clare Shaw, Mark Pajak, presented by Ian McMillan and broadcast on BBC Radio 4, 11 August 2019
出生于1974年的Kathryn Williams，成长于民谣家庭的利物浦女孩一度想当艺术家，直到朋友坦言不讳，她才真正放下画笔，正视自己写歌演唱的才华。但空有一箱子美好的旋律，她却从没想过要发表，好不容易在朋友鼓励下登台演唱，也立刻吸引了唱片公司注意，却又碰上录完试唱带后便没了下文的鸟事。此举反而刺激了她，于是她成立自己的厂牌CAW自己发行，从此这拿着吉他弹唱的女孩便步上了掌声不断的坦途。除了受邀出席向Nick Drake致敬的演唱会，与Bernard Butler等人同台依旧抢尽风采之外，还参与了Lee Hazelwood历年金曲的翻唱计划。一切来得突然，就像之前英国乐坛挖到David Gray那颗宝一样；这回发掘到的是Kathryn Williams这块已然发着光的玉。
1999年，Williams在她自己的唱片公司Caw Records发行了她的首张专辑《Dog Leap Stairs》。唱片由P.J.Harvey和Head乐队共同制作，据说录制唱片只花了80磅（也有消息说是75磅）。像Joni Mitchell亲自制作大多数专辑封面一样，Williams为自己的唱片设计了相当不错的封面。这张专辑由于她的清澈嗓音和简单编曲受到评论的称赞。那年九月，她出现在伦敦Barbican一场向Nick Drake致敬的演唱会English Originals上，第一次在这么多名听众（2500）前演出。她唱的Saturday Sun被认为是当晚的亮点之一，她也因此被邀请在John Martyn的2000年专辑Glasgow Walker里提供背景和声。
2001年，她以独立发行的第二张专辑《Little Black Numbers》，获水星音乐奖(Mercury Music Prize)提名年度最佳专辑。最后没得奖，惹得一堆媒体为她叫屈。原来在一年前专辑刚发表的时候，她便被誉为长久以来最令人兴奋的新生代词曲创作人：MOJO以“无止尽的感动”形容之；Time Out更以“天才”称之。甚至早在99年她初试啼声之作“Dog Leap Stairs”，NME就已经盛赞她的作品散发出“简直叫人掉下巴、不敢置信的美感”。
之后，Williams继续突破民谣的限制。她参与了电子二重唱Badmarsh and Shri 2000专辑Signs里Day by Day这首歌的创作。还有2002年，她同电子艺人Pedro合作一首Demons in Cases，这同样让人吃惊。Williams同Head在威尔士南部和纽卡斯尔录制了第三张专辑《Old Low Light》。这张专辑由East West于2002年发行，封面采用了一张家庭照片（Williams和她爸爸在海滩上）。到那时，她的合作乐队已经固定为大提琴手Laura Reid,贝司手Jonny Bridgewood,吉他手David Scott以及打击乐器手Alex Tustin。
《Relations》是Kathryn Williams的第四张专集，一张翻唱致敬专集。对于熟悉Kathryn Williams的人来说，这也是理解Kathryn Williams音乐的另一个途径：前辈们的精品由Kathryn Williams来唱会是另一种什么样的韵味。Kathryn Williams在专集的创作谈里也袒露了自己心中的忐忑，以至在录音室都是关灯才能进入状态。这张专集中最为大家熟悉的当然是Kathryn Williams翻唱的那首Leonard Cohen的《Hallelujah》，经常有人把她的翻唱和Jeff Buckley的比较。相信Kathryn Williams也会喜欢Jeff Buckley的翻唱吧，英雄总是惺惺相惜的。
期望着自己有天能如Bob Dylan与Nina Simone般长青的Kathryn Williams，她清新甜美的民谣吉他弹唱究竟如何突出，恐怕不是那些外在的名声解释得了的。因为那些潜藏在歌中，常有些似雾既缠绕又迷离，甚至梦般抽象的气质与声调，肯定是要听进了心底才能感悟。于是她被拿来与Stina Nordenstam、Beth Orton相提，与Suzanne Vega、Margo Timmins (Cowboy Junkies的女主唱)并论，彷佛企图整理出那些流窜于她们之间，总难用言语描绘出的景致。
