Wendy DuMond’s sonic world is not like others, and I mean that in the very best of ways. It just works differently, because, I guess, her mind works differently. Genres don’t exist, or if they do, they all blur and bleed into each other at the edges, and it is in these merged, liminal sonic spaces that she finds the building blocks for her songs.
‘Have Much’ covers a lot of ground, whilst effortlessly drawing together attractive sonic opposites in the most effortless and seemingly obvious ways, making connections that the rest of the music-making world seem to have missed, or at least weren’t brave enough to try. Folk delicacy runs through gothic places, gentle understatement emerges into Floyd-esque cinematic spaces, dark energies drive shimmering anthemics, shamanic vibes blend into a sort of darkwave R.E.M. groove. It’s beguiling and beautiful. It’s unexpected.
And on top of that, there are spoken-word passages inspired by poet Edna St. Vincent Millay; tales of self-deception and doubt, memory and loss, told by an unreliable narrator, thus making for a one-sided story, a blend of truth, recollection and personal interpretation… as our interaction with life so often is.
As Bog Witch DuMond brilliantly forges music from sounds garnered from the edges of the musical map, and yet, as ‘Have Much’ proves, this adventurous and strange brew is also easily accessible, wonderfully melodic and perfectly placed for the more discerning pop picker.
Music doesn’t have to follow fad or fashion, conform, or meet expectations to pitch to the more popular markets; in fact, it is better when it does its own thing, a more remarkable experience when it doesn’t merely give them what they want.
The intriguing beats the obvious every time.
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