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Norwegain duo Soft as Snow have a sound and identity like no other. Dummy Magsazine describe them as "forward thinking pop music that unleashes a wave of emotion." while the Fader say "Their music has an inner strength that curls and coils skyward, shooting lasers into infinity.” Stereogum go one further with their priase of the band describing their music as “Wild, impressionistic electronic music that splits the difference between Purity Ring’s exquisite beat-driven pop songs and The Knife’s brain-blasting experiments.”
HTH 022 | Glass Body (debut 6-track EP, 180g 12” - Cover photos & design by Julie Born Schwartz)
Glass Body is the debut EP of opaque pop from Norwegian duo Soft As Snow. A whole host of analogue machines combine on title track 'Glass Body' to create rippling synth waves that climb ever higher. It's the delivery of singer Oda Egjar Starheim that sets this apart though, her commanding, almost deadpan, vocals keeping the track grounded. There are traces of The Knife in tracks like 'Halo Heart', though things are kept more hazy and obtuse around the edges. 'Black Birds' carries a shoegaze influence (the band share their name, probably not so coincidentally, with one of My Bloody Valentine's finest tracks), with the duo crafting deep pools of noise.
HTH 032 | Glass Body Remixed (12" Remixes)
Norwegian duo Soft as Snow return with a collection of reworks of their experimental electronic pop. Italian techno producer Lucy (of Stroboscopic Artefacts) transforms ‘Halo Heart’ into a dancefloor-ready number with the addition of a pounding kick drum. Gang Gang Dance’s Brian DeGraw plays around with the high frequencies of ‘All Our Beasts’ to create a bouncy synthetic sound. But the EP’s highlight is a stonking remix of ‘Glass Body’ by Factory Floor’s Gabe Gurnsey which renders the original into a 7-minute long sweat-dripping acid workout.
HTH 039 | Chrysalis (180g hot pink vinyl 12” with high-gloss sleeve, and Houndstooth-patterned dust sleeve)
Norwegian duo Soft As Snow return with their second EP Chrysalis. Oda Egjar Starheim and Øystein Monsen are like a more abrasive version of The Knife, with Oda’s vocal style bearing unmistakable resemblance to Karin Dreijer Andersson. Chrysalis is less hymnal than its 2014 predecessor Glass Body and instead invokes a progressive chaos of industrial melodies. ‘I Adore’ presses ahead with tough kicks and assertive hi-hats, ‘Her Blood Is Gold’ sounds like Doldrums ca 2012, and the flustered sequence of ‘Fluid’ doesn’t give us a minute’s rest before the dissonant synth of ‘Mouth’ overshadows everything else.
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