“Yello/Concrete” is a song about staying grounded and being present in an unpredictable world, and is also the sound of an artist confidently fusing sounds which shouldn’t quite flow together as naturally as they do. While her vocals rooted in lush neo-soul, the intricate, hip-hop styled production flows into the warmth of organic live instrumentation that’s topped by an unconventional guitar line… in true BIRTHH fashion, it’s songwriting that makes her avant-garde sound feel breezy and effortless, a true soulful artist at heart that will become big in no time. No one sounds like her.
“Yello/Concrete” was written while BIRTHH sat alone in a windowless room on a scorching hot day in Los Angeles. Her plan for the day was simple: quickly write a beat for a rapper she’d met in Chicago and then head to the beach for the day. Fate, however, had its own ideas. “I rolled a couple of joints and made two different beats. I panned one on the left and one on the right, and against all odds it sounded surprisingly nice and organic,” she recalls. Gradually the song took shape, with bass, backing vocals and nuanced details added to the growing production. “When I was done I went out to buy some water and realised it was midnight. I’d worked on the song for fourteen hours non-stop. I’m not sure how that happened, but I’m glad it did.”
BIRTHH is the project of the Florence-born 22-year-old singer/songwriter Alice Bisi, and these new singles are the first new music she’s released since her acclaimed debut album Born In The Woods came out in 2016 to critical acclaim worldwide, with NPR likening her sound to “…an ominous murmuration of fluttering robo-birds,” while the Sunday Times said “If you like Bjork and Nick Cave, try BIRTHH.” Her music is rooted in playful, pop-leaning songs that marry folk-tinged songwriting, along with laid-back jazz grooves and undercurrents of glitchy electronica. Her new album is an intricate, consistently compelling suite of immersive alt-pop that shifts willfully between genres with ease. BIRTHH wrote most of the album in her makeshift bedroom studio before completing it with Solange collaborator Lucius Page and the GRAMMY Award-winning mixing engineer Robert ‘LB’ Dorsey (H.E.R., The Roots) and GRAMMY Award-winning powerhouse mastering engineer Emily Lazar (David Bowie, The Killers, Lou Reed, Dolly Parton).