Description
#teresawinter #vinyl #vinylrecords
Teresa Winter’s latest album, Proserpine, released under Glasgow’s Night School label, showcases the artist’s most cohesive and immersive work to date. Drawing inspiration from the myth of Proserpine—Rome’s version of the Greek goddess Persephone—Winter crafts a hauntingly atmospheric journey that explores themes of transformation, elusiveness, and the interplay between the ethereal and the tangible. The album is a mesmerizing blend of experimental classical, ambient, and lo-fi pop, evoking the mystique of artists like Kate Bush and the avant-garde sensibilities of Cosey Fanni Tutti.
Proserpine is a study in contrasts, where Winter’s compositions oscillate between the concrete and the abstract. Field recordings, like the purring of a cat or the hum of a cable, anchor the music in reality, while swirling loops and ethereal vocals elevate it to a dreamlike state. Tracks like “Circles” and “Child of Nature” feature Winter’s voice as an instrument, weaving spell-like patterns that transform the music into a ritualistic experience. The album’s soundscapes, reminiscent of Annea Lockwood’s experimental textures and the emotive pull of Ana Roxanne, create an immersive atmosphere that draws the listener into Winter’s carefully constructed world.
The Roman goddess Proserpine’s perpetual movement between worlds serves as a fitting metaphor for the album’s fluidity. Proserpine is constantly evolving, with each track offering a new perspective or emotional state. The haunting “Flower of the Mountain” and the lush “New Water” demonstrate Winter’s ability to blend mythological themes with modern sonic elements, creating a unique sound that is both timeless and contemporary. The influence of James Joyce’s Ulysses and its exploration of desire and memory is palpable in Winter’s lyrical approach, adding a layer of literary depth to the album.
Winter’s Proserpine is not just an album but an experience—a deep dive into a world where myth and reality intertwine. The album’s ritualistic elements, from its choral interludes in “Lamento” to the hallucinatory quality of “Plume,” evoke the ecstasy of religious fervor, drawing comparisons to the spiritual intensity found in the works of Aaron Dilloway. Proserpine is a testament to Teresa Winter’s ability to create a sonic landscape that is both haunting and beautiful, a world that invites listeners to lose themselves in its lush, immersive depths. As with Kate Bush’s Hounds of Love or Annea Lockwood’s A Sound Map of the Danube, Winter’s Proserpine stands as a significant achievement in atmospheric music, offering a rich and evocative experience that lingers long after the final note fades.
