Katherine Priddy - Pendulum Swing - VINYL LP

British singer-songwriter Katherine Priddy is to her much-anticipated sophomore album The Pendulum Swing via Cooking Vinyl. This follows her highly acclaimed 2021 debut The Eternal Rocks Beneath, which announced Priddy as a singular new talent on the contemporary roots music scene. Speaking about the single, InchFirst House On The LeftInch, and the wider themes on the album Priddy commented InchDespite it's soft and dreamy sound, this song provides the cornerstone around which the album and it's themes orbit.InchThe album title The Pendulum Swing is taken from a line in this song and describes the urge to leave and the even stronger urge to return. It also sums up this second album as a whole nicely - Inchdespite moving forward and feeling the need to do something different with this second , I still can't help but return to those fundamental, unchanging things at the root of it all home, family, love.Inch Overall, I wanted this song and the album to feel lived in, and this is captured in part by the ghostly atmospheres, mechanical clockwork sounds, creaking floorboards, indistinct whispers and old tape recordings of my family that are littered throughout. I want to invite the listener to come in, sit down and inhabit the album for a little while, and this song is right at the heart of that.InchOnce again recorded in Birmingham by producer Simon J Weaver, guest musicians comprise John Smith (lead guitar), Harry Fausing Smith (strings), Marcus Hamblett (brass/double bass), George Boomsma (guitar, backing vocals, co-writer on track InchReady To GoInch), Polly Virr (cello) and even a brief appearance from Priddy's family members right at the end of the album, in keeping with it's themes. With The Pendulum Swing, Priddy has managed to keep moving forward whilst acknowledging and honouring all that has gone before.

Kadi Yombo, published in 1989, is the most successful album in the quest for a fusion between tradition and modernity in Bwiti harp music of the Tsogho people of Gabon. Combining beating rattles with a layer of synthesizers, Papé Nziengui blends in a contrapuntal dialogue characteristic of harp playing male song in appeal and female choir in response, male voice of the musical arc and rhythms of female worship. But above all it's Tsogho ritual music and modern studio orchestration. The result is an initiatory itinerary of 10 musical pieces which are all milestones likely to be simultaneously listened to, danced, meditated on, and soon acclaimed. In the years since, Nziengui has traveled he world from Lagos to Paris, from Tokyo to Cordoba, from Brussels to Mexico City to become a true icon, the emblem of Gabonese music. Like Bob Dylan, InchelectrifyingInch folk and Bob Marley mixing rock with reggae, some purists have criticized Nziengui for having distorted the music of harp by imposing a cross with modern instruments. They even went so far as to claim that Nziengui was just an average harpist covering his shortcomings with stunts that were only good for impressing neophytes; like playing a harp placed upside down behind his back or playing two or three harps simultaneously. Sincere convictions or venomous defamations, in any case, Nziengui never gave in to such attacks, imposing himself on the contrary to pay homage to the elders (Yves Mouenga, Jean Honoré Miabé, Vickoss Ekondo) while instructing the maximum of young people. He is thus the promoter of many young talents, the most prominent of which is certainly his nephew Jean Pierre Mingongué. In a conservative society where the sacred is confused with secrecy, exposing the mysteries of Bwiti in broad daylight can be punished by exclusion or even execution. Papé Nziengui has always claimed that he faces such risks

The new record follows Priddy's sophomore LP The Pendulum Swing which firmlyestablished her as one of the most exciting artists on the contemporary British music scene.Produced by Rob Ellis (PJ Harvey, Anna Calvi, Bat for Lashes), These Frightening Machineswas written over the course of a year as Priddy made the transition from her 20sto her 30s. The most sonically varied of her career, the songs span a full spectrum of emotions fromanger and despair to hope, longing and lust, from reclaiming the voices of women silencedby history, to expressing solidarity and love, to confronting illness, disconnection, thevulnerability and importance of relationships, and the general ache of growing older and notalways wiser. They explore what it means to keep going when things fall apart, to hold ontoconnections in a world that sometimes divides, and to figure out where we fit into themachines and systems we find ourselves a part of.InchI wanted to end this album on a question mark,Inch said Priddy Inchas whilst I'd have hoped tohave it all figured out by the third album and my third decade, I've come to accept thatperhaps part of being human is being a perpetual work in progress. Could this collection ofsongs be enough? If it strikes a match and casts a little light for anyone who has ever felttheir body falter, their love waver, or time slip through their fingers, then that's enough forme.InchGuests include singer/songwriter Torres who duets on 'Madeleine' and Richard Walters whoduets on 'I'm Always Willing'. Revered, alt folk multi-instrumentalist Ben Christophers(Natasha Khan, Guy Garvey and many more) features on most of the album's tracks.Priddy will take to the road in April/May 2026 for a lengthy UK headline tour.