Tag: Fragile Creatures

If Whitney Houston set a benchmark for female vocalists many did before her too, but while others were influenced by them, they never felt obliged to attain a sound precisely mimicking them, as, it seems to me, many modern female singers striving for pop success do with Whitney’s. And when they do, it sounds, well, manufactured and impassive. A Liverpudlian now residing in Bristol, Hannah Rose Platt releases a concept album tomorrow, Fragile Creatures, of which I’d compare more to like of Kate Bush, whereby Hannah can weave beautiful tapestries, adapting her voice to reflect the sentiment of her narrative, mood and style of the track; and there’s a lot going on in Fragile Creatures….

It is undoubtedly a concept album, anatomising the complex relationship between women and medicine throughout history. It explores how antiquated myths and misconceptions in the pursuit of science have impacted female health, while creating countless injustices and inequalities. If this comes across sounding more akin to a poignant lecture, Hannah Rose Platt shifts between a collection of musical influences to imprint her wisdom, causing Fragile Creatures to be an altering and compelling journey of prowess and refinement.

It opens introductorily with a spoken word sample of Helen Andelin’s Fascinating Womanhood, a controversial sixties manual encouraging women to uphold their conventional marital role. Ataraxia is as calming as the meaning of its Greek philosophical title, ambiently floating over an acoustic guitar riff and drumbeat, musically reflecting on Diazepam-flavoured tranquillity, as if conformity to the sample will land us all in a world to make Aldous Huxley quiver. In this, Hannah’s voice is bitter, eerie, to convey the point.

But by the second tune, Curious Mixture, a drifting acoustic vibe, Hannah’s voice is as silky and smooth as Kylie, which shifts to a sharper more indie-punk feel as the songs progress. There’s a definite Bristol trip hop scene there too, causing me to consider Portishead as an influence. By the fourth tune we’re blessed with the most gorgeous ballad to Mary Magdalene, reminding me of Daisy Chapman’s folk angle. It’s at this conjunction I realise Hannah is reciting her deepest thoughts and observations on the theme, historically, and they’re gender ecumenical rather than bitter stabs of feminist vendetta. I didn’t feel under attack as a guy listening to this, provided I ponder the meanings Hannah so poignantly expresses.

This is eleven tracks strong, melding myths of pseudoscience, superstition and patriarchy with medicine and chronicles of the resilient and defiant women who unyieldingly fought for equality and autonomy. At times it’s Kate Bush vocalising for Massive Attack, as is the tune The Yellow Wallpaper, at others, such as La Grande Hysterie, it’s a contemporary Alanis Morissette’s Jagged Little Pill covered by Siouxsie and the Banshees. It ends playfully like musical theatre, but penultimately is horrific and beautiful in equal measure.

The album is a themed anthology. Each song has its own narrative, weaving into each other. From the tale of Anne Greene, accused of infanticide under the Concealment of Birth of Bastards Act, and pardoned after being revived from hanging to reflections on the health gap that lingers to this day. There’s so much more I still need to discover exploring its sheer brilliance as a concept and how the music compliments it.

Hannah explains the concept, “This record is both an offering and a tribute to female pioneers in medicine; and an endeavour to honour, and give voice to, the unsung heroines in the history of our health. What struck me most during the research and creation of this album was the deeply ingrained, sinister nature of myth and misconception surrounding women’s health, and the harmful, cyclical dismissal of experiences; decade after decade, century after century, often reinforced by outdated and dangerous practices. My hope is that listeners will not only be intrigued by these stories but also inspired to dig deeper and empowered to challenge the systems that have long ignored or misrepresented women’s voices, as this dismissal remains so prevalent today.”

At this I could agreeably sigh, like any poignant art which usually preaches to the converted those who really need to take heed of its message will likely overlook it. Nevertheless, if others cite Fragile Creatures as the work of an upcoming artist, I’d favour to compare the depth and production of this fantastic album to Dark Side of the Moon. And with that the right audience might spare its lesson a thought. A high but deserved accolade, in considering it took Pink Floyd seven albums to accomplish this magnum opus, when this is Hannah Rose Platt’s second; what comes next will be astounding because Fragile Creatures is a sublime keeper.

The advance single Curious Mixture is out now. Full album is released tomorrow (April 25^th) via Xtra Mile Recordings and mastered at Abbey Road, with production and playing from Ed Harcourt. Launch party is Friday 25^th at Rough Trade, Bristol.

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