Bio provided by artist:
How often do we hear from the outsider’s perspective? For rising new artist Gia Ford, those figures on the fringes of society are by far the most fascinating. Her songs tell the stories of the downtrodden to the downright dangerous. And through them, we begin to hear familiar, uncomfortable truths about ourselves.
Raised between Sheffield and Cheshire after her parents divorced, Ford developed an early passion for both poetry and original songs. “I’ve always loved writing creatively, and poetry is something I do for my own pleasure,” she says. “The two come together quite naturally, to the point that I end up writing these short stories that happen to be set to music.” This has culminated in her spectacular debut album, Transparent Things, a collection that demonstrates Ford’s signature Sheffield swagger, burnished with nods to alt-pop and psychedelic sleaze. Most of all, it shows how Ford is able to craft songs like no other artist of her generation.
“I think there’s a particular style of being very literal in a lot of modern lyrics, but I don’t find any joy in writing like that,” she explains. “It’s so morose talking about myself all the time.” Growing up, she found herself drawn to artists such as Kate Bush, Bjork, The Rolling Stones and Dusty Springfield: all enigmatic artists whose multi-layered songwriting only added to their allure. “What I’ve discovered through writing this album is, in a way, I am still writing about myself,” she says. “A few themes have come through that really surprised me.”
Transparent Things is about alienation. “Most of the characters in these songs are outcasts, all with unique ways of feeling on the periphery, somehow,” Ford says. “I’ve discovered, through the grouping of these songs, that I’m drawn to this sort of story.” While each song operates in its own realm, their subject matters create a throughline of eccentricity that turns Transparent Things into a kind of odyssey of outcasts. “Thematically it has a mythical quality, stemming from the repeated references to creatures, ghosts and undefined spirits. It’s a world of its own,” she says, “where the characters have more in common than I initially thought was possible.”
The album was recorded in LA, at the renowned Sound City Studios with legendary producer Tony Berg – known for his work on celebrated albums including Phoebe Bridgers’ Stranger in the Alps and Punisher. For Transparent Things, Berg once again demonstrates his skill at capturing the magic in storytelling: it’s all in the details. Nothing is overstated, but the subtle layering of instruments, and the irresistible pull of Ford’s writing and vocal work, make for an immersive experience.
Bio provided by artist:
How often do we hear from the outsider’s perspective? For rising new artist Gia Ford, those figures on the fringes of society are by far the most fascinating. Her songs tell the stories of the downtrodden to the downright dangerous. And through them, we begin to hear familiar, uncomfortable truths about ourselves.
Raised between Sheffield and Cheshire after her parents divorced, Ford developed an early passion for both poetry and original songs. “I’ve always loved writing creatively, and poetry is something I do for my own pleasure,” she says. “The two come together quite naturally, to the point that I end up writing these short stories that happen to be set to music.” This has culminated in her spectacular debut album, Transparent Things, a collection that demonstrates Ford’s signature Sheffield swagger, burnished with nods to alt-pop and psychedelic sleaze. Most of all, it shows how Ford is able to craft songs like no other artist of her generation.
“I think there’s a particular style of being very literal in a lot of modern lyrics, but I don’t find any joy in writing like that,” she explains. “It’s so morose talking about myself all the time.” Growing up, she found herself drawn to artists such as Kate Bush, Bjork, The Rolling Stones and Dusty Springfield: all enigmatic artists whose multi-layered songwriting only added to their allure. “What I’ve discovered through writing this album is, in a way, I am still writing about myself,” she says. “A few themes have come through that really surprised me.”
Transparent Things is about alienation. “Most of the characters in these songs are outcasts, all with unique ways of feeling on the periphery, somehow,” Ford says. “I’ve discovered, through the grouping of these songs, that I’m drawn to this sort of story.” While each song operates in its own realm, their subject matters create a throughline of eccentricity that turns Transparent Things into a kind of odyssey of outcasts. “Thematically it has a mythical quality, stemming from the repeated references to creatures, ghosts and undefined spirits. It’s a world of its own,” she says, “where the characters have more in common than I initially thought was possible.”
The album was recorded in LA, at the renowned Sound City Studios with legendary producer Tony Berg – known for his work on celebrated albums including Phoebe Bridgers’ Stranger in the Alps and Punisher. For Transparent Things, Berg once again demonstrates his skill at capturing the magic in storytelling: it’s all in the details. Nothing is overstated, but the subtle layering of instruments, and the irresistible pull of Ford’s writing and vocal work, make for an immersive experience.