Florrie Arnold’s career has to be one of the most enjoyable to follow as a Pop fankid, culture connoisseur, and audio-anglophile; it’s, just, good, music – period.
2010’s Introduction, 2011’s Experiments, 2012’s Late – all EPs, all independent, all soundtracks for something of an anomaly in the current industry – sonic record of artistic development, unbound by mainstream market trajectory.
April brings the Bristol-native’s fourth EP, entitled Sirens. The album’s first track, “Seashells” was released late last week and – it works.
Nearly four years after “Call of the Wild”s 2010 declaration: “I’m a woman, not a siren calling,” 2014’s Sirens welcomes Florrie’s latest incarnation as none other than that very sonic femme fatale.
Every EP is a genesis, but “Seashells” roots itself deeply in that space. If the sirens’ origin story had a soundtrack – from the classic Greek mythological figures, to contemporary songstresses in the modern music space – this track could very well be it.
Deep grooves, Indian sitar, indigenous percussion craft an aural atmosphere akin to Eden – a multilayered Mesopoptamian paradise for the audiophiles. Electronic effects run tandem with waves of Mediterranean instrumentation, and when paired with narrative lyricism leaning toward a tale of taboo passion,
How could it be… how can this be love?
How could it be? How can this be love.
I keep coming like a roller coaster, like a roller coaster, and it gets me high
I keep coming like a roller coaster, like a roller coaster, and it gets me high
the lead single makes for quite a Genesis indeed – a return to Eden with Apple and Eve…
Look at what gone and done to me, you’re underneath my skin
One bite of you, you taste so sweet, you’re underneath my skin
#watchthisspace
With Lady Gaga-dess of Love riding high on the crest of deified Venusian renaissance, and Ellie “Katniss Everdeen of the Brits” Goulding’s new drum-led movement burning to the beat drop, Florrie’s percussion-backed “Seashells” is a welcomed shore-shot.
(The) Epochauserie 
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