- 1Lachrymose
- 2Boys
- 32018
- 4Hours
- 5Eylvue
- 6Heavenrise
- 7Cherish
- 8Angel
- 9Holding On / Let Me Go
u(r)015
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Open edition
TAAHLIAH releases her much-anticipated debut-album ‘Gramarye’ via her longterm label partner untitled (recs).
The debut album from Glasgow-based producer TAAHLIAH is the kind of record she would have spun in her room as a teenager, and it aims to be that for the listener. With just glimpses of the slick and sexy dance music she’s become known for, it’s a bold step into weightless balladry and classic pop songwriting. By diving into pop ballad songwriting on a series of interconnected, self-sampling songs, she brings us into her internal world.
Made with a close-knit group of collaborators, including naafi, Tsatsamis, Fred MacPherson, and Dev Hynes (aka Blood Orange), the record combines the acoustic and the synthetic to create a palette that lives up to its otherworldly title.
Gramarye is a folkloric word related to magic and necromancy. TAAHLIAH first came across it in an essay by Terre Thaemlitz (aka DJ Sprinkles) in the book The Future Has a Silver Lining, where Thaemlitz notes that “the English word ‘glamour’ has its roots in the Scottish term ‘grammar’ in the sense of gramarye, or magic.” The word connects many threads of this story.
Following from the AIM award-winning EP Angelica, Gramarye is a vulnerable and confessional offering that sees TAAHLIAH sing on record for the first time. “I always knew this record would somehow inhabit my emotions,” she says. “Angelica was about my body, whereas Gramarye is about my mind.”
TAAHLIAH is known as a killer DJ and dance producer. Her slick and distinctive approach to club music has led to viral Boiler Room moments, cross-continental tours, Glastonbury appearances, and an icon status in the Glasgow club scene just a handful of years after first getting on the decks. The shift towards emotional pop songwriting and the hybridisation at play on this record feels like a reflection of what has been brewing in the international music scene for a few years. The increasing presence of live shows in the dance space – and conversely, pop artists turning to club-infused sounds – has further blurred the lines between dance and pop. With Gramarye, TAAHLIAH is placing herself at the centre of that new generation of artists challenging genres.
Shaped in part by her experience collaborating with the London Contemporary Orchestra, Gramarye is TAAHLIAH’s boldest statement yet. From the confident kick thump of ‘Boys’ and ‘Eylvue’ to the sensitive confessional writing on ‘Holding On / Let Me Go’ via the anthemic trance of ‘Dawn’, this debut bares all sides of its creator.
The debut album from Glasgow-based producer TAAHLIAH is the kind of record she would have spun in her room as a teenager, and it aims to be that for the listener. With just glimpses of the slick and sexy dance music she’s become known for, it’s a bold step into weightless balladry and classic pop songwriting. By diving into pop ballad songwriting on a series of interconnected, self-sampling songs, she brings us into her internal world.
Made with a close-knit group of collaborators, including naafi, Tsatsamis, Fred MacPherson, and Dev Hynes (aka Blood Orange), the record combines the acoustic and the synthetic to create a palette that lives up to its otherworldly title.
Gramarye is a folkloric word related to magic and necromancy. TAAHLIAH first came across it in an essay by Terre Thaemlitz (aka DJ Sprinkles) in the book The Future Has a Silver Lining, where Thaemlitz notes that “the English word ‘glamour’ has its roots in the Scottish term ‘grammar’ in the sense of gramarye, or magic.” The word connects many threads of this story.
Following from the AIM award-winning EP Angelica, Gramarye is a vulnerable and confessional offering that sees TAAHLIAH sing on record for the first time. “I always knew this record would somehow inhabit my emotions,” she says. “Angelica was about my body, whereas Gramarye is about my mind.”
TAAHLIAH is known as a killer DJ and dance producer. Her slick and distinctive approach to club music has led to viral Boiler Room moments, cross-continental tours, Glastonbury appearances, and an icon status in the Glasgow club scene just a handful of years after first getting on the decks. The shift towards emotional pop songwriting and the hybridisation at play on this record feels like a reflection of what has been brewing in the international music scene for a few years. The increasing presence of live shows in the dance space – and conversely, pop artists turning to club-infused sounds – has further blurred the lines between dance and pop. With Gramarye, TAAHLIAH is placing herself at the centre of that new generation of artists challenging genres.
Shaped in part by her experience collaborating with the London Contemporary Orchestra, Gramarye is TAAHLIAH’s boldest statement yet. From the confident kick thump of ‘Boys’ and ‘Eylvue’ to the sensitive confessional writing on ‘Holding On / Let Me Go’ via the anthemic trance of ‘Dawn’, this debut bares all sides of its creator.
