"Almost all of Hatchie's music could slot frictionlessly into a coming-of-age film. Her songs, mostly, are misty-eyed ruminations on puppy love and its ensuing devastation; they yearn for a redamancy that feels both fated and vexingly out of reach. You can imagine Harriette Pilbeam's millefeuille harmonies soundtracking a high school prom dappled with a disco ball's refractive glimmer, or picture her fleecy guitars over a montage of light teenage debauchery."
"Liquorice, meanwhile, is more mature and less immediately palatable, eschewing the fairyfloss hooks of Pilbeam's earlier work. At its best, the record attempts to dismantle the grand romance on which Pilbeam cut her teeth. On Liquorice's dizzying first single Lose It Again, the rush of new love cedes to motion sickness as she pillories a distant suitor's convoluted poetry as close to a snarl as her honeyed vocals will allow. The propulsive poison pen letter Wonder strikes an even crueller note."
Hatchie's music evokes coming-of-age imagery, with misty-eyed songs about puppy love and its devastation. Harriette Pilbeam layers millefeuille harmonies and fleecy guitars to telegraph big feelings and adolescent melodrama. Liquorice trades earlier fairyfloss hooks for a more mature, less immediately palatable sound that interrogates grand romance. Singles like Lose It Again and Wonder transform rushes of new love into motion sickness and relish in mutual misery, using sharper, crueler lyrical turns. Earlier work mixed pop indebted to Carly Rae Jepsen and Cocteau Twins influences; Pilbeam's second record examined the brittle relationship between art, ambition, and fame during lockdown.
Read at www.theguardian.com
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