Tag: I Am Snow Angel (Page 1 of 4)

2022 END OF YEAR REVIEW

Photo by Tapio Normall

It was hoped to be a year of positive electricity but with the oddball burst of negative waves, 2022 was summed up by the title of its best album.

The product of Finnish duo SIN COS TAN, ‘Living In Fear’ captured the anxieties of living with The Bear Next Door in a post-pandemic world. With billionaires taking over social media with the intent of allowing the extreme right wing an increased voice, it was as if the lessons of Trump and Bolsonaro had not been learned.

‘The Wolves Are Returning’ warned xPROPAGANDA on a track from their excellent album ‘The Heart Is Strange’, the message coming from two Germans whose grandparents’ generation “did nothing” and had made the mistake of opening up the door to the Nazis was extremely poignant.

It was as if The Cold War had never ended; the poetry of one who has escaped ethnic genocide and been separated from next of kin as a refugee has substance. So for Alanas Chosnau on his second album with Mark Reeder, this was ‘Life Everywhere’ and provided a deeper statement on life during wartime. Meanwhile China’s STOLEN presented their ‘Eroded Creation’ and explained ‘Why We Follow’.

Battles both worldwide and personal were being reflected in music everywhere with ‘War’ by I SPEAK MACHINE being another example. Things did not get much cheerier with Rodney Cromwell whose long-awaited second long player ‘Memory Box’ provided commentary on a sadly post-truth world, the so-called “alternative facts” as Donald Trump’s extremely dim advisor Kellyanne Conway liked to put it.

The decade so far has not been a barrel of laughs and the likes of UNIFY SEPARATE, BOY HARSHER, O+HER, NNHMN, VANDAL MOON and ADULT. captured the zeitgeist of the past 3 years.

Meanwhile, MECHA MAIKO maintained it was still ‘NOT OK’, I AM SNOW ANGEL felt it was now a ‘Lost World’ and Swedish duo SALLY SHAPIRO made their comeback by reflecting on ‘Sad Cities’.

As sardonic as ever, DUBSTAR presented their second collection of kitchen sink dramas since they reconfigured as a duo with ‘Two’ and reunited with producer Stephen Hague for their most acclaimed record since their 1995 debut ‘Disgraceful’.

On a more optimistic note, Italians Do It Better brought their cinematic world to London with headline shows by DESIRE and MOTHERMARY who each had new long form releases to air, while shyness was nice for the most promising breakthrough act of the year Gemma Cullingford who got all ‘Tongue Tied’ on her second long player. Meanwhile DAWN TO DAWN, ULTRAFLEX and H/P offered electronically escapist solutions to the year,

But KID MOXIE was happy to ‘Shine’ with the best video of 2022 while CZARINA got mystical with ‘Arcana’, Karin Park looked back at her ‘Private Collection’ and Patricia Wolf explored ambience on ‘See-Through’. Other female talent that shone brightly in 2022 included Norway’s SEA CHANGE, Sweden’s Hanna Rua, Alina Valentina from The Netherlands, Mexican Valentina Moretti and Anglo-French avant songstress Julia-Sophie but sister / brother duos MINIMAL SCHLAGER and SPRAY proved siblings could continue to work well together in synth.

40 years after the release of their debut album ‘Happy Families’, BLANCMANGE returned home to London Records for a ‘Private View’ while mainman Neil Arthur was keeping himself busy with FADER too. Having being shelved for 30 years, the second ELECTRIBE 101 album ‘Electribal Soul’ finally saw the light of day. And some 39 years after it was first conceived, the lost Warren Cann and Hans Zimmer opus ‘Spies’ was released in a new 21st Century recording by the HELDEN Project’s lead vocalist Zaine Griff.

Although PET SHOP BOYS celebrated their career with the magnificent ‘Dreamworld’ tour for the best live event of 2022 and joined SOFT CELL in the ‘Purple Zone’, Marc Almond and David Ball presented the disclaimer ‘*Happiness Not Included’ before announcing that they would be performing at a run of outdoor events in 2023 despite having stated their 2018 O2 extravaganza would be their last.

Also having declared a final album in 2014, RÖYKSOPP returned with the triple volumed ‘Profound Mysteries’ that featured Susanne Sundfør and Alison Goldfrapp.

Veterans Howard Jones, William Orbit, Jean-Michel Jarre and Wolfgang Flür as well as long-standing Nordic combos LUSTANS LAKEJER and A-HA released new albums but while the quality across the releases was mixed, fans were loyal and happy. After various trials and tribulations, TEARS FOR FEARS returned with ‘The Tipping Point’ and erased memories of the lacklustre 2004 comeback ‘Everybody Loves A Happy Ending’, but the duo were unable to capitalise when the majority of the UK concert tour of stately homes was cancelled due to an unfortunate accident that befell Curt Smith.

Creating a dehumanised technologically dependent Sci-Fi world, DIE KRUPPS opted for more machine than metal under their EBM pseudonym DIE ROBO SAPIENS. With NASA making its first steps back to the moon with the Artemis project, fittingly Italian producer EUGENE spent ‘Seven Years In Space’ and Ireland’s CIRCUIT3 looked back at space travel’s past on ‘Technology For The Youth’. Back on earth, THE WEEKND was still being accused of stealing from synthwave while coming up with the song of the year in ‘Less Than Zero’. In the meantime, having infuriated audiences by saying “f*ck that ‘synthwave’ stuff as u name it” in 2018, KAVINSKY was ‘Reborn’ with a second album that had much less of the wave and expanded into broader electronically generated templates with the occasional funkier overtones.

Celebrating ‘40 Years Of Hits’ on a sell-out arena tour and issuing a new album ‘Direction Of The Heart’ which featured a guest appearance by Russell Mael of SPARKS on the single ‘Traffic’ with the obligatory ‘Acoustic Mix’, as the excellent book ‘Themes For Great Cities’ by Graeme Thomson highlighted, the best years of SIMPLE MINDS are now well behind them. They are a poor facsimile of the great band they once were and as a special Summer concert in Edinburgh in honour of ‘New Gold Dream’ proved, Jim Kerr and Co can’t even play their best album properly.

Music-related books continued to be popular with Martyn Ware and Karl Bartos respectively writing their memoirs ‘Electronically Yours Vol1’ and ‘The Sound Of The Machine’. In a wider historical context, that crucial 1978-1983 period where electronic pop was more or less invented got documented in the encyclopaedic ‘Listening To The Music The Machines Make’ by Richard Evans.

2022 saw several prominent figures depart for the jukebox in the sky; Vangelis, Manuel Göttsching, Angelo Badalamenti, Julee Cruise, Dave Smith, Herb Deutsch, Terry Hall, Robert Marlow and Andy Fletcher will be sadly missed but ELECTRICITYCLUB.CO.UK was particularly devasted by the passing of German electronic legend Klaus Schulze only 4 days after he gave a rare interview to the site.

Meanwhile Dave Gahan and Martin Gore announced yet another tour of underwhelming arena shows plonked into stadiums for an as-yet-unfinished album that at least had a title ‘Momento Mori’. Ticketscalper took advantage with so-called dynamic pricing (or legalised touting) as hapless Devotees were fleeced thousands of dollars in North America… all this just to see a continually ungrateful frontman (who didn’t even sing is own words on a DEPECHE MODE song until 2005) gesture with a microphone in the air on a catwalk rather than actually singing on it and to possibly hear a pre-1985 song performed that will inevitably ruined by The Drumhead and The Noodler!

As Juls Garat of Massachusetts goth band PILGRIMS OF YEARNING observed via social media: “If you’re spending a kidney on DEPECHE MODE tickets and not attending a local show this weekend, I don’t wanna see you complaining that there’s no scene, local venues or new music anymore”. With the lack of curiosity amongst audiences who were content with nostalgia and the like, it was a difficult year for independent acts.

There is no easy answer and as the old saying goes, you can take a horse to water but you can’t force it to drink. But one promoter that did hit on an innovative idea was Duskwaves who came up with afternoon synth gigs. Hosted at various locations in the South East of England with the aim of drumming up daytime weekend business at venues, events started at 2.00pm and ended by 6.00pm to allow for an easy journey home or possibly dinner afterwards. Artists such as YOUNG EMPRESS, INFRA VIOLET, STRIKE EAGLE and AUW joined in the family friendly fun and while the concept was unusual, with classic synth audiences not getting any younger, it has potential.

While the worldwide situation remains uncomfortable and unsettling, for The Cold War generation, it all seemed strangely familiar. As Jori Hulkkonen of SIN COS TAN said in an interview with ELECTRICITYCLUB.CO.UK recently: “It feels kind of comfortable to be back in that same state of mind that you grew up in!! It’s like you grew up in not a nice place, but you get 20-30 years out of it and then you get drawn back into The Cold War state of mind. It’s where I come from and there’s nothing good about it, but somehow feels very familiar so you can handle it in a different way”.

The Cold War inspired songs such as ‘Enola Gay’, ‘Fireside Favourite’, ‘All Stood Still’, ‘Let’s All Make A Bomb’, ‘I Melt With You’, ‘Dancing With Tears In My Eyes’ and ‘Five Minutes To Midnight’ which encapsulated the nuclear paranoia of the times. So if the current tensions go on any longer, how will artistic expression be affected and driven?

But as Synthesizer Patel actor Sanjeev Kohli wittily remarked of the UK’s 41 day Prime Minister aka Mad Lizzie following her successful leadership bid: “Liz Truss has now been trusted with the nuclear button. I honestly wouldn’t trust her with the bossanova button on a broken Yamaha keyboard”.

In a year which saw the bizarre scenario of a black vicar worshipping Enoch Powell on the repulsive gammon TV channel GB News and the truth about Tory PPE scandals becoming clearer, Richy Sunak, Ugly Patel, Cruella Braverman and Krazi Kwarteng continued to be the ultimate race traitors in their Westminster tribute band A FLOCK OF SIEG HEILS. Failing to look in the mirror, their role as collaborators was all as part of a wider self-serving mission to help keep the whites Reich and line the pockets of their already loaded banker mates instead of paying nurses a fair wage. Nurses are for life and not just for Covid. So what did happen to that £350 million promised for the NHS by that pompous lying posh boy Boris Johnson if Brexit happened? As Tim Burgess of THE CHARLATANS summed it all up rather succinctly on Twitter: “Worth remembering that the real enemy travels by private jet, not by dinghy” ✊😉


ELECTRICITYCLUB.CO.UK’s 2022 playlist ‘Stay Negative To Be Positive’ playlist can be listened to at https://open.spotify.com/playlist/4Mw0Fn10yNZQcrGzod98MM


Text by Chi Ming Lai
22nd December 2022

I AM SNOW ANGEL Lost World


Singer, producer and sound designer Julie Kathryn reflects on a new life in a ‘Lost World’ for her latest body of work as I AM SNOW ANGEL.

Having relocated to the Hudson Valley with her infant son, her mind wandered as she dealt with the world’s pandemic sorrow by immersing herself in creativity at night.

Collaborating remotely with studio veteran Charles Newman whose credits have included THE MAGNETIC FIELDS and musician / composer JJ Appleton, the end result is a collection of dreamy pop with a narrative of reflection in isolation.

Beginning with ‘You’ve Been Telling Lies’, it is the sort of song that I AM SNOW ANGEL does best, quietly subversive with strange swooping sounds and faint pitched up voice samples applied to traditional song elements for something unusual.

The uptempo ‘Twisted Romance’ combines synths and ringing six string which are immediately appealing while coming over like a feminine U2, the deeper percussive resonances of the ‘Lost World’ title concoct a mood as suggested by the title and this is taken further with the spacey dub-inflected remix by David Sisko which comes as a bonus.

In a song about her son written while in quarantine, the trip-hop influenced ‘Sweet As You’ uses a minimal distorted Telecaster line as the constant while a range of textures and atmospheres work around it in an optimistic glimmer, but at the opposite end of the spectrum, the breathy ‘Tom’ is a bittersweet lament reflecting on a former beau in an impressionistic manner like a hazy awakening from a dream-afflicted sleep.

The understated pulsations of ‘Quiet & Bright’ make it sound like Karen Carpenter piloting an interplanetary craft on a trip that is both soothing and assuring. Developing the template further, ‘Bright Pink Skies’ possesses a cerebral quality with gentle vocally derived pads circulating for a lush cinematic cacophony.

The album ends with ‘Kaleidoscope’ brings a helping of hope on an acoustic six string love ballad where “everything seems so easy with you”.

Despite the melancholy and thoughts of hopelessness, ‘Lost World’ actually has gently sanguine quality about it.

Dreamy, comforting and exuding colour, this record demonstrates that in difficult times, inspiration and resourcefulness can triumph over pain and uncertainty.


‘Lost World’ is released on 6th May 2022, pre-save via https://onerpm.link/932079050122

http://iamsnowangel.com/

https://www.facebook.com/iamsnowangel

https://twitter.com/I_Am_SnowAngel

https://www.instagram.com/i_am_snowangel/

https://iamsnowangel.bandcamp.com/


Text by Chi Ming Lai
Photo by Carl Timpone
3rd May 2022

I AM SNOW ANGEL Falling Down To The Earth EP

Brooklyn based singer / songwriter Julie Kathryn is I AM SNOW ANGEL and with the onset of motherhood, she has been in a more meditative and reflective mode of muse.

The instrumental ’Elegy’ EP was released in March and showcased a more ambient side but the new EP ‘Falling Down To The Earth’ is a collection of songs of sorts and could be seen as a sequel to the ‘Mothership’ album of 2019.

Written, produced and performed by I AM SNOW ANGEL, ‘Falling Down To The Earth’ sees her return to this planet with a new clarity and presence.

All recorded in the Adirondack mountains during the pandemic, the opening title song has an electro-spiritual quality akin to Moby, centred around the repeated phrase “Falling Down to the Earth’ again with you, falling out of the sky black and blue”.

Adding a subtle metronomic beat, ‘Find My Love’ sees Julie Kathryn utilise a range of vocal treatments including vocoder for some futuristic Americana that hypnotises the listener.

With the EP containing not songs as such, but more sketches with vocals, ‘I See Your Face (In The Strangest Places)’ is the most conventional offering structurally and lyrically but it still sounds otherworldly with a marvellous understated quality. Led by piano, the instrumental ‘Joseph’ ends the EP on a plaintive note.

After the darker tinged to ‘Mothership’, the material gathered on ‘Falling Down To The Earth’ is a return to the dreamier and yes, earthier I AM SNOW ANGEL sound that captures her signature spirituality.

Another EP is due before a full length album entitled ‘Lost World’ which will be more traditional in format. Until then, it’s time to fall back down to earth.


‘Falling Down To The Earth’ is available as a download from 7th May 2021 via the usual digital outlets including https://iamsnowangel.bandcamp.com/

http://iamsnowangel.com/

https://www.facebook.com/iamsnowangel

https://twitter.com/I_Am_SnowAngel

https://www.instagram.com/i_am_snowangel/


Text by Chi Ming Lai
9th May 2021

JENNY HVAL The Practice Of Love

‘The Practice Of Love’ is Norwegian songstress JENNY HVAL’s seventh album and the opposite of its self-explanatory predecessor ‘Blood Bitch’ which included stark confessionals such as ‘The Great Undressing’ and ‘Conceptual Romance’.

Now with her anger more subdued, in conceiving her new album’s aural palette, Hval got nostalgic. “I kept coming back to trashy, mainstream trance music from the ’90s” she said, while “writing something that was multi-layered, a community of voices, stories about both myself and others simultaneously…”

Released on Sacred Bones Records, home of ZOLA JESUS and THE SOFT MOON, ‘The Practice of Love’ is quietly subversive like I AM SNOW ANGEL, a body of gentle and mature synthy pop with an ethereal quality which challenges the concept of conventional personal relationships without getting angry.

Featuring friends and collaborators Vivian Wang, Laura Jean Englert and Felicia Atkinson on additional vocals or sections of recorded conversation, it asks “What is our job as a member of the human race? Do we have to accept this job, and if we don’t, does the pressure to be normal ever stop?”

Lightly percussive loops, album opener ‘Lions’ featuring a monologue by Vivian Wang is an exotic pulsing number with Hval’s angelic vocal tones gaining great exuberance as the song progresses asking “Where is God?” in a Scandi-Gaelic styled vocal cross.

With more rhythmic looping and gated synths, ‘High Alice’ exudes a widescreen hypnotism with the surprise of slinky sax and a dreamy understated voice embroiled in optimism declaring “We are something better”. With sparkling arpeggios, the gorgeous ‘Accident’ comes over like a Nordic KID MOXIE, with harmonies, ethnic choir samples and more brass concocting some deep forest escapism.

An ambient spoken word art piece, ‘The Practice Of Love’ title track sees Laura Jean Englert and Vivian Wang expressing their thoughts on being childless. Making valid existential statements, it questions “What does it mean to be in the world? What does it mean to participate in the culture of what it means to be human? To parent (or not)? To live and die? To practice love and care?”

Recalling ‘He Said’, the gorgeous collaboration between Michael Rother of NEU! and Sophie Williams from 2004, the dreamy but solemn ‘Ashes To Ashes’ with its gorgeous swathes of synths has a subtle metallic backbone to contrast the mood. It steadily builds for a resigned acceptance of mortality as “I am digging my own grave / in the honeypot / ashes to ashes / dust to dust.”

Beginning like an avant-jazz jam, ‘Thumbsucker’ also has folky overtones but sounds unusual with a subtle electronic arpeggio figuring in the interesting hybrid of styles. The spacey ‘Six Red Cannas’ sees Hval’s friendship trio all together within a metronomic dance enhanced backdrop of trancey sequencer driven synths that still maintains a feminine mystery.

Closing with the layered hush of ‘Ordinary’ with whispers, gongs and synthetic raindrops drifting into a transcendental climax, Hval accepts “We don’t always get to choose / when we are close / and when we are not.”

A thoughtful celebration of female empowerment and the human condition, despite being only eight tracks in length, it does feel a lot longer though. Not for everyone, the lyrical expression and spiritual air may require additional investment. But for those who open-minded enough get both the sound and the sentiment, the enlightenment will undoubtedly prove rewarding.


‘The Practice Of Love’ is released on 13th September 2019 in vinyl LP, CD and digital formats via Sacred Bones Records, available from https://jennyhval.bandcamp.com/

http://jennyhval.com/

https://www.facebook.com/jennyhval/

https://twitter.com/jennyhval

https://www.instagram.com/jennyhval/

https://www.sacredbonesrecords.com/collections/jenny-hval


Text by Chi Ming Lai
Photos by Lasse Marhaug
6th September 2019

A Short Conversation with I AM SNOW ANGEL

The quietly subversive I AM SNOW ANGEL launches her most ambitious body of work yet in her second full-length album ‘Mothership’.

The space vehicle of Julie Kathryn, the multi-talented singer, musician and producer hailing from Lake Placid, an unusual combination of electronica and Americana has steadily evolved since her well-received self-titled debut EP.

Following works such as ‘Crocodile’ and ‘Desert’, the spiritual intensity of ‘Mothership’ offers a work which is rich and melodic but perhaps a shade darker than where I AM SNOW ANGEL has boldly gone before, reflecting some turbulent times in a volatile world.

Julie Kathryn kindly talked about the landing of her ‘Mothership’ and where else she might be landing…

Your first album was called ‘Crocodile’ and from the title alone, ‘Mothership’ indicates a great sense of ambition?

This album definitely felt more substantial for me from the start. It feels like one piece of music, split into acts. I knew I needed to isolate myself to create it, and that the finished product would be more intense than what I’ve created in the past. This album was something I felt compelled to create.

Spirituality has been a recurring theme in your music, is ‘Mothership’ connected to that?

Definitely, ‘Mothership’ is an intersection of traditional spirituality and paranormal / science fiction – both of which are present in my inner artistic life. At the beginning of the album, the protagonist struggles in an emotionally uninhabitable world, longing for escape – and even for abduction. When the ‘Mothership’ finally arrives, her fantasy of escape feels more like a nightmare. But in the end, she returns to an altered world where she is enlightened. She can feel love again.

How important was the interim ‘Desert’ EP on your musical journey to ‘Mothership’?

Musically, it was very important. My songwriting on that EP – in particular, ‘Desert’ and ‘Losing Face’ – took me to a deeper place, lyrically and emotionally. I think this served as a bridge to this new, more intense material.

You recorded this album alone in a cabin in the woods, how was it to be cut-off from all the distractions of the city and to function self-sufficiently?

It was so wonderful. I didn’t want it to end. I was able to get lost in artistic flow for days at a time, working around the clock in my favourite place on earth.

Is this what contributed to the nocturnal demeanour of ‘Mothership’?

Yes. In the middle of nowhere during the winter, it was dark and quiet a lot of the time. And I definitely created a lot of the music late at night or in the early hours of the morning. Those are my prime creative hours.

It all starts with a wondrous instrumental ‘Inception’ which is a new path for you?

That piece of music seems to write itself. It didn’t seem like it should have lyrics, so I left it as it was.

‘Honeybee’ is perhaps one of the album’s pivotal tracks, what inspired it?

‘Honeybee’ – like much of the first half of the album – describes a sense of disillusionment and a desire to escape. I chose sounds that reminded me of buzzing bees and gurgling honeycomb, but with an ominous edge, intended to represent a natural world out of balance. Once I settled on guitar chords and synth sounds, the melody and narrative came to me quickly.

Things seems grander on this record, ‘You Were Mine’ sounds like it’s been backed by a huge synthetic orchestra?

I remember creating the music for that song. I was sitting on the floor in front of the fireplace in the cabin with my gear spread out around me. I used some of the sounds from Ableton’s “Orchestral Strings” soundpack, looping and layering various parts – whatever felt natural. The sonic landscape for this track materialized in a really fun and intuitive way.

You’ve opted to include both variants of ‘Honyebee’ and ‘You Were Mine’ on ‘Mothership’, what were your reasons?

For ‘Honeybee’, I felt very connected to my original version – the Cabin Mix – and still I had a nagging desire to re-imagine the song once I was back in New York City. So I spent a day or two remixing my own track (which was a really fun exercise in itself) and I ended up with the City Mix. While the Cabin Mix feels very organic to me, the City Mix is more glitchy and anxious. I thought it would be fun to include them both.

With ‘You Were Mine’, I was curious to hear another interpretation of the song. I asked a collaborator whom I really respect – the Swedish artist / producer THE LAND BELOW to remix the song and I loved his dark twist on it.

You’ve applied more glitch techniques ?

Yes I definitely used some glitchy sounds on this album. In ‘Inception’ I reversed sounds of children playing and simple xylophone notes to create an eerie, subtly off-kilter mood. In ‘Prey of My Own’ and ‘Wake Me’ I chopped, warped and reversed a lot of the backing vocals. And as I mentioned before, ‘Honeybee (City Mix)’ ended up a bit glitchy and crunchy.

‘Loud and Sharp / Hard and Fast’ does what it says on the tin with talk of “falling out more times than falling in”, what was the catalyst for that?

As I was writing this, I was thinking about the concept of “falling in” or “falling out” of love. I started to wonder if there’s an exact moment when each of those occurs. In the case of “falling out”, I envisioned a loved one’s previously soothing voice suddenly sounding harsh and abrasive. And then I realized that I can recall “falling out” of love more times than I can remember “falling into” love… which seems paradoxical.

‘Prey of My Own’ is quite intense and almost claustrophobic, a case of cabin fever?

This song was partially inspired by a post-apocalyptic novel by Emily St. John Mandel, ‘Station Eleven’, that I read while I was conceptualizing this album. The characters in the book, including the female protagonist Kirsten, must fend for themselves in a wild, uncivilized world. In ‘Prey of My Own’, my protagonist has become a warrior in a cold and dangerous winter forest.

The ‘Mothership’ title song and ‘Wake Me’ both have a sombre air?

Both of these songs depict the protagonist’s abduction (or, dream of being abducted). Desperate for relief from her unhappy life, she eagerly awaits the ‘Mothership’, even drinking special elixirs in an effort to expedite its arrival. But when the ship lands, its sound is harsh and deafening. What follows (in the rest of the track and in ‘Wake Me’) is either an actual abduction or a very vivid nightmare that leaves her frightened and disoriented. When the protagonist wakes up/returns to consciousness, she finds that the world has changed, and she has changed.

The lyrical content of the closing number ‘I Love You’ could have many interpretations for the listener?

The album’s narrative ends here. Unaware exactly how long she has been gone from this world, the protagonist wakes up to an altered reality – both internally and externally. Her spiritual composition has changed, and the world feels different.

She finally feels peace and love within herself. She remembers someone she loved many years ago and makes a trek through a new futuristic landscape to find this person.

You must be very proud of ‘Mothership’, what’s the next step as far as presenting it to the wider world?

Thank you so much. I’m hoping to reach as many people as I can with this album, and I’m grateful to people like you for taking the time to listen to and share my work.


ELECTRICITYCLUB.CO.UK gives its warmest thanks to I AM SNOW ANGEL

‘Mothership’ available as a download via the usual digital outlets

http://iamsnowangel.com/

https://www.facebook.com/iamsnowangel

https://twitter.com/I_Am_SnowAngel

https://www.instagram.com/i_am_snowangel/


Text and Interview by Chi Ming Lai
Photos by Julie Drummond
2nd February 2019

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