Released December 30th 2022 Sky Bishop reimagines the Garbage classic #1 Crush as a woman reclaiming her sexuality and desire through a lens of despair and heartache. Exploring the fine line between passion and obsession has been a theme spanning the pianist, singer songwriter's decade long career.
Completely self recorded Sky Bishop’s 2012 debut The Diplomat dealt with songs under the theme oppression of spirituality. Bornographic, a gothic ballad of codependency with its dark satirical lyrical refrain; ‘I love you’ lulls the listener into a false sense of security while it seduces its willing victims into a deadly embrace.
Inspired by the passing of fashion designer Alexander McQueen, the song Crocodile Skin carries the haunting line ‘Even fairies cry like men’ above the ghostly knocking of Scottish Highland drums and wistful choral vocals.
Georgia, inspired by the 1991 film Paris Trout, talks about racism, brutality and injustice during the 1940’s in the US state of Georgia.
“I wrote the music before I saw the film. The music was based on the feeling I got when people spoke of the film. I wrote the lyrics after seeing the film. It’s told from the point of view of Paris after his death.” Explains Sky.
In her follow up album Private Reel, also self produced, Sky Bishop tackles the topic of privacy in the modern era. The stand out rock track Jarrah, with its thumping drums, swirling guitars and typically Sky Bishop childlike sinister vocals taunts the listener with the incantation; ‘Eeeyahaa, eeeyaha, are you in there?’.
The quirky Luxury Queen, about the inner strength and sharp wit of a cross dresser, is given a seventies arrangement reminiscent of Genesis.
The folk strings in Peyote cast forewarning to the American War On Drugs. The song tells the story of a land spirit’s witnessing of past and present injustices on the Mexican boarder. Peyote, written four years before the Trump administration, takes on new meaning in today’s political unrest.
Sky Bishop’s self produced album, 2019’s Spectral Carnivores deals with the concept of death.
The stand out rock thumper Ostrich Plume spirals into different sonic rooms with its bridges and choruses. It’s instrumentation building and falling against Bishop’s layered vocals.
The dark atmosphere of the instrumental Oblivion has hints of Nine Inch Nails. Bishop recalls the night she wrote it:
“Oblivion was written on the spot, coming from these thoughts. It set the tone for the rest of the [Spectral Carnivores] album. The title is ironic, we fear death because of oblivion, but ultimately it’s a moot concept because love is eternal and so is music, nature and the soul.”
The Creature And The Boy toes the line between song and short story. Set to the backdrop of piano and Celtic harp, the spoken word piece sees Bishop taking on two male roles, a young curious boy and a wise ethereal creature. The pair sharing their experiences of the same Earth can move even the most ardent skeptic.