Brittany Davis's 'Stand Up' Is the Official Anthem of the Seattle Reign
Approached by the team itself, Davis was tasked with creating an anthem ahead of Reign's 2025 season.
"Stand up is what you do after you rise. It's that 'I'm here' energy. It's show up energy, powerhouse energy, champion energy... You can't buy this in a store!"
If anyone in the city of Seattle can create a feel-good anthem, it's self-proclaimed vessel of sound Brittany Davis. With songs such as "I Choose to Live," "Sepricon," and "So Fly," that succeed in uplifting listeners' spirits (and making them dance in the process), Davis is in familiar territory.
Davis's new song "Stand Up" has been designated as the official anthem of the Seattle Reign women's soccer team. Approached by the team itself after a difficult year, Davis was tasked with creating an anthem ahead of Reign's 2025 season with the National Women's Soccer League. As a result, Davis created a song that is an homage to community, triumphing over obstacles, and standing in your power.
Soulful and high energy, "Stand Up" was directly inspired by Andra Day's "Rise Up," which Davis covered in Reign's past season at the jersey retirement of Megan Rapinoe. The anthem also includes backing vocals from members of Reign and the Reign Academy players, in addition to support from The Royal Guard fan organization, Reign City Riot band, and the Sound Wave band.
In celebration of the new anthem, Davis and the Seattle Reign Football Club released a short film documenting Davis' creative process. In the documentary, Davis also discusses her connection to Seattle, how she creates as a blind person, and how the camaraderie of the Reign fanbase inspired her. The film was directed by Jason Bergh, who has previously worked with talents such as Jennifer Lopez, Alicia Keys, Migos, and Michelle Obama.
Whether or not you're a sports fanatic, "Stand Up" is the song to listen to when you need those big winner vibes.
"Stand Up" is now available to stream on all major platforms as of March 4th. The song will also be played before every Reign game.
Read the review for Brittany Davis's Image Issues.
Welcome (Back) to The AuralisMag
A site born out of the love of sound and storytelling.
I often think of trying to describe the music that moves me. It’s about as indescribable as an orgasm. It’s this otherworldly experience that leaves your heart racing, and there is an electric sensation on the skin that makes you tingle all over as the sounds from the speakers ripple through the crowd. For a moment, there’s a lightness in the body and you’re one with the Universe. And all your troubles melt away—at least until the artist disappears behind the curtain and the lights go up. Sadly, you're always left chasing that high. How horrid it is to feel left wanting more each time...
The correlations between sex and music are endless, and certainly, I don't think one can exist without the other... They both inspire each other, in an endless symbiotic relationship. Great sex inspires great music and great music can lead to great sex. And even more so, music is better shared with others than alone. Music, especially live, is about the communal experience. For a while, I've found myself in a messy entanglement that I can't seem to get myself out of.
However, music is my safe space and writing is my resistance.
I found it necessary to marry the two as both are constantly under threat.
Last year, I started this site as a way to talk about my favorite artists and what's happening here in Seattle (and the Pacific Northwest as a whole). Unfortunately, I didn't quite take off due to work commitments, personal emergencies, and self-doubt. Luckily, at the start of 2025, I decided to course correct and continue on my writing journey. I made it a mission to openly express my art (primarily in the form of poetry), support other art out in the community, and find people I align with. Something is brewing locally and collectively, and I thought, why not participate?
With a renewed perspective on music, writing, and life as a whole, welcome to The AuralisMag.
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Deep Sea Diver's 'Billboard Heart' Deserves the Love
Rocking between the haunting and electrifying, Billboard Heart is a creative manifestation that showcases Deep Sea Diver at their best.
Five years after Impossible Weight, Deep Sea Diver has achieved the seemingly impossible by cementing their status as a musical heavyweight. Their latest album, Billboard Heart, is a breath of fresh air in a time of tension. It’s the perfect accompaniment for a Washington ferry ride (where most of this piece was written). It’s the soundtrack for a spontaneous night out—when life imitates an indie movie. Billboard Heart is a body of work that was created with heart and soul.
Deep Sea Diver has matured since their debut album History Speaks, yet the band's fourth effort (and first release from renowned label Sub Pop) exudes a youthful joy that cuts deep. The record's 11 songs are a mix of radio-friendly pop, pensive synth tunes, and riff-heavy fare that's fit for stadiums. Rocking between the haunting and electrifying, Billboard Heart is a creative manifestation that showcases the band at their best.
Following a stint opening for Pearl Jam on their Dark Matter tour, Deep Sea Diver is ready to embark on their own headlining tour in the United States. With their Seattle date already completely sold out, and following a week-long celebration of album release events, the band is basking in their well-deserved success. The band's ascent has been over a decade in the making.
Born of a strained recording process between Los Angeles and Seattle, Dobson and Deep Sea Diver have emerged triumphant with a fresh voice. Billboard Heart was written by lead singer and instrumentalist Jessica Dobson. Dobson is joined by Peter Mansen on drums, Elliot Jackson on guitar and synthesizer, and Garrett Gue on bass. Composers for the album include Dobson, Mansen, Jackson, Yuuki Matthews, Adam Schatz, and California folk artist Madison Cunningham. Additionally, the album was produced by Dobson and Andy D. Park.
The title track leads the record, the audio opening like a sunrise. "Billboard Heart" sets the tone for the rest of the album, as a wistful song about a lost love. "What Do I Know," "Emergency," and "Shovel" are more urgent, although catchy songs. The album slows down with its fourth track, "Tiny Threads," which continues the element of unraveling in a toxic relationship. Later on, "Let Me Go" includes the talents of Madison Cunningham in another heartbreaker of a song. Billboard Heart is an extremely cohesive album, an homage to the relationships strewn about the past.
Dobson's colorful lyricism is the key ingredient that anchors Deep Sea Diver's artistry and distinguishes their music. Dobson has penned lines such as "Don't fan these sympathy flames... I'll give you anything..." (Emergency), "And I think I love you the most when you're unraveling... Always held together by tiny little threads..." (Tiny Threads), "Your confetti of thoughts are lying on the rug..." (Always Waving Goodbye), just to name a few examples of clever wordsmithing.
Mansen's frenzied percussion, Jackson and Dobson's guitars and synth work round out Gue's steady bass riffs. Not unlike its previous work, Deep Sea Diver plays with polish.
Not surprisingly, Billboard Heart contains no skips. A musical journey from start to finish, the record culminates in a melancholy, yet inviting "Happiness Is Not a Given." Dobson's lyrics leave a space for more with "I'll be the door you can open up into the arms of an ocean."
It's evident that Deep Sea Diver prioritizes quality over quantity, but hopefully the wait between albums won't feel too long, if the band plans to move forward. Overall, Billboard Heart in its entirety feels like some sort of long goodbye, but hopefully, it's not an actual goodbye.
Billboard Heart is now available on all major streaming platforms.
The record was released on February 28th and is now available on vinyl.
Deep Sea Diver is set to tour in the United States beginning March 30th. For tour dates, visit the band's website.
Townsend's Solitaire Debuts New Album 'Glad to Be Alive'
Grief is a subject that is often difficult to put into words. However, Townsend's Solitaire's first full-length album, 'Glad to Be Alive' does precisely that.
Grief is a subject that is often difficult to put into words. However, Townsend's Solitaire's first full-length album, Glad to Be Alive does precisely that. Following a series of losses, Seattle-based classically trained musician Bobby Odle took the time to document the emotional journey during his transformative 27th year. Following the events, Odle wore his heart on his sleeve and transmuted that grief into a powerful series of songs. Combined with Odle's storytelling, Glad to Be Alive is a path to healing and a piece that aims to destigmatize the conversations around grief and mental health.
For Glad to Be Alive, Odle joined forces with fellow classically trained musicians (Kirill Polyanskiy on violin, Emma McGuire on flute, Steven Higbee on clarinet, Nathan Moore on cello, and Elle Castelli on piano, with Odle on guitar and vocals) to bring forth a unique sound dubbed as "chamber folk." Glad to Be Alive is preceded by two EPs: 2023's Knitting Needles and 2022's When We Were Far Away.
As mentioned in the write-up about Glad to Be Alive's first single of the same name, "the album was recorded at Sage Arts Studios under the production of Jordan Cunningham and then mastered by Rachel Field at Resonant Mastering. Odle also takes an unfiltered approach to the rest of the musical process, as Glad to Be Alive was produced, engineered, and recorded live to two-inch 16-track tape and mixed to half-inch, two-track tape, which means that all band members were present at all times in studio."
According to Townsend's Solitaire's bio, Odle cites influences such as The Tallest Man on Earth, Adrianne Lenker, Bright Eyes, and Sufjan Stevens.
Glad to Be Alive is a direct look into Odle's life as he sings candidly about the past year's events and his pivotal relationships. Although The album was ignited by several tragedies, at its core, there is still some optimism for the journey that lies ahead.
The album opens with "Dear Old Friend," a tribute to Odle's childhood best friend Tanner (who passed away by suicide). The album transitions to "Keluarga," a song about suicidal ideation where Odle is honest about his efforts to stay alive. Later, there are audio letters to Odle's sister in "To You, From Bali," and an homage to his deceased brother Chris in "Little Brothers." The album also includes love songs such as "Raining In June pt. I" and "Raining in June pt. II."
One of the highlights of the album is "Glad to Be Alive," the album's title track. In the song, Odle ponders the meaning of happiness and grapples with trying to keep going while everything seems to be collapsing around him. The track to casual listeners may seem upbeat, but upon a closer listener, it takes on a heavier meaning.
The album concludes with "In the Morning," a call to action that urges listeners (and himself) to "Stay calm, be kind, please take your time." It's a song that encourages listeners to keep going as there's so much out there to live for. Odle is right.
As of June 28th, Glad to Be Alive is now available on Spotify and vinyl. Townsend's Solitaire is also currently on tour. For upcoming show dates, visit townsendssolitaire.com/shows.
Waiting for Pearl Jam: The Band Shines Bright With 'Dark Matter'
Following Gigaton, which was plagued with setbacks due to COVID, Pearl Jam's 12th studio album, Dark Matter, is one of the band's most personal albums and well worth the wait.
According to a child-friendly definition of dark matter, it's "that invisible glue that keeps stars, dust, and gas together in a galaxy. This mysterious substance makes up the majority of a galaxy's mass and forms the foundation of our Universe's structure."
Whether metaphorical or literal, the definition lends itself to the legacy of a Seattle band that has reached stratospheric heights following a series of phenomena that can be truly described as the stars aligning in its favor. 33 years later, Pearl Jam is still standing, their music fueled by brotherhood, lived experiences, and legions of devoted fans. With a new album, Pearl Jam shows no signs of slowing down and returns with a record that celebrates music and life itself.
On a personal level, Pearl Jam is a band that has become the invisible glue that makes up my life. It's no exaggeration when I say that Pearl Jam's music helped me through some traumatic events, allowed me to meet some dear friends, and prompted my adventures in live music.
Following Gigaton, which was plagued with setbacks due to COVID, Pearl Jam's 12th studio album, Dark Matter, is one of the band's most personal albums and well worth the wait. Guided by producer and self-proclaimed Pearl Jam superfan Andrew Watt (who has livened the work of Eddie Vedder, Rolling Stones, and Ozzy Osborne), Dark Matter finds joy in the abandonment of playing and exists as the band's most collaborative effort to date. With Watt's production as the foundation of the album, the band embraces a new direction while also making callbacks to earlier work.
As a relatively new resident of Seattle, it has been exciting to see the album rollout occur for the city's hometown heroes. I attended a listening party at Easy Street Records this past weekend in addition to the one-night theatrical experience. Both experiences, while very different, still conjured the same result. There was a plethora of excitement and a wave of praise for Dark Matter.
Prior to the album's release, Pearl Jam shared three singles. The title track was the first and for good reason. "Dark Matter" packs a punch through Matt Cameron's ferocious drum-playing and its angsty vocals. Eddie Vedder is back in peak form as the band's lead vocalist. While "Dark Matter" is a great song to set the stage, "Running" and "Wreckage" are also relatively upbeat songs that were positive nods for what was to come.
Dark Matter opens with "Scared of Fear," a frustrated, yet melancholy song about a struggling relationship. "We used to laugh, we used to sing... We used to dance, we were our own scene." It's a catchy gateway to the rest of the album and hints at the band's maturity, both in the artistic and physical sense.
"Scared of Fear" then transitions into the equally frustrated "React, Respond," which appears to be a culmination of the last four years of social and political events in the US. No strangers to activism and speaking out against political leadership, "React, Respond" takes Pearl Jam back to its roots, more specifically to the Vs. era. On the surface, the song is a call to action to unite for a greater cause. "When what you get is what you don't want... Don't react, respond."
Described as a "guitar-heavy" record, Dark Matter is heavier than some of Pearl Jam's previous albums. Mike McCready's explosive solos are peppered throughout as well as Stone Gossard's memorable riffs. More than ever, the pair plays off of each other well. As far as guitarists go, on Dark Matter, McCready is a barrage of fireworks, while Gossard's work is like a steady crash of waves—both very different types of playing, but still amazing sights to behold. Additionally, Jeff Ament's bass line grounds the music.
My personal two favorite songs on Dark Matter are side by side: "Upper Hand" and "Waiting for Stevie."
"Upper Hand" is a supersonic journey led by Gossard's mesmerizing composition. Another wistful song, "Upper Hand," longs for simpler times. With an ambient beginning, the song morphs into a psychedelic, Pink Floyd-esque sound. The song will be a favorite during live shows and is one I can't wait to hear.
Meanwhile, "Waiting for Stevie" is euphoric, and exemplifies the healing power of live music. A tearjerker (at least to me), "Waiting for Stevie" is a song that has been decades in the making. Emotional and uplifting, the song will likely find itself among other powerhouses such as "Alive" and "Given to Fly." Concluding with an electric solo by Mike McCready, "Waiting for Stevie" represents over 33 years of what makes Pearl Jam special.
Other songs such as "Won't Tell," "Something Special," "Got to Give," and "Setting Sun" help round out the record.
In numerology, 12 represents completion and creative power. As Pearl Jam's 12th album, Dark Matter is indeed a powerful addition to the band's body of work. At this point, Pearl Jam has already reached for the stars, so now it's time to see what lies beyond that. Dark Matter is emblematic of the band's expansion. Luckily, there's more than enough space to explore.
Dark Matter is now available on all major streaming platforms.
The record was released on April 19th and is now available on vinyl.
Townsend's Solitaire Is 'Glad to Be Alive' With New Single
"Glad to Be Alive" is a song that captures the struggle of keeping it together while everything is falling apart. The recurring theme of "Glad to Be Alive" is resilience.
What does happiness mean? It's a loaded concept that has a fluid definition. When everything around you seems to be falling apart, at what point can you say whether you're happy or not? It's a really tough set of questions that begets more questions. The answer can vary during any stage of life or even vary depending on the time of day in some cases.
There is still a stigma that surrounds the topics of grief and suicidal ideation—and even the definition of happiness, but Bobby Odle is tackling them head-on through his work with Townsend's Solitaire, a Seattle-based chamber folk band.
Odle's songs, largely inspired by various events in his life, are raw and honest. Pulling no punches, Townsend's Solitaire often chooses unfiltered storytelling with little use of metaphor. It's a level of honesty that is refreshing to hear.
Colored largely by the passing of his older brother Chris when he was a child, Oldle uses his platform to make sense of the more recent losses of his childhood best friend Tanner, his uncle, and a romantic relationship. Odle also speaks openly about mental health and the journey of working as an artist in Seattle. Channeling his life experiences through music, Odle has woven a series of songs for the band's first full-length album.
Leading up to the debut album, Townsend's Solitaire unveiled the first single, "Glad to Be Alive," which is also the name of the album set to come out this summer. The album was recorded at Sage Arts Studios under the production of Jordan Cunningham and then mastered by Rachel Field at Resonant Mastering. Olde also takes an unfiltered approach to the rest of the musical process, as Glad to Be Alive was produced, engineered, and recorded live to two-inch 16-track tape and mixed to half-inch, two-track tape, which means that all band members were present at all times in studio.
"Glad to Be Alive" sets the album tone, and celebrates being alive while life undergoes a series of curveballs. While some of the lyrics are heavy, the composition is whimsical and optimistic, utilizing guitar, piano, cello, violin, flute, and clarinet.
"Glad to Be Alive" is a song that captures the struggle of keeping it together while everything is falling apart. The recurring theme of "Glad to Be Alive" is resilience. As someone who has attempted to figure out how to navigate life in Seattle after trauma, the lyrics, "I've been holding on to hope... Letting myself love what I love most... Even if I'm not happy, I can still be glad to be alive," resonate. It is a reminder to Odle himself (and all of us) to keep going.
I am looking forward to hearing what the rest of Glad to Be Alive has in store.
"Glad to Be Alive" is now available to stream on all major platforms as of April 19th.
The album of the same name, Glad to Be Alive will be available on Spotify and vinyl on June 28th. Additionally, Townsend's Solitaire will be holding an album release party at Woodland Hall in Seattle with local indie-folk artist Ollella.
Celebrating the Feminine Rage and Despair of Hole's 'Live Through This'
No matter its origin or surrounding lore, Hole's most notable album has become synonymous with powering through the chaos of life. For 30 years, Live Through This has been the epitome of feminine rage and despair.
As I ponder the timing of the release of Hole's Live Through This, it seems like a cosmic joke. On April 8th, 1994, the Earth stood still as the news of Kurt Cobain's untimely passing rippled through the Universe. It was an event that rerouted the course of music history, causing a media firestorm that still burns today. Released just four days later, on April 12th, 1994, Live Through This seemed like a direct response to the occurrence, however, it wasn't—contrary to popular belief.
Live Through This is stated to be derived from a line in Gone With the Wind. Standing on top of the ashen wreckage of her plantation, Scarlett O'Hara proclaims, "As God is my witness they're not going to lick me. I'm going to live through this and when it's all over, I'll never be hungry again. No, nor any of my folk. If I have to lie, steal, cheat, or kill. As God is my witness, I'll never be hungry again."
O'Hara's words are incendiary—lit by a match of spite. She decrees that she will survive regardless of the obstacles, and thrive afterward by any means necessary. It's a pretty fitting declaration for frontwoman Courtney Love, who clawed her way from tumultuous beginnings to rock superstardom. Whether you love her or hate her, there's no denying Love carved a space for herself in pop culture.
No matter its origin or surrounding lore, Hole's most notable album has become synonymous with powering through the chaos of life. For 30 years, Live Through This has been the epitome of feminine rage and despair. Constantly pilloried, yet constantly emulated, Love was appointed patron saint of pissed-off women worldwide, as she was a mouthpiece for those who often couldn't outwardly express their own anguish—myself included.
Live Through This helped fuel my own "as God as my witness" moment, becoming a more potent influence in my life than ever before. The words always resonated with me but mutated into an anthem of survival and defiance as I embraced the rage that fueled my will to live again. Sometimes spite is that one little push that helps you move forward.
At its release, Hole's members included Love, guitarist Eric Erlandson (who also often co-wrote), drummer Patty Schemel, and bassist Kristen Pfaff. Pfaff brought the professionalism needed to craft Hole's new sound. While both albums are often considered part of the "grunge" movement, Hole's debut Pretty on the Inside was an audio diary inspired by noise and punk, and Live Through This is slightly more polished for mainstream appeal, packaging Love's frenzied wails and the band's feverish instrumentals with beauty pageant, doll-inspired, and pastel candy aesthetics.
Semi-autobiographical, Live Through This was mined from Love's experiences with toxic relationships, being vilified by the press, her launch into motherhood, and the insecurities of being with a partner who was a larger-than-life figure. At the time, Love created songs about subjects largely glossed over by her male contemporaries. On the album, Love's genius was able to shine on its own accord, forever branding herself as "The Girl With the Most Cake."
Live Through This opens with the soul-splitting "Violet," an ode to a tumultuous relationship and sexual exploitation. The twenties-inspired video follows the same themes, juxtaposing strippers with young ballerinas, who are both leered at by suited men. "Violet" is a lightning strike as Love screams "Go on, take everything, I want you to.." inviting listeners into her pain. To this day, as I listen to "Violet," I feel a curdle in my stomach when I hear "Might last a day... Mine is forever..." To me, it's a song that captures the emotional scars left behind by a bitter breakup.
"I'm Miss World, watch me break and watch me burn..." The album doesn't ease up as it moves forward to "Miss World," which hides dark lyrics under an upbeat melody and the glitz and glam of pageantry. The song laments trying to uphold beauty standards and engaging in self-destruction. On-screen, Love stands in front of a glittering sign, "Cleanliness is close to Godliness," hinting at the pursuit of perfection.
As Live Through This continues, Love's body is a battleground—whether it be due to motherhood, substance abuse, societal expectations, or sex. "Plump" details Love's experience with pregnancy and post-partum depression. Love's role as a mother is also referenced in "Softer, Softest," and "I Think That I Would Die." The biting "Asking For It" is a song that deals with rape, both in the physical and metaphorical sense.
The most successful song on Live Through This is "Doll Parts," in which Love takes on a more melancholy tone. Known for her biting lyrics and rage, "Doll Parts" takes time to despair over the insecurity of being with someone (that someone being Nirvana frontman Kurt Cobain) that the whole world seemingly desires. Love takes a step down and allows herself to exhibit a longing that isn't quite present in earlier work.
Vulnerable and sharp, Love spills her guts between the notes of Live Through This. For a little while, one of the most famous rock stars ever comes down to Earth. The sad reality of Live Through This is that as women, most of us share the same experiences. Whether it be on a small scare or a large scale, you're under a microscope.
With her private life on display and ripped apart, it's still baffling that Love and Hole were able to power through motherhood, fame, and tragedy to create something that has withstood the test of time. Despite the obstacles thrown Love's way, Live Through This showcases resilience. It says, "I'm still here and I'm not fuckin' leaving."
Because of this album, so many others have made the same declaration.
Hatis Noit Gives a Moving Performance for Her Seattle Debut
Noit, a Japanese-born, London-based vocal performer, is an autodidact who exclusively uses her voice in her work. The performer stands out due to her ability to transform and use her voice as an instrument, layering her vocals to create otherworldly harmonies.
While waiting for Hatis Noit to take the stage, the audience was seated, consoled by light pop music emanating from the speakers. There was a hushed chatter among the audience, many anticipating Noit's arrival. In between songs, I could hear mindless conversations about cushy tech jobs, weekend plans, and Seattle's streak of good weather.
A little past 8:00 p.m., the background music switched off and was replaced by an angelic voice from the back of the sanctuary of the Fremont Abbey. At first, it seemed as if the sound was from the speakers. However, Noit's real and clear, ethereal voice was the one that had taken over—much to the audience's surprise. She stood at the back of the room, adorned in a flowing white Issey Miyake-esque ensemble. As she sang, Noit slowly made her way to the stage, which held a simple setup of two microphones—one connected to a looper.
The Fremont Abbey is home to many minimalist, acoustic-dominant performances—an ideal location for Noit's first performance in Seattle. Between songs, Noit stated how she was in awe of the beauty of the city and its nature (particularly its proximity to the ocean), and was also thrilled about Seattle's great weather, which was timely for her brief visit.
According to her biography, "The name Hatis Noit itself is taken from Japanese folklore, meaning the stem of the lotus flower. The lotus represents the living world, while its root represents the spirit world, therefore Hatis Noit is what connects the two."
Noit, a Japanese-born, London-based vocal performer, is an autodidact who exclusively uses her voice in her work. The performer stands out because of her ability to transform and use her voice as an instrument, layering her vocals to create otherworldly harmonies. By her admission, Noit prefers not to use computers—opting primarily to craft her sounds live. Additionally, Noit takes inspiration from numerous avenues: "Gagaku—Japanese classical music—and operatic styles, Bulgarian and Gregorian chanting, to avant-garde and pop vocalists."
Noit's collaborations include Matmos, Kevin Richard Martin, Masayoshi Fujita, the London Contemporary Orchestra, and David Lynch for the Manchester International Festival. She has also made appearances at Milan Fashion Week. Additionally, Noit's vocals can be heard in a teaser trailer for the FX series Shogun.
After releasing her debut album, Aura, to much critical acclaim, Noit embarked on her debut tour in North America following a stint in Germany and Belgium. So far, Noit has visited cities such as Portland, San Francisco, New York City, and Los Angeles. Noit's first-ever appearance in Seattle was well-received, culminating in a standing ovation after her performance.
During her set, Noit performed various songs from Aura such as the title track, "Jomon," "Angelus Novus," "Thor," and others.
Throughout the set, almost super-human, Noit alternated between operatic vocals, birdsong, chanting, and classical Japanese music influences. There were no accompaniments, even for the percussive bits, which were created on the mics as well. Noit's range is impeccable, demonstrating her astute dedication to her craft. Through her voice, Noit was able to transport listeners to another dimension. Haunting, yet beautiful, Noit's art is the kind that needs to be experienced live. She exhibits the rare talent where her vocals are superior in person to any recordings.
Later on, in a moving performance, Noit performed her song, "Inori," which translates to "prayer." Although Noit refrains from using pre-recorded sounds, an exception was made for this song. As the room was bathed in a soft blue light, Noit played the sounds of the waves from the ocean near Fukushima, home of a catastrophic nuclear disaster that occurred in 2011. The song was created in 2017 after Noit participated in a memorial ceremony for Fukushima's evacuation zone. The performance evoked a sense of nostalgia and also melancholy. According to Noit, "Any sound has a memory of a time."
Along with the waves, was the cacophony of seagulls, construction, and the low hum of traffic. While she sang, once again, Noit roamed the room, gliding like an apparition among the eery blue glow. For a few minutes, the listeners in the sanctuary were transported to the hollowed ground that Noit gracefully paid homage to.
Noit closed out her set with "Sir Etok," (translating to "Where the land ends") inspired by her birthplace in Hokkaido, Japan. Considered one of the most beautiful places in the country, and home to some of the last untouched swaths of wilderness, Shiretoko serves as Noit's muse. Before the song, Noit described feeling lost following her move to London. "Shiretoko" was a way to reconnect to her roots. It was an emotional close to an outstanding set.
Noit's next U.S.-based performance for the Aura tour will be on April 5th at the Mission Creek Festival in Iowa City, Iowa.
Noit's debut album, Aura, is now available via Erased Tapes.
For more information on Hatis, visit hatisnoit.com.
