Release Date: Feb 16, 2015
Record label: Dirty Hit
As a former Bedales pupil, Burberry model and friend of Laura Marling and supermodel Cara Delevingne, 22-year-old Hackman’s background may prove both a help and a hindrance, but her debut begs to be judged on its own terms. Although it could be loosely dubbed electro folk, her music’s unsettling quality and old-as-the-hills delivery makes her different. Full of shadows and animalistic imagery, her songs are like journeys through haunted forests or the darker crevices of her mind.
There’s a distance to Marika Hackman’s delivery. Separated from folk’s traditions - and its present day characters - instead of following a parade, she’s more likely to be found building a house of her own in the darkest corner of the woods. A tiny, isolated space will do - all she needs is a box of matches for the fire, a notebook and her trusty guitar.
We’ve had our eye on Marika Hackman for some time now. Since 2012, to be precise, when we saw her play a spine tingling show in Dalston’s teeny tiny Servant Jazz Quarters, at the launch party for her debut single, You Come Down. Since then we – along with everyone else she’s wooed along the way – have been keenly awaiting her debut long player.
“Potential” is a word that comes loaded with prefigured disappointment—it doesn’t guarantee anything and its fulfillment is never certain. When she first arrived on the scene, Marika Hackman was barely 20, an artful ingénue with potential in excess. Now, with two lauded EPs behind her, Hackman’s debut album We Slept At Last proves once and for all that the buzz was not without basis.
Head here to submit your own review of this album. "I want to change with each record, and experiment with each release, right from the start," Marika Hackman said in a recent interview with The Guardian as she spoke of the creative freedom she felt when writing her debut album We Slept at Last. Experimentation doesn't always have to come from the leftfield, and sometimes just nudging the boundaries towards a place where you can explore old ideas but in new, interesting ways, can be enough to create a sense of ownership between a singer and their sound.