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The UK singer-songwriter transplant that now calls our skies home, Katy Vernon, is strumming those four happy ukulele strings on her new release Present. The record jumps off with “23.” It’s a vibrant introduction to the dark material hiding behind those bright tones and shimmering vocals. Vernon may be warm and fuzzy on the surface, but take a closer listen for a darker tone. Add her to your Sunday calendar for her show at Icehouse.
Album of the year (Country/Folk) L’Etoile Magazine 2015
Top Ten Album of the year #6 Pioneer Press 2015
Top Ten local song of the year #8 (PEARL) The Current 89.3 2015
Top albums of the year Rift Magazine 2015
ALBUM OF THE YEAR (Country/Folk): Katy Vernon, Present 2015
‘WomenFolk’ Find of the month for KFAI Radio, Sept 2012.
“Present is a kind of mini-masterpiece of melancholy and very British pop music, full of richly-drawn, delightfully developed melodies, gorgeous singing and lyric-writing and tons of great playing.” Jon Hunt. l’étoile magazine
We don’t know if you can even call British ex-pat Katy Vernon folk anymore — sure, she still twangs the uke and carries a nifty folk sensibility through this album. But Present shows her growing by such remarkable leaps and bounds that she could be equally considered “rock,” or “80s-inflected sophisti-pop” if you’re into such narrowcast labels. There’s no question that it caught on, too: tons of airplay for “Lily” and “Pearl” and a million ever-growing shows proves that there’s something about her sensibility — sad, sure, but optimistic, and sweet and just a little bit cute — that appeals massively to Minneapolis audiences. Which is great: she’s also that rare artist that got where she is later in life through sheer chutzpah and hard work rather than any kind of artificially-manufactured buzz. And smart-as-hell music — there’s no denying the beautiful, brainy lyricism of a song like “23” or the delightfully wistful “Out Of My Depth” or the coyly bouncy “Play.” This is what happens when you’ve got a ton of talent and you came up in the UK in the late-80s — you absorb all that cool and eventually filter it into your sensibility, yeah? Guessing there’s more/better to come, too. – Jon Hunt
Star Tribune, October 23, 2015 – by Chris Riemenschneider
“Her roots have been firmly planted as one of the Twin Cities’ most beloved folky singer/songwriters. Her newest album, “Present,” at once shows off her blooming relationship with her local band — with whom she will promote the album Sunday at Icehouse in south Minneapolis — as well as it touts her happy home life in White Bear Lake. One of the standout songs, “Lily,” jubilantly compares her eldest of two daughters to her favorite Crayola colors, while the ballad “Heart Is in Your Hands” celebrates motherhood. And the romantic gem “Loud” — well, let’s just say it sounds a bit randy.”
SouthernMN Secene – Rich Larson
“With her first album, Vernon made it known that she was a standout singer and songwriter, even in the sea of talent that exists in the Twin Cities. Present shows us her emotional depth and precision, along with heavy doses of insight, pop sensibility and irresistible charm. The woman who writes sad songs on a happy instrument is feeling pretty good about life. This album will make you feel that way, too.”
PRESENT – Review by Jon Hunt, letoilemagazine.com
“When Katy Vernon released her debut Before I Forget a few years ago, I called it an unrepentantly happy album — the delightfully folky songs’ inner sadness was bolstered and balanced by tons of totally contagious hope. It would have been super damn easy for her to just release Before I Forget vol. 2 and be just fine — people love “girl with ukelele singing sweet country-tinged folk songs” and a lesser artist probably would have just rested on those particular laurels. Instead, and quite amazingly, this record is a rich, fully-formed, brightly colored work of the kind of British pop that was popular in the late 80s and early 90s — think World Party, think The Wonder Stuff, think latter-day Tears for Fears, even. Dammit, that is ambitious, and a little unexpected (the influences come as a bit of a delightful surprise to me, as I adore that era of music), and as a result, Present is a kind of mini-masterpiece of melancholy and very British pop music, full of richly-drawn, delightfully developed melodies, gorgeous singing and lyric-writing and tons of great playing. The big hit: “Pearl,” which would have sounded absolutely right on any radio station in 1990, all electric-piano punches and sweet jangle and a wordless hook that will drill into your skull. Equally great: “All Fall Down,” which has a kind of righteously twangy guitar up atop and a gorgeous verse melody. There’s still uke, don’t worry — “Lily” is a delightfully cheery and jaunty piece of British music-hall, and “Heart Is In Your Hands” uses the instrument to oddly sad (and stunningly beautiful) effect (it’s usually quite a cheery thing, no?). It’s just not the main instrument anymore — that honor belongs to Vernon’s gorgeous and slightly-wavery voice which is itself quite a marvel, especially on “Heart,” which has a truly and marvelously heart-wrenching chorus. I’m happy to be a little surprised at this album’s ambition — the album elevates Vernon way above mere novelty (where she never was to begin with, thank you very much, however much people wanted to pigeonhole her into that) into a damn important local songwriter, and one to be reckoned with. Doubters take note: this is one of the three or four best local albums of the year however you want to cut it.” Jon Hunt, letoilemagazine.com
U.K. expat Katy Vernon: ‘death, drinking, disability’ songs meet the uke
The combination of getting older and having a day job is an eternal struggle with which most artists deal. On her latest album, Present, Katy Vernon finds solace and contentment in her current life, somewhat appeasing those demons that force you to create while living a “normal” life.
The record is an example of the mystery that is the human mind and a reminder that music is about making people feel they are part of something — a larger tribe. On it, Vernon digs deep into the creative psyche, revealing the complex interchange of ideas between human beings.
City Pages sat down with the U.K. expat and current Minnesotan before her album release on Sunday at Icehouse to find the process behind her latest musical venture.
City Pages: What drew you to the ukulele when you first began performing?
Katy Vernon: I’d been writing and singing for a long time but was in a creative slump. I played guitar a little but I was always primarily a vocalist and the idea of playing solo was completely daunting, so without a band I felt pretty lost. I saw Lucy Michelle play a tenor uke that had a fuller sound and really changed the way I felt about it.
A friend, Dave Kapell, had been telling me for years that it would be a good instrument for me so we went shopping together, and I literally asked the guys at Twin Town for the one Lucy played. I wrote my first song in a couple of weeks and it just felt instinctive to me to play it. It suits my voice well and I like the levity it brings to some of my sadder songs. On Twitter I call myself “singer of sad songs on a happy instrument.”
CP: What do you think is a common misconception about the instrument or even people who play the ukulele?
KV: I think most people still think it’s pretty twee. Every time I write a song on it I’m trying to make it sound different. It’s at versatile as any other instrument. I also put together Uke Fest every year and that embraces the large range of how it can sound.
We had 16 different acts this year and none sounded the same. I think you can embrace people’s misconceptions and have fun with it. There’s a history to cutesy songs being played on the uke and that’s fine but there’s so much more it can do.
CP: How did you come to working with your producer Kevin Bowe on this project? How do you think he changed the songs?
KV: I knew Kevin a little and he invited us in to his IPR [Institute of Production & Recording] sessions, which is a chance for bands to track for free and students to learn recording. I don’t think he had any idea how ambitious we were going to be when we came in. We had just come off a residency so we were super tight and we did five complete songs during that morning.
The songs didn’t change during the recording process so much. I think the biggest factor was that we had really learned how to play together and tighten up our arrangements prior to going in. I could have agonized over every choice, and Kevin would get a couple of takes on everything and keep it moving. He told me to put all the stress on him, so I did. He’s incredibly encouraging and I felt completely listened to and involved.
One song that Kevin absolutely had a vision for and that we started over after the IPR sessions was “Pearl.” We had rushed that one and so when we re-did it he made a couple of keyboard sound suggestions and we added some single uke strums and it took on more of a Roxy Music vibe. I think if we had started at his studio in the beginning rather than going the IPR route, he would have had even more creative input, but I really wanted a band sound and I feel like we got that. He took what we were all already doing and made sure we didn’t overthink it.
CP: You mentioned you write a lot about tough situations in your life, such as losing your parents at a young age. How did/does music help you move forward when you’re faced with tragedies like this?
KV: It’s always been my outlet. I found it hard to talk about a lot and at some point people expect you to just be okay and stop talking about grief, but it’s always with you. I found pretty early on that I could put my feelings into song and then luckily people enjoyed them.
It might sound like a break up song or something else that people can relate to and although I know it’s cathartic for me it’s an even exchange of pretty singing and enjoyment for the listener. So hopefully it doesn’t sound totally self indulgent. It’s just a huge part of who i am and also a way to keep my parents memory and presence in my life.
I knew after my last record that I didn’t want another whole album that focused on that though. I’m trying to grow. The record is called Present because I’m trying to live in the moment more and not look back so much and not stress about the future either. Some of my deepest fears have already come true but I have so much to be grateful for.
CP: How do you self-edit to make it not cheesy and trite?
KV: On paper I might sound cheesy, English girl with a pixie haircut singing songs on a ukulele! But anyone who’s ever seen me would know that’s not the case. I pour my heart out on stage, and I just try to be really true to how I want to express myself. I definitely self-edit anything cheesy out.
I think that’s why I found it so hard to write happier songs. Whenever I write I just want to say something I don’t think had been said a million times. Love songs and happy songs are hard without breaking into the cheese. Songs about death, drinking, and disability are more my style.
CP: Tell me about the song “Lily.” How did you come to writing that piece? What headspace were you in when you were writing it?
KV: This was my happy song success story! The chorus came to me almost fully formed in the shower, I think a lot in there, and I loved the idea of someone painting the world with happiness. My daughter Lily wakes up every single day with a powerful joyful attitude that is so foreign to me that I just marvel at it! She’s also incredibly creative and really great at art. She drew the back cover art for this record.
Once I had the idea for the song I had to do some serious Crayola research to look up all the color names I wanted to name check. I’ve never done that with a song before so it was a fun project. Of course now there’s pressure to write a song about my other kid, Daisy, but she came in to the studio and sang backing vocals so that made her happy.
CP: Any other songs on this album that you’re particularly proud of or you embody when you’re on stage?
KV: ”Pearl” is my favorite song on the record for now. It was such a turning point writing wise. I was really struggling with anxiety and grief and needed help trying to lessen some of the stress in my life. I actually turned to hypnosis therapy for help.
After leaving one session I had a strong sense of releasing some of my issues and sat down and wrote that song. It came flooding out of me all at once and is a really hooky beautiful song that I just love performing with the band.
I’d also say that the song that embodies me most right now is “23.” It’s about singing for myself and not fitting into the cookie cutter mold of whatever people judge as music industry success. I realized one night on stage that I’m not auditioning for anyone. I’ve got the gig. I gave it to myself after almost giving up. I don’t want to tell my kids they can do anything they want in the world but not tell myself that. It’s my own personal anthem!
CP: What are you excited to share at the album release show?
KV: In addition to unveiling all the new songs we will also throw in a few really beautiful covers that people haven’t heard us play before. Most importantly the evening will showcase how great the band [Clay Williams on guitar, Simon Husbands on keyboard, vocals, Chris McAtee on drums, Reed Pagel on bass, and Paul Odegaard on trumpet] is.
They have my back In every way and are some of the best players in town. No matter how I feel when I get on stage I know I will always feel better when I’m up there because playing music with them is pure joy.
“Before I Forget might be Katy Vernon’s first solo outing, but it won’t be her last. With her strong vocal presence and sharp songwriting, she has the strong possibility of becoming a force in the indie/folk genre. This album is worth a listen, and I highly recommend it.”
By Nick Habisch, Rift Magazine
“Before I Forget” showcases her willowy siren voice and ukulele-plucked, autumnal back-porch folk songs.
Chris Reimenschneider, Minneapolis Star Tribune
“”Before I Forget” is Vernon’s first solo album, her compositions are fairly sparse, leaving plenty of room for her songbird-like voice and her ever-present ukulele. There is a beauty and hope in Vernon’s voice that ultimately makes the songs feel uplifting. ”
Andrea Swennson, Local Current Blog
“”Before I Forget” is simply lovely; a celebratory, timeless, old-timey romp yes, romp, you heard me), the kind that doesn’t get made anymore, really. If you’re looking for a great record for a sun-dappled fall drive, this is your monster, my friends.”
Jon Hunt, Le’toile Magazine
“After all, you’d hate to be in the middle of a world-changing conversation, catch one of Katy Vernon’s songs out of the corner of your ear, and find yourself standing there, leaving you wondering what the hell you were talking about a minute ago. ”
Dwight Hobbes, TC Daily Planet
This debut solo CD from the London-born singer-songwriter, who used to front the local band the Camdens, is a deeply moving set of songs focused on family connections that continue to bring joy and heartache”.
Dan Israel, Star Tribune
“Katy Vernon finds her voice”
A year ago, folk artist Katy Vernon recorded her first song in her bathroom, accompanied by only her ukulele. She wasn’t happy with the quality of the recording, but it was enough to win the support of a small troop of fans and raise enough Kickstarter money to record a proper album. That record, Before I Forget, comes out next month.”
Andrea Swenson, The Current.
PAST PRESS for Katy Vernon’s past band ‘The Camdens’
“Katy Vernon’s floating vocalizations can gently caress or peak with a high-flying quality”
Minneapolis Star Tribune
“Such sweet melodies, commanding, heart-lost vocals”
PULSE of the Twin Cities
“Should please fans of the Sundays, the Smiths, and Everything But the Girl alike.”
Minneapolis City Pages