Laura Burhenn
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Laura Burhenn – Chelsea Hotel No. 2
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Biography
“She catches fire. It’s just that simple.”
- Music Monthly
Is it possible for sound to make a heart bend? Musically, Laura Burhenn is the cure for what ails you. And listening to her sing is much like tilting your head to the sun. Lyrically, Laura speaks to the loneliest part of you and lifts you up. Or she draws you down into the darkest corner and shows you light. “After all,” she says, “the light might shine you, but it’s the shadow that defines you.”
Laura came to music early, aiming her Mr. Microphone into the a.m. radio and turning out songs on her mother’s upright piano. And somewhere in the space between her PJ Harvey, Beatles, and Nina Simone records, Laura found her voice. Then she sat at her piano and started to sing. “Ever since I was very small,” Laura says, “I’ve fancied myself as a bit of a conduit. I sit at the piano, open my hands, and let the songs pour in.”
A decade or so of classical piano and stints singing and playing Moogs and Fender Rhodes in rock bands and electronica projects all helped shape Laura’s eclectic tastes. “Now,” she says, “I’ve got my hands in so many places musically. I pull sounds, colors from all kinds of experiences I have and people I come to know, and paint them into my songs.” And while she might speak of songwriting like collage work, it’s hardly cut-and-paste. Her songs are at once fresh, layers thick, and wholly her own.
- Music Monthly
Is it possible for sound to make a heart bend? Musically, Laura Burhenn is the cure for what ails you. And listening to her sing is much like tilting your head to the sun. Lyrically, Laura speaks to the loneliest part of you and lifts you up. Or she draws you down into the darkest corner and shows you light. “After all,” she says, “the light might shine you, but it’s the shadow that defines you.”
Laura came to music early, aiming her Mr. Microphone into the a.m. radio and turning out songs on her mother’s upright piano. And somewhere in the space between her PJ Harvey, Beatles, and Nina Simone records, Laura found her voice. Then she sat at her piano and started to sing. “Ever since I was very small,” Laura says, “I’ve fancied myself as a bit of a conduit. I sit at the piano, open my hands, and let the songs pour in.”
A decade or so of classical piano and stints singing and playing Moogs and Fender Rhodes in rock bands and electronica projects all helped shape Laura’s eclectic tastes. “Now,” she says, “I’ve got my hands in so many places musically. I pull sounds, colors from all kinds of experiences I have and people I come to know, and paint them into my songs.” And while she might speak of songwriting like collage work, it’s hardly cut-and-paste. Her songs are at once fresh, layers thick, and wholly her own.
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