Deep Throat Choir release album title track ‘In Order to Know You’ Inbox contact@thepartae.com

A rolling piano buoys up ‘Lighter’, which channels Sun Ra’s influence into a song that upholds the support found in mutual connectivity. Meanwhile, the gorgeous swoon of ‘Patience’ again illuminates how individual singers’ experiences can take shape within the choir, to become something held by all. “I wrote ‘Patience’ as a kind of eulogy for my mum’s funeral,” says Rosa Slade. “Music for me was the easier way to express a combined and confusing feeling of grief and celebration of life. I joined Deep Throat a few months later and found the choir space brought such deep holding through song and collectivity. When Luisa began to compose and gather for the second album, it felt natural somehow for the song to be held by those voices too; so it could live by transforming into something new and shared; becoming multiple stories existing in unison.” 

From there, In Order to Know You heads towards its climax without seeming to touch the ground, from the title track’s devotional exhalation to the stealthy, smoky shimmer of ‘Unstitching’. Its lyrics drawn from a poem by Emma Cleave, the sublime ‘Field of Not Knowing’ closes the album in a vivid tapestry of folk-gothic images and serene-to-soaring arrangements.

For Deep Throat Choir, the result is both a culmination of journeys taken so far and a lustrous springboard for further adventures. Their travels began in 2013, when the collective took shape from a desire to strip music back to the basic elements of raw voices and drums, united in a fashion that both honours and transmogrifies personal expression. A small group of four or five singers steadily expanded, with Zara Toppin’s drums providing a propulsive energy. Cathartic live shows and collaborations followed, ranging from team-ups with Peggy Sue, Stealing Sheep, Horse Meat Disco and Matthew E White to a fruitful collaboration with techno-pop duo Simian Mobile Disco on the 2018 album Murmurations followed: a testament to the choir’s alchemical abilities.

At a residency at the Prah Foundation, Margate, seeds were sown for the new songs. An increased confidence bloomed as the band pushed at its boundaries, an evolution aided by engineer Andy Ramsey and the vast range of the contributors’ musical talents. Emerging organically, the songs reflect the experiences and worlds of the singers who contributed to the writing process. Alongside soloists Tanya Auclair, Liv Stones, Holly Holden, Elly Condron, Miryam Solomon, Fikir Assefa, Maddie Rix, Rosa Slade, Heloise Tunstall-Behrens, Fran Lobo and Gerstein, new contributors included brass players Marcus Hamblett and Emma Gatrill, plus pianist Sam Beste. From within the choir, Kate Burn played cello, Sarah Anderson played violin/viola, Tunstall-Behrens played bass and Auclair contributed synth parts. Recording took place before lockdown; Gerstein produced, while Jimmy Robertson (Anna Calvi, Peggy Sue) mixed the record.

The album title reflects that drive towards a kind of questing togetherness. “We made this music in order to know and understand each other more fully,” says Gerstein, “and that’s what music is in general. We’re saying it to each other, and to the listener.”