Louise Patricia Crane has released a brand-new single on all digital platforms, which is titled “Snake Oil” and will be featured on her forthcoming album “Deep Blue”. Singer and songwriter’s commanding presence is complemented on this track by luminaries including Jakko Jakszyk (King Crimson), Ian Anderson (Jethro Tull) and Scott Reeder (Kyuss / The Obsessed).
Louise spoke a bit about the track saying:
I’d written a lot of notes on this notion of the “femme fatale”, looking at famous historical/legendary seductresses. I read in detail about Mata Hari, Catherine The Great, Guinevere, of Arthurian legend – they all had something in common. All were depicted as ’seductresses‘, ’sexual deviants‘, ’man-eaters‘, but when you dig a bit deeper it becomes apparent that these women – real or fictional – have not been fairly portrayed, yet their reputations as such largely remain – at least on a ’popular culture‘ surface level. This was interesting to me, as it still happens with women, speaking from personal experience too. If they want to label you in this guise of seductress, femme fatale, they will. Taking the snake oil has no effect. It won’t change anything.
Her album will be releasing on May 15th and came to be when Louise started working with Stephen Carey, who she had first met when singing with The Eden House, and it became apparent that many of the musical ideas she had nurtured independently for years might have finally found a suitable creative foil.
She was so pleased by their early experiments that she moved from her native Belfast, to Cambridgeshire to work on the record.
Working with him has been a wonderful experience I felt respected and in control of the process. He‘s also just a very talented musician who instills his playing with a lot of emotion and – dare I say it – femininity, which was so key for me and for this album. Stephen and I also share a lot of the same reverence for certain artists and aesthetics, namely Kate Bush‘s ‘Hounds Of Love’, which was my loose template for producing a record which can at one point touch on pop overtones, then the next moment take you somewhere much darker – proggy, yet still dreamy throughout.