[First Published at TheGirlsAre, November 14 2014]
It’s not a shock to find out that Daisy Victoria is a film buff. There was a bubbling drama beneath debut EP Heart Full of Beef, particularly in the Norwich-based singer-songwriter’s sweeping, grandiose voice. “I’m a real visual consumer,” she says over a coffee with TGA and her brother/co-writer Sam. “When I find a film that I love, it changes the way I write for the next couple of weeks and I watch it four or five times if I find one that hits the spot.”
This month sees Victoria boasting her sophomore release Nobody Dies; a lusher, more refined effort and the product of a year that’s seen her stock rise and her confidence grow with it. Again, there’s a theatre behind the tracks. But this time it’s more subtle, part of a growing realisation that “everything has to be there” from production to instrumentation, just as a film needs a soundtrack for its dialogue to hit.
It’s also an EP that might see Victoria spoken about in her own right, rather than being compared to Anna Calvi, PJ Harvey, and Kate Bush as she has been all year. It’s not that she minds the links – she’s flattered – but there’s a growing sense from the artist herself that her sound is travelling in its own direction, something that she insists on maintaining control over: “The point of putting music out is that you’re trying to express what you’re feeling,” she says. “That’s the whole point. You can tell if it’s been manipulated.”
Victoria’s desire to fend off that manipulation, to keep her brother as her only counterpoint in the creative process, will become increasingly essential as the industry begins to circle around her, and she seems unlikely to surrender. She says she played some piano with a friend recently, working on some vocals, playing scales. “All he said was ‘YOU DO NOT WRITE SCALES LIKE THIS.’ The flats and sharps were all over the place, I think. The letters were in the wrong place”.
“But I know what I’m doing.”