Lia Hide | Tells No Fairytales

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Tells No Fairytales

by Lia Hide

Solid, lyrical songwriting, with eloquency, artistry, articulated arrangements: a true jewel of music production, merging dreampop with baroque and art pop, pinched with new wave, post punk and electronica, weaved with emotional intensity and sincerity
Genre: Pop: Dream Pop
Release Date: 

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  Song Share Time Download
1. Mantis
3:35 $1.70
2. This New Thing Called Honesty
4:45 $1.70
3. Dig Apple!
3:55 $1.70
4. St. Bastard the Coward
4:50 $1.70
5. The Art of Falling Is Hard to Master
3:15 $1.70
6. Johnny and I
7:27 $1.70
7. Last Night I Dreamt You Died
4:37 $1.70
8. Keeper of Psalms
4:04 $1.70
Downloads are available as MP3-320 files.

ABOUT THIS ALBUM


Album Notes
"Her music is a functional gathering of progressive and pop music, her singing should be taught in seminars, there’s love and affection in everything in her sound, and her lyrics are carefully chosen, woven in an album of pure art”
Makis Milatos - Athens Voice Paper

“And just like that, music becomes a psychoanalytical catharsis, giving you the way to hold a gun and pull the trigger, to shoot all that oppresses and hurts you; giving you the safety net to bind reality to your own explosions, so you can keep walking unharmed and non-harm-full in a society that, were it artless, we would probably all kill each other..”
Maira Zarenti - 3poingmagazine

“..her ethereal electronic soundscapes bring an austere Portishead in mind. Her voice is amazing, fluently switching between the chameleonisms of Alanis Morrisette and the robustness of Tori Amos, with high crystal notes that bring you the chills, and intoxicating mellow passages that spread in space like a light darkness”
Manolis Klironomos - rocking.gr

“Tells no Fairytales” is the third album of Greek singer/songwriter Lia Hide.

Lia Hide’s first album “Home” was released by ΕΜΙ-Universal (2013). Her second recording “Everyone Seems to Know Who I Am” was released in 2017, while in the meantime she composed music for theater and dance companies. In the past Lia Hide has had an extensive collaborative discography in the Electronica genre, on major labels and globally distributed compilations, and has worked and appeared with numerous acclaimed Greek and International artists (Tricky, Joseph van Wissem, Anneke van Giersbergen, Keep Shelly in Athens, Molly Nilsson, Kovacs, Kadebostany, KBHTA). She has been touring extensively in Greece and Europe for the past two years and is currently the leading lady of Greece’s Dark Dream Pop.

Tells no Fairytales was recorded in three studios (Kyriazis Studio, DuDuLoft and City Studios) using monumental instruments (Yamaha CP30, Mark II and Yamaha Grand pianos) and was completed, mixed and engineered by the artistic craftsmanship of Yiannis Lampropoulos. Lia Hide writes all music and lyrics, plays the keys and sings, and has arranged and produced most of the album, alongside Aki’Base (on bass) and George Rados (on drums). Panos Papazoglou plays the guitars, while the worldwide acclaimed Irene Ketikidi (guitar) is also featured in one song (Dig Apple!). Evripides Zemenides has also arranged and produced two of the songs.

The album was mastered by Denis Blackham of Skye Mastering (UK), who since 1969 has mastered Antony & the Johnsons, Brian Eno & David Byrne, Otis Redding, Yes, Status Quo, Black Sabbath, Cocteau Twins, Robert Plant, OMD, The Who, Roy Harper, Brett Anderson, Bee Gees, Steve Harley, Current 93, Elvis Costello, Dolly Parton, Jonathan Richman & The Modern Lovers, Jethro Tull, Cabaret Voltaire, Lush, Talk Talk, William Orbit, New Model Army, Tears for Fears, Dr Feelgood, Mike Oldfield, Buzzcocks, Ride, Stiff Little Fingers, T. Rex, Jean Michel Jarre, Death in June, Uriah Heep, Jimi Hendrix, Vangelis, to name but a few.

The album cover picture is by Maria Chatziathanasiades and the artwork is by Lia Hide.

In this new recording, Lia Hide has changed the way she expresses herself, both in sound and form but also in lyrics; while maintain the lyricism of her songwriting in phrase and harmony, she chose simpler song forms, and experiments on song lengths. The arrangement is carefully crafted so it exemplifies the contributing musicians and the sound blooms in radio-friendly pop landscapes (although somewhat distorted). Her themes focus on social injustice and existential crisis in the era of ethical and financial crisis, rather than romantic love. When love is the matter, it is stories of doomed romance. Her singing is as always versatile, with strong high notes, ethereal softness and velvet depths; precisely articulated and her piano virtuosity shifts from the velvety depths to the crystal heights with subtle descreetness and firm flexibility.

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