TORIA WOOFF – self titled – review

TORIA WOOFF – self titled – review
Sloe Flower Records

The self-title debut album from Lancashire-born singer-songwriter Toria Woof, seems to shy away from the word folk. But that’s pretty much what it is. Yes, there are hints of seventies singer-songwritery stuff and a smidgeon of (ugh) Americana, but it’s pretty much what you would expect from an introspective, modern, dark, folk record.

And it’s good, don’t get me wrong. Ms Wooff has a very beguiling voice which can be both ephemeral and powerful. Obviously, I’ve no idea what the hell any of the songs are about, yet. No lyrics, see. And a man of my advanced years will need a few more listens on the old headphones before I find my way through them all.

But there are clues, people, there are clues. The cover for a start. Ms Wooff, on a a church pew, in Stanley Palace, a 16th-century Chester mansion, Celtic Cross in hand. Of course, I’m a sucker for gothic symbolism so I’ll have some of that. It goes well with the acoustic musings, on offer.

The most overtly country song is ‘Lefty’s Motel Room’ and anyone familiar with Pancho and his mates will know what’s influenced that. There are also many lyrical references to farewells, with ‘Song for A’ and ‘Mountains’, seemingly centred on different types of goodbyes. As someone who has spent most of his many years mourning, these are my favourite songs on the record.

Although I do have a penchant for hitting repeat on ‘The Waltz of Winter Hey’, a proper goth ghost story with some marvellous cello work. It’s an extremely assured debut album, dripping with romanticism, which merits repeated plays. I like. Tour dates in May, see website below.

https://www.toriawooff.com/