

Magnetic art-pop alchemist Georgia Fields conjures a mesmerising spell of love and longing on her third album Hiraeth, out now.
Hiraeth – Press Release
Magnetic art-pop alchemist Georgia Fields conjures a mesmerising spell of love and longing on her new album Hiraeth, out now.
A widescreen vision of melodic, artful pop, the record takes its title from a Welsh word with no direct translation, referring to a profound longing for a home you can’t return to as it no longer exists.
From stories of motherhood, infidelity and death, to rapturous anthems of healing and home – at its core, Hiraeth is an ode to the many languages of longing. Fields’ distinctive vocal brings to mind the piercing, understated clarity of Metals-era Feist, and the shoulders-back power-stance of Sharon van Etten.
The album opens with lead single Find Your Way Back, and it’s hypnotic, low-fi vocal loop. Fields’ percussive “shk-shk-shk” was a demo placeholder intended to mimic a tambourine, but when drummer & percussionist Josh Barber came on board to produce, he convinced Fields that it should remain. This collaborative and experimental crafting of sounds became a signature palette of the album.
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Find Your Way Back depicts a childhood characterised by constant moving, where a sense of belonging is perpetually out of reach. Persuasion follows close behind, with it’s smouldering, soulful slow-burn and fuzz guitar. Strident synth flourishes further elevate the warm, rich and rock-solid rhythm section. The band provides a sense of gravity, anchoring Fields’ insouciant sense of mischief as she sings – with tongue planted firmly in cheek – “I’m looking at him but I’m thinking of you”. Fields’ vocal consistently steals the show, sashaying from a smokey, velveteen purr to a powerfully commanding wail.
Persuasion is about the magnetic pull of desire; the rubber-willed heart that coaxes us, despite our best efforts, back to that person we know is trouble. The singer-songwriter explains: “I have plenty of songs about getting my heart broken, but I’ve done my fair share of misbehaving. I wanted to write an anti-hero pop song.”
Hiraeth was recorded over a 6-month period in producer Josh Barber’s own studio – a 1930s converted church at the back of his rural property in Mollongghip, Victoria. “When you arrive, you walk up through the veggie garden, past the pine trees”, Fields recounts. “I swear to god: on my first visit, a golden-brown hare lolloped out from behind a rose bush. It’s like a postcard.”
Fields and Barber performed almost all the instruments across the album, with Jules Pascoe (Jazz Party; Husky) contributing bass guitar, and the Andromeda String Quartet making an appearance on three tracks. “Collaborating with Josh was a dream, because because he brings a huge breadth of skills to the table”, she says. “He’s a world-class drummer, a highly creative multi-instrumentalist, and a meticulous sound nerd. And because we were working out of his workspace, rather than hiring an external studio, we had daily access to his entire cache of drum sets and percussion.”
That playful approach to crafting sounds and layering rhythms can be heard right across Hiraeth – from Persuasion’s odd-ball bridge which pulses with castanets, cowbells and chimes… To the ghostly terracotta garden pots on Holding My Hands Out. Otherworldly, immersive and lush, Holding My Hands Out is about that primal desire we all have to be held. In Fields’ words, “it’s about reaching your hands out for comfort, but grasping at shadows.”
Shadow and light, blood and water, are recurring motifs. A striking solo voice & guitar performance, Water to Water details Fields’ experience of miscarriage with astonishing candour, inspired by Mizuko Kuyo – a Japanese buddhist ceremony to mourn deceased foetuses. On In My Blood, Fields explores notions of desire, compulsion, and intergenerational trauma. How A Girl Becomes A Puddle is a haunting vignette of relationship breakdown, and album closer I Saw It Coming (which features a gut-wrenching performance from the Andromeda Quartet) depicts the mesmerising nature of grief. Fields describes heartbreak “like a moon rise on the ocean / a car crash in slow motion… I couldn’t tear my eyes away / I didn’t want to miss the display”.
While many of Hiraeth’s songs peer unflinchingly into darker pockets of the psyche, there is also humour and light. Write it on the Sky neon-lit self-love anthem. Tigress is a joyful and fierce-hearted love song, whose punchy drum-pad samples evoke a hint of buoyant 80s nostalgia. Pulsing synths give way to a reverie of rippling Omnichord, as Fields beckons the listener to leave the familiarity of “the city and the street lights”, and head out into the wild terrain of new love. Brimming with effortless, radio-ready hooks and an instantly singable chorus, Tigress has all the hallmarks of pure pop ascendancy. And yet it started as a humble tribute to two friends.Fields explains: “I wrote Tigress as a gift for my mates Holly and Lauren – essentially this song is their love story. At some point I started slipping the song into my live set, and I began to get comments about it pretty consistently after each show. It felt like the story went beyond Holly and Lauren, and became something more transcendent: the vulnerability yet ferociousness of a Tiger-hearted devotion.”
Hiraeth was released on all streaming platforms in November 2022.
This project is supported by the Victorian Government through Creative Victoria, and the Australian Government through the Australia Council for the Arts.
Praise for Hiraeth
“Fields' vocals float hypnotically, while meticulously crafted art-pop arrangements ruminate beneath. Fields presents each vignette of Hiraeth with vivid emotion, and a certain electricity runs across each line... Hiraeth feels like a moment of arrival.” ★★★★
— The Australian
“Georgia's vocals take the lead dynamically as they dance between sincere and soft, to powerful and soul-moving. Beautifully composed and delivered between gritty and dainty moments, Holding My Hands Out is a testament to Georgia’s abilities as a songwriter and a vocalist.”
— Pilerats
“She possesses a powerful pop voice that’s at once forceful and elegant, and on Holding My Hands Out, her vocal control of the song is supreme.”
— Tone Deaf
“A magnetic showing of fearless art-pop and searing vulnerability.”
— Ramona Magazine
“Her weightless vocal makes us feel airborne... Fields’ latest record Hiraeth beautifully encapsulates the rich complexity of the human experience.”
— Beat Magazine
“Holding My Hands Out is a quiet anthem.”
— The Music
“Holding My Hands Out is less an indie-pop track than a carefully layered piece of sonic art. Each addition of an instrument is a brush stroke… Georgia’s vocals range from a breathy caress to soaring dominance.”
— The Point Music News
“Intelligent, seductive and touched by a vividly-blooming magic.”
— The Autumn Roses
Hiraeth – Singles
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Holding My Hands Out
Released 17 June 2022
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Persuasion
Released 27 July 2022
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Tigress
Released 8 September 2022
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In My Blood
Released 19 October 2022
Hiraeth – Videos
Photos
Artist Biography
Georgia Fields’ enduring art-pop alchemy has earned her a reputation as one of Melbourne’s most beloved singer-songwriters.
Fields’ live show is chameleonic. Solo, she moves deftly from electric guitar, vintage keyboards and live looping. When joined by her 4-piece band of multi-instrumentalists, she conjures a mesmerising spell of indie-rock swagger. Ever the sonic shapeshifter, Fields can also be seen accompanied by her string section, The Andromeda Quartet.
Career highlights include performances at Melbourne Recital Centre; Queenscliff Music Festival; State Library Victoria; ACMI; Apollo Bay Music Festival; Melbourne Fashion Week; Festival of Voices Tasmania; Brisbane Powerhouse; National Gallery of Victoria; and Mullum Music Festival – amongst others.
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Fields first made her mark on the Melbourne music scene in 2007, with her EP Drama on the High Seas of Emotion (over 500 CD covers lovingly up-cycled from vintage Little Golden Books). A string of festival shows followed, and in 2010 Fields released her debut self-titled album: a lush, orchestral-pop opus featuring her 15-piece ‘Mini-Indie-Orchestra (strings, brass, woodwind, tuned percussion, rhythm section, plus experimental sounds such as cordless drill and children’s toys). The debut LP was awarded Album of the Week for ABC Radio National and Beat Magazine, and saw her perform on national television for SBS’ RocKwiz.
Fields’ sophomore album Astral Debris was released in 2016 to critical acclaim – including a 4-star review in The Sydney Morning Herald, who described it as “alluring” and “irrepressible pop”. The Herald Sun hailed Astral Debris as “her finest, most expansive work yet”. Produced in collaboration with electronic artist/composer Tim Shiel, the album received airplay on Double J, ABC Radio National, and community radio across the country – in particular PBS FM and Triple R, who both included Astral Debris amongst their feature album shortlists.
In 2017, Fields presented Afloat, Adrift: a retrospective EP recorded live in collaboration with the Andromeda String Quartet. Raw and visceral, yet sweeping with an old-world romance, Afloat, Adrift features new string quartet versions of material spanning her 10-year career. Frankie Magazine premiered the release, proclaiming “Georgia Fields has a voice you simply cannot un-hear… The evocative songstress paints entire worlds.”
In 2020, Fields launched Mother Lode: an online community for musicians who are mothers. A direct response to the pandemic’s affect on both the arts sector and working mums, Mother Lode was established as a forum for musician-mothers to connect and share practical advice for maintaining a creative career (while parenting!) in a post-pandemic landscape.
CONTACT
Media + PR
Emily Cheung, On The Map PR
emily@onthemappr.com
Publishing
Jen Taunton, Midnight Choir
jen@midnightchoir.com.au
Everything else
Georgia Fields
georgia@georgiafields.com