Clare Hubbards voice is delicately weathered, strong and lamenting

Hubbard is an artist completely and nakedly free… Caethua [is] in the unique pantheon of artists with a singular vision. She has created her own world, with its own symbols and magic. Yes, [her music] is that good

Mike Wood for Foxy Digitalis

With few resources Hubbard sculpts an aural realm distinctly and wondrously her own. Her voice is a lean trill of consistent attractiveness that delivers emotionally piercing notes at the most unexpected moments, while her guitar and piano playing extracts fresh possibilities from both instruments…Through her roaming way of life and reluctance to align with any scene, Caethua has acquired a freedom to forge her own ideas of exquisite beauty.

Sean Rabin for The Australian

Caethua as the ghost, guides over an existence in a grey darkness and nature, as a naturally evolving soundscape, a naturally pulsing soundtrack, sounding like industrial insects with a woohoo singing, like the dog in the house who found as if through chanelling a human voice for its expressions


clarehubbardSingerSong Homestead Music Blog

she reminded me of what a collaboration between Judee Sill and Jandek might have sounded like, playing effects-driven acoustic guitar and vocals supplemented by looping delay and tape manipulation. Very unusual, unique and captivating

Arratik Music Blog

Caethua builds a majestic framework of rural poetics and darkly colored orchestration that manages to cross the aesthetics of Harry Smith and This Mortal Coil. With an acoustic folk strum as anchor, Hubbards strong voice blends in and out of the chimerical atmosphere and becomes another leaden layer at times. Folk notions are subdued in an almost eerie ambience that ebbs from clanging bells and distant creaks –

Dusted Magazine

Clare Hubbards voice is delicately weathered, strong and lamenting but never asking for pity. [her songs] burrow under your skin slowly until her voice twists with the icy wind in your ears and the buzzing din splashes along with tires on pavement–

clarehubbard

 

Raven Sings the Blues Blogspot

Her albums weave plaintive, emotionally resonant songs together with field recordings and ambient soundscapes to create vignettes of an alternate and deeply personal universe.She seems to inhabit her narrative albums as a witness herself, or they her as a sibyl. Which is not to say that her songs are the otherworldly sounds of a possessed medium — the opposite is, in fact, the case. Her music is brought to life by the evocative realism of her lyrics and the emotional clarity that carries through her adopted voices.

Raf Spielman for Foxy Digitalis

Albums for Sale

2 Brand New Caethua LPs

Caethua LP "The Summer is Over Before It's Begun"

The Summer Is Over is one of Caethua's most realized works. Eight songs filled with unique vocal melodies and lush metaphor-ridden poetics. Tastefully accompanied by her piano, guitar, saxaphone and well placed soundscapes. She is joined on this record by the multi-instrumentalism of Andy Neubauer (Impractical Cockpit, Ancestral Diet, Flak Mask,Village of Spaces) who compliments this masterpiece with bass clarinet and cello. Recorded at The Pool Recording Studio by Alex Yusimov and artfully mastered by Tim Stollenwerk. This is a split release between Turned Word and the debut release on the new Mississippi Records imprint, Water Wing Records.

clarehubbardCaethua side is entitled "Wrecks and Rescues", and is an epic and dusty side-long track of beautiful creaking folk-craft. In the winter of 2008, Clare recorded herself at home in Bloomington, IN. She delicately layers synth, strings, horns, electronics, percussion and vocals, along with 5 years worth of field recordings taken from the St. Lawrence River and her wanderings through swamps, fields and forests. Soft tones and organic rustlings blend beautifully with melancholy string plunk and blown-out electro growl to create a brilliantly shimmering psychedelic-folk masterpiece.

 

Newly issued on Preservation Records

The first set, No Mans Land, is acoustic-based, with songs haunting in their hypnotic way, finding common ground between the rustic and spectral in the spell they cast.

The second disc combines piano, guitar, raw beats and almost industrial-type textures alchemically fused for an altogether different mood more theatrical, lamenting and spooked.

Shep and Me's side entitled "Tube Mind" is more firmly rooted in traditional Americana folk and blues music, yet still manages to keep itself wedged into a pretty strange corner. All five tracks feature Matthew Himes collaborating with H. Caleb Gamble.

Both sing and play nylon and steel stringed guitars in addition to using tape loops, french horn, lap steel, live percussion, drum machines, electronics and waveform oscillators to present a uniquely twisted vision of contemporary folk music. Masterfully recorded to 1/2" 8 track tape by Ryan Fontaine in Minneapolis MN, May of 2008. Plaintive and stark gutter-country songs about seasonal shifts and the horrors of these modern times.

Cold marriages of growing up in the snow covered cornfields of upstate New York, moldy nylon-stringed guitars, a hissing blend of flea market electronics, rusted pots and pans, field recordings of a doomed boat trip down the St. Lawrence River, birds in the ice covered trees, the groan of an overheating diesel engine, shortwave radio in the middle of nowhere. Color Vinyl. Co-released with Friends and Relatives Records.