Tiny Vipers | |
---|---|
Birth name | Jesy Fortino |
Born | 1983 (age 41–42) |
Origin | Seattle, Washington, United States |
Occupation | Singer-songwriter |
Instrument(s) | Vocals, guitar, keyboard |
Years active | 2006–present |
Labels | Sub Pop Records, Luckyhorse Industries, LEITER, Kranky (Mirrorring), Box Bedroom Rebels |
Website | Tiny Vipers |
Tiny Vipers (born 1983) is the musical project of Jesy Fortino, a Seattle-based American musician known for her minimalist, atmospheric music. Her style, combining elements of folk, ambient, and experimental music, is characterized by sparse instrumentation, often using just an acoustic guitar and stark vocals. [1] Fortino's work spans across several albums, EPs, and collaborative projects, earning her recognition within indie music. Her music has been praised for its emotional depth, trance-like qualities, and stark, minimalist approach. [2]
Tiny Vipers signed with Sub Pop Records in the mid-2000s, releasing her debut album, Hands Across the Void , in 2007. The album was praised for its haunting simplicity and stark, melancholic atmosphere. [3] The New York Times highlighted the record’s meditative quality, comparing Fortino’s sparse arrangements to those of artists like Vashti Bunyan and early Cat Power. [2]
Her follow-up album, Life on Earth was released on July 7, 2009, further solidified her reputation as a singular voice in contemporary folk. [4] Luckyhorse Industries released a limited edition 180 gram double vinyl on November 16, 2009, which included a bonus track "Audrey's Well". The record explored themes of mortality and isolation, with Pitchfork describing it as a “bleak but beautiful” work. [4] Tracks like “Dreamer” showcased her ability to craft songs that felt both intimate and vast, drawing comparisons to Nico and Leonard Cohen. [5]
On January 20, 2012, it was announced that Fortino would be releasing a collaborative album with Liz Harris of Grouper, under the name Mirrorring. [6] Their album Foreign Body , released on March 19, 2012 by Kranky, blended ambient textures with acoustic instrumentation, earning critical praise for its ethereal, dreamlike quality. [7] [8] [9]
After an extended hiatus from recording, Tiny Vipers returned in 2017 with the album Laughter on Ba Da Bing Records. Released on May 5, 2017 while Fortino was simultaneously studying to become an engineer, the record marked a departure from her earlier acoustic work, incorporating electronic elements and synthetic textures. [10] NPR described the album as a “synthetic hymnal,” noting its experimental approach and Fortino’s continued exploration of existential themes. [11]
After a second recording hiatus, Tiny Vipers returned in 2024 with a new EP titled American Prayer released by LEITER. The release highlights her evolving sound while staying true to the haunting, minimalistic style that has defined her work. The EP has been praised for its introspective lyrics and atmospheric production, offering listeners a glimpse into the more personal side of Fortino's creative journey. [12]
Fortino has also directed music videos, including one in 2023 for a single by Profit Prison titled "Sophia".
Tiny Vipers' music is characterized by its minimalist approach, with Fortino often performing solo with just a guitar and her voice. [13] Her songs are deeply introspective, weaving narratives that explore themes of loneliness, loss, and the passage of time. Over the years, she has expanded her sound to include ambient and electronic influences, pushing the boundaries of traditional folk music. [14]
Tiny Vipers has received widespread acclaim for her ability to create emotionally resonant and sonically innovative music. [20] Her work has been featured in outlets like Pitchfork , Exclaim! , and Seattle Weekly . [21] Critics frequently note her evocative storytelling and the immersive quality of her recordings. The New York Times stated Tiny Vipers "[is] not telling stories; she’s after incantation and trance,” described her music as “achingly beautiful, an exercise in minimalism that still conveys profound emotional depth.” [2]
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