Mixcloud / Spotify
Molly is an artist and illustrator based in Bristol, UK.
Hi Molly, can you tell us a little bit about your tape and your song selections?
Hi Sam! I love a weirdo, and I love listening to them. I feel particularly connected when it’s coming from a woman’s mouth, and this is a handful of the women I look (up) to in this way. I want to have that, whether it’s just a sense of it in my work. Or maybe my attitude. These are all artists I feel really tend to their own unique visions and they all punch me in my guts.
Because I had to streamline this to a small handful, I selected a particular vibe to go off. This is quite outdoorsy in my mind. A bit windswept, though going through the motions of the electronic, the dance-y, the quiet and the contemplative. I think you could listen to any of these in the woods and have a good time. I would anyway.
How did you go about the artwork for the tape?
I just kept drawing.
What are your fave album covers, records with a great music and artwork combo, or musical projects with a visual component?
I really like it when a musician also designs their own artwork. I can’t articulate why that feels more valuable, maybe it just makes them “cooler”. Big fan of A. Savage’s work for Parquet Courts (Human Performance and Monastic Living particularly) and what Tim Presley has made for White Fence and Drinks. I’m jealous of both in two fields- visually and sonically- how unfair!
OMD and Echo and The Bunnymen have had consistently great artwork, The Pastels too. I LOVE something scruffy. Otherwise, I don’t think the cover is everything, and I think a bad cover can still be well loved and feel better because it’s attached to a good album. I also guess I can’t not mention Peter Saville’s work with Factory Records. The man knows a brand. Here’s some others I love off the top of my head →
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Crab Day – Cate Le Bon
2018, Drag City
Photography: Ivana Kličković
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Metamatic – John Foxx
1980, Virgin
Artwork: Malcolm Garrett
Molly is an artist and illustrator based in Bristol, UK.
Hi Molly, can you tell us a little bit about your tape and your song selections?
Hi Sam! I love a weirdo, and I love listening to them. I feel particularly connected when it’s coming from a woman’s mouth, and this is a handful of the women I look (up) to in this way. I want to have that, whether it’s just a sense of it in my work. Or maybe my attitude. These are all artists I feel really tend to their own unique visions and they all punch me in my guts.
Because I had to streamline this to a small handful, I selected a particular vibe to go off. This is quite outdoorsy in my mind. A bit windswept, though going through the motions of the electronic, the dance-y, the quiet and the contemplative. I think you could listen to any of these in the woods and have a good time. I would anyway.
How did you go about the artwork for the tape?
I just kept drawing.
What are your fave album covers, records with a great music and artwork combo, or musical projects with a visual component?
I really like it when a musician also designs their own artwork. I can’t articulate why that feels more valuable, maybe it just makes them “cooler”. Big fan of A. Savage’s work for Parquet Courts (Human Performance and Monastic Living particularly) and what Tim Presley has made for White Fence and Drinks. I’m jealous of both in two fields- visually and sonically- how unfair!
OMD and Echo and The Bunnymen have had consistently great artwork, The Pastels too. I LOVE something scruffy. Otherwise, I don’t think the cover is everything, and I think a bad cover can still be well loved and feel better because it’s attached to a good album. I also guess I can’t not mention Peter Saville’s work with Factory Records. The man knows a brand. Here’s some others I love off the top of my head →
Crab Day – Cate Le Bon
2018, Drag City
Photography: Ivana Kličković
Metamatic – John Foxx
1980, Virgin
Artwork: Malcolm Garrett
Deep Cuts – The Knife
2003, Rabid
Artwork: The Knife
Computerwerlt – Kraftwerk
1981, Kling Klang / Warner Bros.
Design: Emil Schult
The English Riviera – Metronomy
2011, Because
Artwork: John Gorham
Angels With Dirty Faces – Sugababes
2002, Island
Photography: Corinne Day
What did you listen to growing up?
As a teen my focuses were nu-rave, 2007-ish indie and odd electronic women (see: The Knife, iamamiwhoami). Whatever it was, I would have been too shy to talk about them.
What’s happening in your creative world at the moment?
At the minute I’ve had my head to client work and I don’t think I can show any yet that I’ve been working on over the last couple of months. I’m having fun though, and working in contexts I hadn’t quite predicted, but being able to apply myself in the way I want to and that still feels me. I have a slice of mind on working on personal stuff, but currently haven’t had the time or ideas. But that’s ok. I keep churning drawing out regardless just for me! Ideas will come. I want to get back into painting, but haven’t sussed the way I want to work yet.
Where to find Molly:
︎ mollyfairhurst.com
︎ molly.fairhurst
TRACKLIST
The Knife - We Share Our Mothers' Health / iamamiwhoami - Goods / Bat For Lashes - Oh Yea / LUMP - Curse of the Contemporary / TORRES - Three Futures / Warpaint - Bees / Beach House - Lemon Glow / Tornado Wallace - Today (feat. Sui Zhen) / Chairlift - Guilty As Charged / Solange - Don't Wish Me Well / Gang Gang Dance - House Jam (Hot Chip Remix) / Grimes - Nightmusic / Little Dragon - Nightligh / Lizzy Mercier Descloux - Slipped Disc / Yama Warashi - Kofun No Uta - Edit / DRINKS - Hermits On Holiday / Cate le Bon - What's Not Mine / Fever Ray - Here Before ︎