Post by Seb on Nov 15, 2022 5:43:28 GMT
Emily Breeze
Years Active: 2008(?) - present
Vocal range: G2 - E5
Significant High Notes:
E5 ("The Bell" live 2022)
D5 (Live @ Bristol festival 2008 track 1, Live @ The Vibe Bar 2008 track 1, "Turn Me On", "Twist The Knife")
C♯5 ("Confessions of an Ageing Party Girl", Live @ The Vibe Bar 2008 track 2)
C5 ("Dance with the Rats", "Live @ The Vibe Bar 2008 track 1, "Oh, Anna Nicole")
B4 ("Chelsea Satanist", "Confessions of an Ageing Party Girl", "Jailhouse Rock/Last Caress" live @ Queen's Square, Bristol 21/08/09, Live @ Bristol festival 2008 track 2, Live @ The Vibe Bar 2008 track 2, "Twist The Knife", "Turn Me On")
B♭4 ("Call In Sick Today", "Heaven's Gate", Live @ The Vibe Bar 2008 track 1)
A4 ("Book Of Longing", "Call In Sick Today", "Confessions of an Ageing Party Girl", "Chelsea Satanist", "Cosmic Evolution", "Dance with the Rats", "Heaven's Gate", "Jailhouse Rock/Last Caress" live @ Queen's Square, Bristol 21/08/09, "Limousines", Live @ Bristol festival 2008 track 2, "Oh, Anna Nicole", "Penny Arcade", "Turn Me On", "Work")
G♯4 ("Call In Sick Today", "Confessions of an Ageing Party Girl", "Heaven's Gate", Live @ Bristol festival 2008 track 2, Live @ The Vibe Bar 2008 track 2, "Love Song for Eileen Wuornos", "Penny Arcade", "Work")
G4 ("Book Of Longing", "Call In Sick Today", "Dance with the Rats", "Electricity", "Hey Kidz", "The Bell")
F♯4 ("Bust", "Chelsea Satanist", "Heaven's Gate", "Hey Kidz", "Limousines", "Love Song for Eileen Wuornos", "New Flesh Old Bones", "Oh, Anna Nicole", "Ordinary Life", "Penny Arcade", "The Bell", "Turn Me On", "Twist The Knife", "Work")
Significant Low Notes:
E3 ("Book Of Longing", "Bust", "Call In Sick Today", "Chelsea Satanist", "Confessions of an Ageing Party Girl", "Electricity", "Hey Kidz", "Jailhouse Rock/Last Caress" live @ Queen's Square, Bristol 21/08/09, "Last Request", "Limousines", Live @ Bristol festival 2008 track 2, Live @ The Vibe Bar 2008 track 2, "Love Song for Eileen Wuornos", "New Flesh Old Bones", "Oh, Anna Nicole", "Ordinary Life", "Part of Me", "Penny Arcade", "Raining In My Heart", "The Bell", "Turn Me On", "Work")
D3 ("Call In Sick Today", "Ego Death", "Electricity", "Heaven's Gate", "Hey Kidz", "Jailhouse Rock/Last Caress" live @ Queen's Square, Bristol 21/08/09, "Limousines", Live @ Bristol festival 2008 track 2, "New Flesh Old Bones", "Raining In My Heart", "Turn Me On")
C♯3 ("Bust", "Chelsea Satanist", "Love Song for Eileen Wuornos", "Penny Arcade", "The Bell")
C3 ("Book Of Longing", "Call In Sick Today", "Ego Death", "Last Request", "New Flesh Old Bones", "Part of Me", "Raining In My Heart")
B2 ("Confessions of an Ageing Party Girl", "Chelsea Satanist", "Last Request", "Penny Arcade", "Raining In My Heart", "Turn Me On", "Twist The Knife", "Work")
B♭2 ("Love Song for Eileen Wuornos")
A2 ("Book Of Longing", "Cosmic Evolution", "Ego Death", "Ordinary Life", "Part of Me")
G♯2 ("Call In Sick Today", "Confessions of an Ageing Party Girl", "Work")
G2 ("Ordinary Life")
{Vocal Summary}
Bristol based singer, songwriter and guitarist Emily Breeze strikes a chord with whoever comes across her in the musical underground. Presenting a sharp, somewhat gothic image and remaining strikingly honest through her confessional writing regarding everyday struggles and a desire for something more, Emily's somewhat unique musical stylings (which have been described somewhere between post-punk, noire pop and singer-songwriter) make a perfect base for her utterly unique voice to shine.
Emily's markedly contralto vocals almost immediately hit the listener with a shockingly strong lower register presence. It is, most certainly, her standout quality as a singer, with virtually every song I could find from her featuring emphatic lower 3rd octave and upper 2nd octave notes. Her tonal clarity and weight are strikingly solid down to tenor low B, even sing-speaking down to low G with some tone in there. Her deep vocal stylings might distract you from her upper register capabilities, most displayed in late 2000's performances with gritty, passionate yet controlled belting up to D5. Her newer output features a more subdued, clean sounding upper register with some rather light sounding notes in comparison to her well-oiled lower register. Most importantly, Emily delivers each song with the sufficient nuance and power, with low ranging performances that sound expressive and natural. Overall, a distinct, entrancing voice in rock that could potentially redefine the idea of what being a strong and capable female vocalist is.
Bristol based singer, songwriter and guitarist Emily Breeze strikes a chord with whoever comes across her in the musical underground. Presenting a sharp, somewhat gothic image and remaining strikingly honest through her confessional writing regarding everyday struggles and a desire for something more, Emily's somewhat unique musical stylings (which have been described somewhere between post-punk, noire pop and singer-songwriter) make a perfect base for her utterly unique voice to shine.
Emily's markedly contralto vocals almost immediately hit the listener with a shockingly strong lower register presence. It is, most certainly, her standout quality as a singer, with virtually every song I could find from her featuring emphatic lower 3rd octave and upper 2nd octave notes. Her tonal clarity and weight are strikingly solid down to tenor low B, even sing-speaking down to low G with some tone in there. Her deep vocal stylings might distract you from her upper register capabilities, most displayed in late 2000's performances with gritty, passionate yet controlled belting up to D5. Her newer output features a more subdued, clean sounding upper register with some rather light sounding notes in comparison to her well-oiled lower register. Most importantly, Emily delivers each song with the sufficient nuance and power, with low ranging performances that sound expressive and natural. Overall, a distinct, entrancing voice in rock that could potentially redefine the idea of what being a strong and capable female vocalist is.
{Discography}
Penny Arcade (2010): TBA
Rituals (2019): G♯2 - B♭4
Rapture (2023): G2 - D5
Penny Arcade (2010): TBA
Rituals (2019): G♯2 - B♭4
Rapture (2023): G2 - D5
{Questionable Notes}
E6 (Live @ The Vibe Bar 2008 track 2 [2])
A2 ("Limousines" [3])
G♯2 ("Love Song for Eileen Wuornos" [3])
[1] marks yelps and short trills in high range or anacrusis and short dips in low range.
[2] marks notes of questionable identity that cannot be confirmed to be the singer in question.
[3] marks non-melodic notes that don't have a significant enough pitch to warrant inclusion.
[4] marks notes that possess uncertain pitch or have been pitch-shifted.
[5] marks notes that do not fit the previous criteria but are not of a substantial enough quality to warrant counting towards the singer's range.
E6 (Live @ The Vibe Bar 2008 track 2 [2])
A2 ("Limousines" [3])
G♯2 ("Love Song for Eileen Wuornos" [3])
[1] marks yelps and short trills in high range or anacrusis and short dips in low range.
[2] marks notes of questionable identity that cannot be confirmed to be the singer in question.
[3] marks non-melodic notes that don't have a significant enough pitch to warrant inclusion.
[4] marks notes that possess uncertain pitch or have been pitch-shifted.
[5] marks notes that do not fit the previous criteria but are not of a substantial enough quality to warrant counting towards the singer's range.