Week of pines

"Welsh croonette Georgia Ruth has blazed a trail with her harp-focused indie-folk, giving us a glimpse into her rose-tinted world via one of the biggest string instruments. It's never been an tool widely utilised, and even in her genre of choice it's rare (...) but here Ruth shows us how flexible and vital an instrument it can be ... Her take on folk is far more original than many: there are a lot of droning undercurrents, flighty and desolate harp arrangements with luxurious vocal melodies carrying the tracks. It verges upon ambient ... You won't find an artist quite like her".

"Singer-harpist Georgia Ruth Williams was raised bilingually in Aberystwyth, as far into Wales as you can get without falling off the edge. The combination of gender and instrument will ensure [Joanna] Newsom comparisons, but with her clear, pure folk voice and intimately personal lyrics, she's closer to the spirit of Judy Collins or Mary Hopkin. Give or take the odd motorik backbeat, Week of Pines could have been made in 1968. In the loveliest possible way".

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"The Welsh singer-songwriter (...) has an impressive, cool, clear voice and equally distinctive instrumental style - her harp work is inspired by the finger-picking of guitarist Bert Jansch. She sings in both English and Welsh, and is at her best with the slower songs, which include an exquisite, gently powerful treatment of the Welsh sailors' shanty Codi Angor, along with her own compositions, the pained and personal Mapping and the Welsh-language Hallt, which begins with impressive solo harp backing. Elsewhere, there's an efficient but more predictable guitar-backed pop song, Seeing You Around, and a harmonica-backed reworking of the American folk standard Old Blue. An uneven set, maybe, but worth checking out".

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