Hilary York

Texas-born singer and songwriter Hilary York combines a bit of blues, jazz, folk, country and alternative in her thought provoking music. She released "The Moon" in 2006 and In The Dark in 2009, both on the Hey Miau label. Spinner had a chat with Hilary York before her SXSW appearance.

Describe your sound in your own words.

I would say it's like very American, like blues and jazz and folk. I feel like a take a lot from all genres.

How did you get into professional music?

I always thought I wanted to be a song writer. I wrote poetry pretty much my whole life, since I was real young. I would sing with my family, just like cover songs, Beatles songs, "Moon River" with my stepmother. I just entertained the family. It wasn't until about 10 years ago that I started getting out there and performing, doing open mikes. I learned guitar.

What are your musical influences?

Early on the Beatles, but my parents were really into music, and they owned a record store before I was born in Pasadena, Texas, so they played a lot of music around the house. I saw David Bowie perform on some old video of his, and at the time I was living in Australia, and I thought he was amazing. Kate Bush. Randy Newman and Nina Simone. Tom Waits. I'm really into lyrics. The first time I heard Nina Simone I didn't know if she was a man or a woman. I was fascinated. I really like when you don't know what someone looks like by their voice.

What is your biggest vice?

People. I'm super fascinated by people and their interactions and relationships. I've been a bartender for a long time, and I just get a lot of influences and creativity from watching and interacting with people, and my friendships and my family.

Do you consider it difficult being a female musician in a world that is dominated by male musicians?

I do sometimes. I don't always think about it, but sometimes their reactions, not all of them are like this, but sometimes they put us all in the same category -- singer/songwriters that are women -- when maybe their music and voices are completely different. Sometimes you think people are talking down to you, but I just think it's the way people are raised or some sort of cultural thing, and they're just not used to it.

Beatles or Stones?

Beatles

What's in your festival survival kit?

Green tea, Emergen-C, ibuprofen, breakfast tacos, sun glasses

How do you feel about "In The Dark"?

It's my second record. I self produced with a friend of mine Kullen Fuchs. He collaborated. It's just very personal. It's pretty dark, kind of a break up album. It's pretty heavy. At the same time, I'm one of those people who listens to heavy music even if I'm in a really good mood and in a good place. Its honest song writing and I'm really proud of it.

Colleen Larson is a contributor from Seed.com. Learn how you can contribute here.

Filed under: Concerts and Tours
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- Spinner.com

review
by Richie Unterberger

Hilary York's second album is a pleasingly low-key, slightly dark folk-rockish singer/songwriter effort, if a bit on the slim side with nine tracks and 33 minutes of music. The songs largely deal with romantic longing, and it helps that York's slightly husky alto voice is distinctly lower than the vocals by many a woman singer/songwriter digging into the same territory, which helps the material avoid coming off as overly sweet or sentimental. Though not notably eclectic, she also varies her arrangements to good effect, the closing "Loosen Your Grip" abandoning the usual guitar-oriented format for a stark piano-and-horn setting. If you do like your guitars, "Close Your Eyes" is the cut that comes closest to a more classic folk-rock sound with its ringing chords and nimble leads. "Shutters and Doors" is the CD's sole venture into something approaching country music, while a cover of Randy Newman's "Baltimore" accounts for the sole non-original.
- allmusic.com

review
by Richie Unterberger

Hilary York's second album is a pleasingly low-key, slightly dark folk-rockish singer/songwriter effort, if a bit on the slim side with nine tracks and 33 minutes of music. The songs largely deal with romantic longing, and it helps that York's slightly husky alto voice is distinctly lower than the vocals by many a woman singer/songwriter digging into the same territory, which helps the material avoid coming off as overly sweet or sentimental. Though not notably eclectic, she also varies her arrangements to good effect, the closing "Loosen Your Grip" abandoning the usual guitar-oriented format for a stark piano-and-horn setting. If you do like your guitars, "Close Your Eyes" is the cut that comes closest to a more classic folk-rock sound with its ringing chords and nimble leads. "Shutters and Doors" is the CD's sole venture into something approaching country music, while a cover of Randy Newman's "Baltimore" accounts for the sole non-original.
- allmusic.com

By Dusti Rhodes Thursday, Feb 28 2008

Hilary York knows how to create radio-friendly tunes without pandering to the audience. Her songs are accessible enough to be played alongside any regular rotation including John Mayer or Jack Johnson, but they’re devoid of any campy riffs or hooks that scream, “Put me on the radio!” “Out of Sight” begins with a beachside, surfy guitar strum backing the Austin songstress’s deep vocals, which give way to a Spanish-picked bridge that fades back into chorus. And “Radio Love” unites York’s romantic alto with Mirah-influenced “little girl” vocals for a steady, toe-tapping number. See coffee-shop rock at its best today at 10 p.m. Notsuoh, 314 Main. For information, visit www.myspace.com/notsuohmusic. $3.
Sat., March 1, 10 p.m., 2008
- Houston Press

Austin singer-songwriter Hilary York's sophomore effort jumps out of the speakers with its opening track, the confessional "Jaded," which in another time might have come to life on a Box Tops record with Alex Chilton sneering the ambivalent lyric. Likewise, Mama Cass Elliot would smile at the gentle Greenwich Village bounce of "I Look for You," a tune that features Buttercup guitarist Joe Reyes.

An echoed piano gives "Carnival" a haunted Edith Piaf flavor, while York's earthy vocals offer a smoother alternative to Lucinda Williams on Shutters and Doors, which tiptoes like Cowboy Junkies with ever-so-soft pedal steel guitar and organ.

York -- who plays First Friday this week at Beethoven Maennerchor -- is at her best when she keeps the generic, schoolgirl chord sequences of "Close Your Eyes" at bay. Much more intriguing is the tortured tone poem finale, "Loosen Your Grip.

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- San Antonio Express

She doesn't sound like a Texas girl, but rather like a smoky bi-continental with a knack for writing sharp lyrics and soulful, horn-section supported rock melodies. - RARWRITER.com (Rick Alan Rice)

Hilary York's new In the Dark is what Girlie Action dreams about. York's first disc landed squarely in the huge, got-some-promise-here stack, but In the Dark upgrades her to rubbing shoulders with the likes of BettySoo. Vocally, she's still a couple years, some whiskey, and a few cartons of cigarettes from Marianne Faithfull, with a slight rasp, occasionally flat, that makes her sound endearingly vulnerable. From the opening wallop of "Jaded" through the country strains of "Shutters and Doors" and a delicious cover of Randy Newman's "Baltimore," York's promise is now being fulfilled. - The Austin Chronicle

We're going to try and hold back instead of instantly turning excitable and gushy here...no wait we can't hold it in... Hilary York is INCREDIBLE. It took three or four spins before we realized it, but In The Dark is easily one of the best albums yet to be released in 2009. And considering the fact that it's only about 33 minutes long, that's really saying something. This is the second full-length release from this young lady who resides in Austin, Texas. But considering the mature smart songs on this album you'd never know it. York has a slightly deep voice that occasionally recalls Marianne Faithful (even some of the vocal melodies recall Marianne at times). York's tunes are smart and reflective...and they come across sounding 100% genuine and sincere. There are no variables here that instantly stand out. No blatant use of technology. No weird image or anything like that. No unusual lyrics or ultra-weird song titles. Nope, there's nothing that stands out here except for...the words and the music. Eight originals plus an excellent cover of Randy Newman's "Baltimore." This lady's presence just oozes out of the speakers. Highly recommended. (Rating: 5+++) - babysue:LMNOP

Tall and blonde, Hilary has this contralto voice that sounds like Marianne Faithful today and delivers a punch with every note. - Flanfire blog

The Moon finds Hilary York stepping outside of her usual solo acoustic singer/songwriter format and recording with a full backing band. This was a wise move because it brings out aspects of York's songs and vocals (especially dynamics and feel) that simply can't be demonstrated in a more limited instrumental configuration. York possesses a wonderful alto singing voice, full of soul, warmth, and understated passion, and though she sings with plenty of melodic flourish, she eschews vocal gymnastics that other solo performers employ. The real accomplishment of The Moon is that York tries out different styles (i.e., the countrified arrangement of "Any Sweeter," the rock-oriented "Parlour Tricks," the blusier "Cadbury Egg," and the sparsely arranged title-track) but keeps her songs and voice as the focus and subsequently avoids being easily pigeonholed. And with the multitude of singer-songwriters trying to be heard above the din of strummy heartfelt acoustic guitars, that is a notable accomplishment, and it puts York in a position to find herself an audience, especially among fans of "adult-alternative" music and the recently emerging "psych-folk" movement. (Andy Smith)

- popculturepress.com

The Moon gives long time Austin-based singer-songwriter Hilary York a chance to expand upon her usual vocal abilities with a variety of backing instrumentals.

But while the band accompanying her may alter between pop, such as on “Radio Love,” and sullen blues “Cadbury Egg,” they never overtake the true greatness of the album: York’s smoky, bittersweet and ethereal voice.

York retains control of the album as she tries her hands at new sounds. Yet, she culminates the album with the heart-wrenching and beautiful, “I Need Your Love,” a return to the vocally driven flourish and a sparsely accompanied ode to heartbreak.
- The Daily Texan

The Moon gives long time Austin-based singer-songwriter Hilary York a chance to expand upon her usual vocal abilities with a variety of backing instrumentals.

But while the band accompanying her may alter between pop, such as on “Radio Love,” and sullen blues “Cadbury Egg,” they never overtake the true greatness of the album: York’s smoky, bittersweet and ethereal voice.

York retains control of the album as she tries her hands at new sounds. Yet, she culminates the album with the heart-wrenching and beautiful, “I Need Your Love,” a return to the vocally driven flourish and a sparsely accompanied ode to heartbreak.
- The Daily Texan

Her song "Radio Love" is in the internet radio station Independant Artist Company's Big 50.
10/31/05 chart #34
10/26/05 chart #37 - independant artist company

Singer-songwriter Hilary York's new The Moon (Miau) shines its bittersweet light without blinding. "Radio Love" beckons as cleverly as "Lucky Girl," then "The Waltz" sneaks up with a most pleasant scare. An excellent album that makes you wish for another immediately. - The Austin Chronicle

York, from Austin by way of Houston, Bolivia, Virginia and a few other places, does singing-songwriter power pop that's clever, intelligent and comes complete with a backbeat.
MySA.com - San Antonio Express