THE term ‘dreampop’ is often used in these pages, but it seems to apply to Conchúr White’s work in a slightly different way to that of his ethereally inclined contemporaries. In the songs of his debut album , dreams – surreal visions and imaginings of the afterlife – form a recurring theme, framed within beautifully soft-sung acoustic vignettes and chamber-pop, run the first words of opening track “The Holy Death”, luring us into a world of “surreal settings with tangible messages”, as he has previously put it. Northern Irishman White (his first name is pronounced “Conor”) has seen his profile grow over the past few years thanks to slots opening for the likes of John Grant, John Cale and The Magnetic Fields. Meanwhile, last year’s “Atonia” single, inspired by studies of sleep paralysis, proved an enticing precursor to .
