When You Were Mine, 2013

"This is a psych-wolf record in country-sheep’s fleece."                            
 -American Standard Time

"The intellectual contingent of her writing aside, Psychotic Melancholia is a positively jaw-dropping exposition that celebrates the entire canon of rock ‘n’ roll’s energy, and should be considered an upping of the ante on the gritty sonic real estate of garage, punk, country, and Americana, into some amalgam altogether more apt of Thompson-King’s wondrous artistic aptitudes."     -Paste Magazine
www.hayleythompsonking.com

Dopesick

"The intellectual contingent of her writing aside, Psychotic Melancholia is a positively jaw-dropping exposition that celebrates the entire canon of rock ‘n’ roll’s energy, and should be considered an upping of the ante on the gritty sonic real estate of garage, punk, country, and Americana, into some amalgam altogether more apt of Thompson-King’s wondrous artistic aptitudes."     
-Paste Magazine

Teratoma

08 - Drink Her Away

“The intellectual contingent of her writing aside, Psychotic Melancholia is a positively jaw-dropping exposition that celebrates the entire canon of rock ‘n’ roll’s energy, and should be considered an upping of the ante on the gritty sonic real estate of garage, punk, country, and Americana, into some amalgam altogether more apt of Thompson-King’s wondrous artistic aptitudes.”  - PASTE Magazine

Hayley’s forthcoming album, Sororicide, explores a broad range of sounds with threads of Americana, echoes of opera, and reverberations of garage rock throughout.  Produced by Sean Slade (Hole, Lou Reed, Radiohead) and engineered by Benny Grotto, Sororicide was inspired by art song cycles like Robert Schumann’s Liederkreis, and concept albums like Brian Wilson’s Pet Sounds.  Sororicide is a narrative of original songs and that draws from Hayley's studies as an opera singer.  It also incorporates her arrangements of arias "Must The Winter Come So Soon" from Samuel Barber's Vanessa and "Toi, le coeur de la rose..." from Maurice Ravel and Colette's L'Enfant et les Sortileges.  These contrasting styles are a vehicle to tell the story of an artist whose inner voice is so deafening that she comes to believe it is that of a parasitic twin she absorbed while in utero. The “twins” are a genuflection to composer Kurt Weill and Bertolt Brecht’s ballet chanté Die Sieben Todsünden (1933).

Hayley Thompson-King

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