Patience

Dizzy Spells

Night School LSSN065CD
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Patience began as bedroom synth project for songwriter Roxanne Clifford after the break up of her acclaimed
indie pop band Veronica Falls. Born out of a desire to experiment with a new sound and analogue synthesizers,
the project has since grown to become an all-encompassing persona and serves as the main vehicle for the full
emotional spectrum always latent in Clifford’s songwriting. From her first long-sold-out 7” singles on Night School,
her knack for melodic hooks and oblique emotional stances already contained a glistening sheen of promise.
‘Dizzy Spells’ serves as an intimate portrait of Clifford’s creative adventure, almost diaristic, conceived and
recorded in her home studio, as well as with collaborators Todd Edwards (Daft Punk/Uk Garage fame), Lewis
Cook (Free Love/Happy Meals) and engineer Misha Hering (Virginia Wing). Dizzy Spells delivers a debut
album that twists Clifford’s songwriting into new shapes and ecstasies. The album dances around melancholy,
thrown to the floor like a bad dream to be circled, emerging bright-eyed into the early morning full of hope.
The Girls Are Chewing Gum (produced by Todd Edwards) bursts open Dizzy Spells like fresh fruit: sweet and
rich with a synth-bass line beamed down from Chicago House heaven. Exquisitely sung by Clifford, it’s a
wonderful, funky, instant-classic hinting at sexuality and memories dredged from our bodies’ secrets. The bouncy
production expertly renders the addictive power of our ephemeral pleasures. Living Things Don’t Last chases
themes of longing and loss, opening up into a life affirming chorus that sings of transience, the passing of time
and railing against inertia. It’s the perfect example of a song formula that Roxanne Clifford has almost patented:
simple and cutting straight to the point. There are shades of Strawberry Switchblade or French synth pop
pioneer Jacno in the happy/sad dichotomy and it is all the better for it.
Dizzy Spells features all three long-sold out singles, embedded in the full depth of Patience’s soundworld they fit
like pieces of a puzzle. White Of An Eye, The Church and The Pressure—all recorded in Clifford’s former
home of Glasgow—crackle with razor sharp melodies and dancefloor-ready dynamics. There are exciting
additions to Patience’s sonic palette, brought into sharp relief on Voices In The Sand. In this song, a plaintive
Clifford enunciates a heart-torn plea to the antagonist, a mournful cascade of synths and haunting vocals
evocative of AC Marias, a sepia-toned ode to anxiety, “a storm is on the way”. On No Roses, a Vince Clarkesque
production belies a sunburnt sadness. Clifford defiantly sings “you would go out tonight, but there’s
nowhere you like,” describing a disenchantment with her adopted city of Los Angeles, she longs for home in a
singular refrain “No roses… no roses for us.” An ode to English folk singer Shirley Collins, a surprising yet
innate influence throughout Clifford’s work. On Moral Damage, former Veronica Falls bandmate Marion Herbain
joins Clifford on an anglo-french duet that feels instant and spontaneous, a cutting comment on emotional
accountability.
More than a vehicle for Roxanne Clifford’s songwriting prowess, Patience is holding our hand through the night,
dancing with tears in our eyes, dizzy and spellbound.

Patience: Dizzy Spells

The Girls Are Chewing Gum Patience 3' 24''
Living Things Don_t Last Patience 3' 00''
White Of An Eye Patience 3' 27''
No Roses Patience 3' 03''
Aerosol Patience 3' 17''
The Church Patience 2' 00''
Voices In The Sand Patience 2' 54''
Moral Damage Patience 3' 43''
The Pressure Patience 3' 48''
Silent House Patience 2' 22''

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