Little Lapin

With the musical aura of Regina Spektor, the voice of an optimistic Laura Marling and all the cool overtones of Chrissie Hynde, Little Lapin has found a unique sound and she’s ready to show it to the world.

Lucy Cioffi began Little Lapin as a full 5-piece band but during 2012 decided to go solo and hasn’t looked back. In 2015 a mix of folk and pop seems hardly out of the ordinary, but Little Lapin develops and hones her tracks to distinctive delight. Originally from Plymouth and now based in New Zealand, Cioffi gained recognition from her single ‘Waiting Room’ and was tipped as a one to watch by Tom Robinson and many similar names in the US.

New single ‘Remember The Highs’ shows Little Lapin’s expanse of musical knowledge. Nods to genres like country and ’60s rock n roll can be heard in the twang of a guitar and vocal melody. She delicately croons above the wave of sound beneath, with a warmth and huskiness to her vocals that gives them a beautiful yet edgy tone. Little Lapin has established an enchanting structure in which this song feels motivating as it moves forward with pace and excitement, yet simultaneously it is relaxed and undemanding – a very natural sound. If this tracks reflects what is coming up for Little Lapin, then Cioffi’s prospects ahead look to be mighty fine. - Gigslutz

Over the past few months, we’ve collectively been bowled over by the music of a large number of unsigned singer-songwriters, and we remain perplexed as to why (might be an idea for a future Mundo list). Maybe their music isn’t necessarily “radio friendly”, but there’s no doubting their talent to craft songs that tell stories, share experiences, and challenge us.

For nearly a decade, Lucy Hill, who goes by the moniker Little Lapin, has quietly been writing songs, splitting her time between a 9-to-5 job and songwriting in the UK before she opted to take a “sabbatical” to travel around Australasia. It was at this time where she found herself in the seaside, surf town of Raglan, New Zealand, captivated by the area’s laid back charm and stunning scenery. She ended up staying there for five years, discovering more about herself and her future goals. Her time in New Zealand culminated in the release of her debut EP and now her debut full-length.

Written and produced in the land of the Kiwi, Remember the Highs is a stunning compilation of songs that combine the mellow pop of the ’70s and ’80s (think Kim Carnes and Carly Simon) with contemporary alt-country and indie-folk. But beyond the sound, the tracks also resonate with the messages of that era, namely survival, perseverance, and independence, which are best reflected on the melodic opener “Magnet Eyes” and “Go!Stop!Go!”. “Summer Song” also repeats this message, but Hill is more explicit about her feelings about her surroundings and the people around her. Stylistically, it is akin to the great Lucinda Williams, who for four decades has honestly shared her emotions and thoughts with the world.

Whereas the previous songs looked at everything and everyone around Hill, she takes an introspective look on the fantastic “Colour Blind”. Hill brilliantly describes the self-induced entrapment and isolation that we often put ourselves, whether as a result of a devastating experience or our own stubbornness. “Panic” could be the second side of “Colour Blind”, as it depicts the feeling we all experience when it seems the walls are closing in us. The single may also be the most personal for Hill, as she describes the suffocation of being lost.

The songs on the album, though, are not all harrowing. There are songs about relationships, love, friendship, and opportunities. “Nice Coincidence”, the album’s closer, is an upbeat track about welcoming chances. “Over the Draft” is a song about looking forward and the expectations to come, whether just a new day or a weekend with loved ones. “In My Mind” is stripped-back song about the fear we all feel about falling in love. The title track comes across initially as one about regret and longing of an ex-lover, but Hill finds a silver lining in remembering the great moments she had with the individual. It’s a message to which we could all abide.

In addition, maybe we should all follow the path that Hill has traveled, where taking an unexpected hiatus can lead down the road of rejuvenation and rediscovery. It’s a path that, for Hill, has yielded something remarkable – not just a great album in Remember the Highs, but a woman who seems to truly have found her calling and herself. Now, it’s time for the world to discover this terrific songwriter.

Remember the Highs will be released on Friday, May 15. Pre-order it on Bandcamp and iTunes. Hear the entire album below in this exclusive stream. - Revue

Before Little Lapin departed these shores, the UK singer-songwriter was dragged into former Goldenhorse member Ben King's home studio to write the next musical chapter in her critically acclaimed career that had begun with her self-titled EP in 2013. And while some of the vocal influences are fairly obvious – the title track has the pouty purr and attitude of Chrissie Hyde – Little Lapin is unique unto herself. Magnet Eyes is a pulsing pop ode with a rueful lyric that bounces along on an understated acoustic guitar, piano, muted brass and a synthesized beat. It draws its power from Little Lapin's sinuously mesmerizing vocals and phrasing, which is what makes it so easy to fall in love with and Remember The Highs. - Sunday Star Times New Zealand

Never has an album title been more spot-on.

It feels like forever ago that we first heard Little Lapin’s single ‘Remember The Highs’. But finally, Little Lapin is building on that single with her stunning debut album. Does it stand up to its title track?

Yes, would be the short answer. Long answer: pretty much, but ‘Remember The Highs’ is still one of the golden moments that you’ll take away from this experience. That’s not to say that the rest of the album can’t keep up – there’s a lot of magic on this album, but the title track especially.

The opening track ‘Magnet Eyes’ is captivating, and is the perfect way to bring any listener into this album. Whether you’re a fan or not, that constant beat with melody flowing over the top is something that you can’t just ignore. It’s not only a great representation of the gentle pop sounds that make this debut glow, but it’s just the right balance to engage listeners.

Of course, over the course of an album so set in a gentle way it’s perfectly natural to find the odd song that feels a little short of the mark. And of course, I’d be lying if I said this album doesn’t have a few tracks that fade into the background. The magic in the album would be it’s track listing in this respect: it’s ridiculous to expect an album to hold nine tracks of thoroughly killer tracks – that would ultimately make the entire album, start to finish, very meh.

The track listing of ‘Remember The Highs’ is great in that for every song that slips into the background, it’s followed by a song that you can only give full attention to. It’s ordered so well that you really do remember the highs of this album – the percussive drive of ‘Magnet Eyes’; the shimmering lead and background keys of ‘Sound Of Summer’; the explosive glory of ‘Colour Blind’.

Better still: even the tracks that don’t hit the mark in the same way have amazing melodies and hooks. Even if they are filling the background space while you do something else, it’s a pleasant background sound that worms chorus melodies into your brain. In a way, this passive enjoyment is an even better way of appreciating the album. ‘Go!Stop!Go’ and ‘Panic’ are the best examples of this.

‘Remember The Highs’ not just expresses fantastic melody and beautiful vocals, but a deep consideration on the role music plays in our lives. It’s an engaging distraction; it’s a beautiful background sound; it’s completely enjoyable. I’m honestly much more satisfied with this album than I would have been if it were full of tracks like ‘Colour Blind’ (though that would have been great too).

Bookended by solid pop gems, ‘Remember The Highs’ is a strong debut that guarantees you do just that: remember all the high points you’ve just enjoyed, and then play them over on repeat - Freshbeats

Little Lapin -- aka Lucy Hill -- might almost be considered a New Zealand songwriter: She lived here for about five years and, although British, her time in Aotearoa (living in Raglan, this debut album recorded in Auckland with Ben King of Goldenhorse producing) was certainly useful for her.

She received some NZ on Air assistance and did national tours.

That Kiwi cash we gave her (it's your tax dollar, folks) was well spent because she is quite some songwriter and performer, and this debut bristles with indie.rock-cum-countryrock promise.

The title track is a jangle rock gem where her deliberately lazy vocal leans against the diamond-hard guitars before a thrumming bass part comes in to give it further drive. It's already been cutting it up large on indie stations/websites/on-line magazines.

But there are plenty of songs its equal among the tidy nine here: not the least the dreamy but slightly disturbing Sound of Summer in the sonics of percussion (by Andrew Keegan) and synth-organ for the first minute before it shapes itself into a stately but bluntly spoken ballad.

She might sometimes come off as assertive but her voice -- like that of Lucinda Williams' -- can sometimes contains oceans of hurt (the engrossing In My Mind).

In fact, if you are old enough to remember how Williams shifted from the jangle-pop of Just Want To See You So Bad into a sophisticated, sometimes emotionally damaged but relentlessly articulate songwriter of depth and emotional scope then that's a useful reference point for Little Lapin.

Because here she is as accomplished and persuasive on acoustic ballads (the slightly doom-laden Panic) as she is on rocking out material (Colour Blind starts as the former and does a swerve into the latter, then back across atmospheric guitars and that angular percusson again which keeps you alert all the way on this album).

Little Lapin ain't no cute wee bunny running scared, she is aiming and achieving those highs of the album title.

Hope she remembers us when the world is falling at her feet. I suspect she may. - Elsewhere Blog (NZ)

It was only a couple of months ago when Little Lapin seduced and enthralled with the single Remember The Highs, its masterful coaxing of ears and imagination the wake-up call to the mesmeric sound and voice of the UK singer-songwriter for a great many. The acclaimed track also revealed inventive and bold songwriting, something her fans were already vocal about and now impressively confirmed by the artist’s debut album also called Remember The Highs. It is a fascinating and captivating collection of songs which with diversity and melodic resourcefulness simply leave thoughts and emotions spellbound.

Little Lapin is Lucy Hill, a Devon bred songstress now based in Bristol who has been entrancing audiences from the UK to New Zealand and New York since emerging round 2012. Musically her inspirations include the likes of Regina Spektor, The Cranberries, Florence & The Machine, Laura Marling, PJ Harvey, The Cure, and The Pixies, many providing creative whispers in what is a sound and songs which are openly distinctive to Hill. The swift proof comes with the last single, though before that she had bred a strong and loyal fan base through a tantalising live presence and releases such as earlier tracks Sound of Summer and Winning Is Losing, and more so a self-titled EP last year which sparked attention from the likes of Tom Robinson on BBC Radio 6 and regular online radio play. It is easy to assume though this was just the appetiser to more fevered responses and acclaim destined to be earned by Remember The Highs, the album a beacon of melodies and harmonies set to draw greedy appetites like moths to a flame.

a1696187169_16 The album opens with Magnet Eyes and an immediate inescapable tempting of warm guitar and keys taken to another enslaving level by the unique tones of Hill. Her voice has a quality of sounding familiar as well as freshly bewitching, but from person to person it seems we hear someone different as a reference, the likes of Laura Marling, Regina Spektor, Sinead O’Connor, and Chrissie Hynde just some references used, with the latter the closest for us as a descriptive hint. As the song stretches its melodic nature and evocative air, a shadow of darker resonance comes into play to catch the imagination all over again, whilst voice and keys especially almost flirt with rich expression and emotive radiance.

It is a captivating start, but also a potent teaser to the glories of the following Over The Draft and the album’s title track. The first of the two songs creases ears with an initial persuasion of guitar again quickly enhanced by the sultry tones of Hill. Eager rhythms then gently and enticingly march into the exotic landscape now being cast by keys, everything settling into a scenic lure of melodic mystique and catchy hooks with the voice of Hill one giant romance of a snare. Its successor remains as potent as the first time heard, and if there is an air of Chrisse Hynde in the second track, Remember The Highs wonderfully reeks of The Pretenders in its sonic groove and provocative melodic hooks. Vocally too Hill brings her spiciest tang to syllables and a slightly nasal croon reminiscent of the Ohio musician. The darker bred bass groove alongside the irresistible winy flames of guitar is equally as compelling, the song providing one delicious embrace of tenacious enterprise and beauty.

The acoustic opening to Go!Stop!Go! has ears lit and body swaying instantly but it is the brooding air of drama cast through keys and an orchestral breath which ebbs and flows across the track, that turns a potent encounter into a spellbinding one. It is a serenade with haunting shadows and dark aural reflections which offer a melancholic temper to the invigorating partnership and narrative of voice and melody. The song just blossoms with every listen, its slower initial smoulder, compared to the previous songs, soon as engrossing and seductive as anything upon the album.

Sound Of Summer rolls in next on a rumble of rhythms which quickly evolves into an embrace of seventies seeded Beatle-esque keys and the ever inviting vocals. Occasional crescendos of drums add to the expanding and again sultry canvas of the song, guitars and keys colouring its scenery with alluring and imagination inciting enterprise to which bass adds swarthy lines of juicy shadows. Once more there is no option but to sink into the depths of a song before being left face to face with the rockier acoustic persuasion of In My Mind. The song is barely a stroll across the senses but even in its low key gait reveals a tenacious and sturdier character in its absorbing balladry compared to its predecessor.

Both songs though get over shadowed by the outstanding Colour Blind, a track emerging as a definite favourite. It starts on a thoughtful and evocative persuasion of guitar, Hill in moments adding her reflective vocal spice for an engaging start. Soon though, everything erupts into a gently concussive belt of emotional and creative turmoil, agitated rhythms and clanging riffs consorting with fiery keys in a bedlamic expulsion. It is a striking and thrilling twist to an already highly persuasive proposition providing yet another major highlight in Remember The Highs.

The album finishes with firstly the melancholic but again vibrantly arresting Panic, a song which has an essence of the drama found within The Smiths songwriting to it, and finally the closing warm smile of A Nice Coincidence. Contrasting textures flirt from within the encounter, sombre strings find themselves courted by skittish rhythms and another seduction of voice and melodies. The lyrical side of songs, as once more shown here, is just as intriguing and enticing, Hill able to cast hope in dark experiences and show the shadows within the brightest adventures.

Remember The Highs is a musical love affair for the senses from an artist in Little Lapin, who has the potential to become one of Britain’s most exciting and innovative singer songwriters. Thinking about it as her album seduces once again, she already is. - The Ringmaster Review

Devon born indie pop artist Little Lapin has spent the better part of the last year putting together her forthcoming record, Remember the Highs. Handling writing, vocal and guitar duties herself, she also collaborated with producer Ben King and drummer Andrew Keegan while recording the album at New Zealand’s Anniversary Studio.

The compilation begins with the subtle but stirring acoustic riff of “Magnet Eyes” and runs straight into an absorbing harmony. Building from here, things become steadily busier and maintain a fast pace. It’s a soft and simple opening number that rests easy on the ears. Following up with rousing guitars, “Over the Draft” flows into an expressive melody. Adding an indomitable drum beat and affective synths to the mix, it forges a warm aura that makes for a very pleasant listen.

Title track “Remember the Highs” bursts into vivid vocals and amiable guitars that are soon united with some cheery percussion. All of its elements complement each other splendidly, soothing as they unfold. It’s succeeded by the reserved acoustic introduction of “Go! Stop! Go!”. With instrumentation that continues to grow and stir emotion as it progresses, this pop ballad is both relaxing and deeply moving.

“Sounds of Summer” takes off with an immense organ effect and shattering cymbals that persist through its vivacious vocals. A poignant riff and gentle percussion join in during the fervent chorus. It’s a powerful piece which leaves a lasting impression. “In My Mind” sails smoothly out of its wake towards a hard hitting harmony and penetrating guitars that will haunt your memory long after they’re done.

The biting riff that gets “Colour Blind” going carries an urgency as it approaches piercing vocals that wash over the senses. Exploding into wild and tumultuous instrumentation for its frenzied chorus, things tone down again briefly before arriving at a hectic climax. “Panic” is another touching acoustic composition next, being full of feeling and assertive vocals which loom large. Its successor, “A Nice Coincidence”, adopts a more upbeat demeanour. A compelling melody cuts across faint guitars ahead of merry synths and percussion. It serves as an optimistic finale that ends the proceedings on a delightfully positive note.

Little Lapin has crafted an uplifting and heartfelt pop/folk collection that doesn’t rush itself and takes its time developing. This results in a thoughtful and well constructed musical undertaking whose tremendous vocal work and adept instrumentation captivates and lingers in the mind. Remember the Highs is due for release on May 15th and most definitely warrants investigation. - Pure M Magazine

Little Lapin, the stage name of Lucy Hill, is a England-based singer-songwriter who performed in town last year, and when I first heard her folk and pop-influenced debut EP, it instantly perked my ears. Now her debut full-length album, "Remember the Highs," has me once again hooked.

"Remember the Highs" embraces a modern adult-contemporary aesthetic — reminiscent of, say, an acoustic Florence and the Machine — that is anchored by Hill's powerful, nuanced, pure voice. I hear a little bit of country on "Go! Stop! Go!" a song that showcases her strengths as an artist. The tune begins with a simple acoustic guitar melody that slowly builds towards a magnificent chorus and eventually rings true all around.

Little Lapin's six-track debut EP gained traction in New Zealand. "Remember the Highs" may win her the broader audience she seems to be making a bid for. - City Newspaper Rochester New York

A while ago, I found this wee gem while trawling through Soundcloud on one of my usual music hunting sprees. Then I went to see her play alongside Jesse Sheehan at the Portland Public House this week, and was simply mesmerized by her voice and her presence. Have a listen for yourself! I think what grabs me most about this tune is the chord progression, which provides interesting little dips and dives, and twists and turns underneath the lyric. Then there’s the arrangement - it builds, disintegrates and builds higher again with just the right amount of drama. And finally, there is Lucy’s voice - reminding me of cinnamon, smokey woods and trees. It has such an earthy quality to it. I am always drawn to earthliness because to me it relates to honesty, and I like that the most. Anna Loveys. - Musioso Blog

“This delicately crafted songbook brings to life a brooding selection of songs, leaving an everlasting impression on the ears and the mind – not only for the stylistic arranging, but also for the lyrical content and the voice that delivers it”. - NZ Musician Magazine

One look into her bright eyes, Little Lapin will have you mesmerised. Auckland-based Lucy Cioffi in her musical alter-ego Little Lapin has finally released her self-titled debut EP. The extremely talented and musically diligent artist has been working hard over the last year on producing and releasing the tracks featured on the EP and we finally get to see the delightful fruits of her labour on the record.

Listening to this EP is like watching sepia images flickering from a projector. The songs feel fragments of a movie as Cioffi, a natural narrator, expresses herself in these poetic scenes. The first song Waiting Room is a purgatory, a place somewhere in between where you were and where you want to be. The video for this song, produced by Indiefilm Productions, is a beautifully animated collage of free falling leaves and rain, and Cioffi being caught in a web; symbols that capture the essence of a song about time passing you by as you wait in anticipation.

The beauty of Silent Tears, and in fact all of this EP, is her restraint; she never over-emotes her vocals, and in a song about suffering in silence it portrays her locked up emotions in a soul-clenching way. The accompanying music video, again directed by Indiefilm productions, perfectly captures the essence of her silent tears. Images of old cinematic melodramas, and water violently pouring into a tea cup, are juxtaposed against Cioffi as she lays almost paralysed next to her lover and delicately sits with her tea. Her silent tears are released vicariously in those opposing images.

Friendship on Fire is a classically sub-pop melody, like a Jenny Lewis song. She has been likened to Florence Welch, but I think her vocals are a mix of Lewis’ lullabies and the lethargic elocution of Lana Del Ray. I even feel a higher-pitched wave of Suzanne Vega in that restraint she has vocally. This technique creates an intrigue in its simplicity, and works so well with great lyricists and musical poets like Cioffi as the weight is not solely on how she sings but also what she sings.

From the onset of Yellow Brick Road you feel like those ruby red shoes slip onto your feet and make you skip along to the childlike chime along this enchanted path. This song feels like you are innocent again, exploring your first trip to a candy-coated funfair.

Foreign Places is an adorable romantic song about a bond that goes beyond words. Cioffi once was too afraid to perform in front of an audience and her shyness shines through in the passive tracks like this in her EP.

The final track on the EP is a remix of Slient Tears, by Ben Barter. It is an echo of the original version and a cute way to close the EP.

Little Lapin is an introvert and an observer, quietly reserved and stunningly bashful. Cioffi lets her personality shine through in this EP. Music is clearly coaxing this beautiful little lapin out of her burrow, into the fields of dreams and realities where Cioffi can expand her musical horizons. - Muzic.net.nz

Listening to Little Lapin, the debut EP by UK-born, Auckland-based Lucy Cioffi, is like finding that perfect shell on a beach on a foggy day, cold, white and unmarred by the elements. It's a work of beauty that stands out against the gloom and gives you something to smile about. You would never guess, while listening to these six thoughtful tracks about how to grow up while trying to stay young, that Lapin (French for "rabbit", and I'm going to use this name to refer to Cioffi) was once unable to throw a note out in public. After finding her calling in Raglan, New Zealand, Lapin formed the indie pop band Hand Me Downs and went solo in 2012. You've got to have some confidence when you break apart from your band, and Lapin demonstrates she can hold her own.

The voice. Always the voice you need to talk about first for a solo artist. Lapin's voice is not unique but it is powerful, at times sounding like Emma Pollock of The Delgados and other times like Florence Welch of Florence + The Machine. The songs are carefully arranged and do not follow any particular theme or singular musical style. The dreamy guitar haze of "Waiting Room" swirls around Lapin's voice while "Friendship on Fire" lands center of twee-pop (I think there's even a tambourine).

Lapin is an able lyricist. She says what she needs to say and little else, because what else is there to say? "You take me to many foreign places/I don’t need currency there/when you pull out your funny faces /it’s the best thing you’ve ever shared," she sings on "Foreign Places." There is a fair amount of sugar in that quatrain, and at the same time it's a compliment to her companion. Home is where the heart is, and the heart is always with someone. She sometimes overdoes it; she whispers on "Silent Tears.” "if I thought that you would understand/I wouldn't be here lying soaking wet/in my silent tears." Come on now, that's a bit much. The music on that track is awesome, though, with an anxious rhythm section and a ghostly string piece. The musical variety is what really sets Lapin apart from her peers. There's a willingness to apply herself to different genres here, and she rarely sounds uncomfortable during any of her performance. Like I said, the girl’s confident, and I have no doubt this won't be the last we've heard of Little Lapin. - The Equal Ground

Little Lapin is a songbird with golden tones that captivated our crowds. Irresistible listening from a talented musician with a voice reminiscent of all things homely, mixed with the lilt of far away lands. - Waikato Times, Chris Lam Sam, Entertainment Manager The Waikato Show