Imagine a musical potion of Weyes Blood’s ethereal moodiness, Coco’s wispy vocals, Kate Bush’s experimentation, and the vulnerability of PJ Harvey–that’s where Sarah Grace White finds herself. The up-and-coming LA singer released her four-track EP “Sinkhole” last Friday. The collection of tracks situates the listener in a dream-like state. White’s hazy, synth-backed melodies and quiet instrumentals paint muddled visions of heartbreak, vulnerability, and the self-awareness of it all. White does not hide behind her feelings, they’re intricately displayed on her sleeve.
Amongst the buzz of a release day, White confidently said she was “Feeling good.” Her mix of excitement and relief colored her words, “Releasing music is always just its own little animal, but I'm really happy that people can hear it now.”
White’s official music career began in 2022, yet she joked that it started quite a bit before that. “I think I started singing when I was probably a baby. My dad likes to tell stories of me harmonizing in the cars as an actual infant.” Music and the arts surrounded White as a child. Friends, family, and childhood piano lessons, all worked their way into White, pulling her to walk in a seemingly destined path.
White’s influences, like her music, are rooted in nostalgia. 80s deep cuts subconsciously delivered by her parents, influence her synth and poppy soul influence, “As I got older I loved that era even more.” She cited Fiona Apple and PJ Harvey for her love of “....Hearing women with a lot to say. Not a lot of editing, just a stream of consciousness, saying what you feel.” The call to nostalgia seems to drive White. Yet, instead of crooning about clear waters, White drives to speak her mind.
This poetic-esque style of writing, letting words roll off the tongue is apparent in “Sinkhole.” Each track gives you a different dream, as you listen you’re living in this in between – like the moment right before you wake up. White’s music lets you rub the crust out of your eyes.
Her songwriting process echoes the free-flowing and honest expression she loves. “There is a dreamlike quality that I try to tap into when writing,” White describes. “I think the writing process for me is not in my head–it's pretty bodied. If I feel inspired to write about something, it starts happening pretty quickly…it comes out in bouts…in that halfway point, between the feeling and the subconscious dream state.”
“Sinkhole” is a personal EP. It places the listener right where White was in the moment while allowing one to still find meaning in her lyrics. White is equal parts soft and cutting–like a slap on the wrist with a kiss on the cheek right after. The EP reads as a story, each track working off the other to piece together a moment, a night, a breakup. “All of these songs are about heartbreak in some way…they all stemmed from trying to piece through memories of either a relationship or a situationnnn-ship” she coyly dragged out.
White sings with a hand outstretched while simultaneously asking why that hand is out in the first place. “I was really aware that when you're writing about heartbreaking situations, you can come off so easily as ‘Oh, look at this awful thing that happened to me,’” White describes. She questions her actions, vulnerably recognizing her participation in heartbreak. Looking at her foot propping the door open, White takes in every moment and delicately lays it out in front of you. “Even if it’s the worst situation you could be in, there’s always your choice to keep going, keeping the door open,” White said.
Collaborating closely with producer Jorge Balbi, known for his work with Sharon Van Etten, White formed a creative sanctuary where experimentation and nostalgia crossed paths. Bassons, cellos, bass, guitar, and drums formed a sonic bubble as White and Balbi built a foundation for “Sinkhole” and future projects.
Recording “Sinkhole” was a journey of discovery in itself. During a trip to Studio Valentine, “It felt almost too big and not intimate enough for what the song meant,” White recalled. However, she shifted, avoiding a sinkhole of failure, ultimately bringing her back to Balbi’s home studio–combining pieces of Studio Valentine with comfort. White said, “It’s cool to feel like something is failing or just not your intention, and then such a relief when it comes back to work.” “Sinkhole” roots itself in the line of comfort and discomfort. Feeling like a hug that was just released, White begs for it to come back in.
In the upcoming year White, with a sparkle in her eye, expressed that she “would love to tour again.” Her past tour with Dehd gave her the space to flourish in the hectic space that is touring. White’s adoration for live performance shines through, “I love playing live. That experience touring was so much fun, and I couldn't have asked for a better first tour.”
As our conversation ended, Sarah Grace White drew me into a world that isn’t just about listening–it’s about feeling every part, emotion, and memory. White’s passion and intimate storytelling places a “Sinkhole” right in front of the listener, but gives them the choice to fall into it.
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