Samia talks about her latest album, ‘Bloodless,’ a significant exploration of identity and intrigue with Atwood Magazine.
Stream: ‘Bloodless’ – Samia
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You are a woman with a man inside observing a woman. You are your own voyeur.
– Margaret Atwood
Samia has had enough of voyeurism.
The Minneapolis artist, known for her precise songwriting, turns her attention in this project away from autobiographical narratives to focus on one theme: Examining an identity shaped for men. The outcome is Bloodless, featuring thirteen remarkable tracks that present Samia from every conceivable perspective. This third album is a self-defined return to form, condensing the expansive ideals of identity into concise reflections.
Bloodless – Samia
“Bovine Excision,” the album's lead single, employs the bizarre occurrence of cattle mutilation as a metaphor. A gradual build-up leads to a storm of distortion as Samia sings, “I just wanted to be your friend. Cup of tea in your cold hand.” This haunting sensation erupts into a chant-like chorus with “drained, drained bloodless.” Samia’s falsetto resonates like a ghostly echo amid the raw guitars. It’s one thing to be left with nothing to give, but another to consciously choose to stop offering yourself.
The record’s core message is most evident in the second track, “Hole in a Frame.” Sid Vicious’ explosive behavior is preserved in Cain’s Ballroom, framed in black with a golden plaque. A gentle, piano-driven refrain highlights that “a little death goes a long way,” immortalizing a piece of emptiness.
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Editor’s Picks 118: Bon Iver, Japanese Breakfast, Samia, Michael Marcagi, spill tab, & Djo!
While not completely disconnected from her previous work, the empty warmth and fragmented instrumentation of “Dare” signals new territory for Samia. Her voice boldly declares, “I will always understand the way that you protect him.” “Spine Oil” echoes these sentiments, propelled by heavy toms and a Jonny Greenwood-inspired guitar. Samia candidly asserts, “I’ll take the plant like a virgin; everything hurts when it goes in.” Both tracks embody a sense of void and realization, ambiguous yet clear in their expression.
“Carousel” stands out as the only love song on the album. Samia’s falsetto reflects longing as she breathes, “I’ve been rubbing together bramble, I wanna hitch my fire to your candle.” Building to a crescendo, she finds solace in the gaze of another, singing, “All your celebrity crushes are asymmetrical like me.” Striking chords and distortion ignite the ending.
The album culminates in a triptych of nonexistence. Four notes challenge the listener: “Wanna see what’s under these Levi’s? I got nothing under these Levi’s.” Samia skillfully transforms profound emotions into something accessible, all while retaining their intensity. The breathlessness is interrupted as instruments return, and Samia boldly sings, “Lipstick on my teeth in the mirror. How long has this been here? How long have I been here?”
Samia ‘Bloodless’ © Graham Tolbert
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Samia Unveils the Haunting “Bovine Excision”:: TODAY'S SONG ::
Through this record, I allowed myself the freedom to write in an elliptical manner that felt like a personal release, which is why I wanted to write in the first place.
Bloodless is Samia’s most explicit declaration to date.
Vivid and expressive as ever, the self-imposed limitations do not stifle her ability to delve deep. Instead, they create space for unresolved inquiries to take root and flourish, towering over her previous work.
Samia shares insights about this significant exploration of identity and mystery with Atwood Magazine.
Bloodless is now available through Grand Jury Music.
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:: stream/purchase Bloodless here ::
:: connect with Samia here ::
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A CONVERSATION WITH SAMIA
Atwood Magazine: You mentioned that this record addresses your relationship with men and how you have likened them to God. Could you elaborate on that?
Samia Finnerty: It’s less about any specific man. It stemmed from a set of criteria I used to shape my identity and personality from a young age. It was a mix of real experiences and complete projections, influenced by people I met and media representations. I created a desperate identity based on fragments I believed men would find appealing. I discovered parallels between that and the way people venerate God.
You’ve often expressed the desire to be needed in your music. Why was this the right moment to address that particular pattern?
Samia:
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Samia talks about her third album ‘Bloodless,’ an ambitious exploration of identity, femininity, and intrigue, in an interview with Atwood Magazine.