Name: The Golden Ass
Brand: Fauness

Bonus disc

Bonus disc: No

Catalogue number

CSN171LPC2

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Colour

Pink

Colour details

Opaque Pink

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Discogs ID

Format multiplier

Download code

Download code: No

Rough Trade Exclusive

Rough Trade Exclusive: No

Extended format

Extended format: No

Format detail

Format Music GB

Limited edition

Release date

2023-02-17

Signed copies

Signed copies: No

Supplier GB

Cargo

Tax rate GB

Standard:20

UPC / Barcode

0619165204019

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Total Cap

1 / Extended format: No / LP / Rough Trade Exclusive: No / Signed copies: No / pink

Artist

Fauness

Genre GB

Alternative / Modern

Label GB

Cascine

Cascine is a music label based in New York and London, specializing in experimental pop. Founded in early 2011 by Sandra Croft and Jeff Bratton, Cascine has quickly become known for its unique roster of talented artists.

With a focus on pushing the boundaries of pop music, Cascine seeks out innovative and forward-thinking musicians who are not afraid to take risks. The label prides itself on discovering new talent and providing them with a platform to share their art with the world.

From dreamy synth-pop to atmospheric electronic beats, Cascine's diverse range of artists offers something for every music lover. Whether you're looking for *Yumi Zouma*'s infectious melodies or *Chad Valley*'s ethereal soundscapes, Cascine has it all.

For fans of: Tirzah, Caroline Polachek, Erika de Casier, Oklou, Smerz.

Between the ages of 2 and 18, Cora Gilroy-Ware lived in a haunted place. On the outside, this small edge of Connecticut coastline was a quintessential New England town. Yet beneath its quaint surface was a netherworld that got steadily darker over the course of those sixteen years. From a serious drug problem to environmental pollution leading to deadly illnesses, frequent suicides and an above average number of fatal accidents, something about this place was cursed. Amid this world Cora was an outsider, someone who preferred pop and RnB to the music of her peers, who mostly subscribed to the dregs of a Deadhead culture that was more nihilistic than utopian. Still, she found herself on weekends drinking in the woods with the rest of them, playing along until it was time to leave. 

Christmas breaks and summer months were spent across the Atlantic in a completely antithetical environment. In London, the city of her birth, Cora spent her teen years taking the bus home at dawn after raves under the railroad arches, or riding the tube to her cousin’s house in Camden. For a long time, Cora’s life was composed of these two strands ghostly East Coast suburbia and inner-city London which she was forced to fold in and out of one another like a two-strand French braid. She quickly learned to adapt and be whoever the particular moment demanded. Her outsider status was intensified by the fact that, being of mixed Afro-Caribbean and European descent, her family didn’t look like the others in Connecticut. In the 2000s, this meant Cora had to contend with a deeply ingrained kind of folk-racism, both conscious and unconsciously expressed. Nobody talked about these things back then, and she internalized a lot of shame.

The ability to shape-shift became integral to Cora’s artistic practice. Her survival mechanism at school was to carve out her own worlds through visual art and dance. Music was less of a creative outlet than a way of life, something like a form of religion for her family, who all played instruments and saw music as the form to which all art aspires. She studied violin and learned enough guitar chords to write her first songs. Cora always wanted to be a performer, but, having moved around constantly, craved stability and independence. Eager to make her own way in the world, she began to write about painting and sculpture, which eventually led to time spent working in Naples, Italy and a day job teaching the History of Art at university level. 

It wasn’t until 2018 that Cora first shared her first songs with the wider world. Having collaborated and played live with Jam City (Jack Latham, who has co-produced each of her releases), she finally embarked on a solo career, which for her felt inevitable, only a matter of time. Following four acclaimed Eps Toxic Femininity (2018), Lashes in a Landfill (2019), Dreamcatcher (2020) and Maiden No More (2021), this year will see the release of her debut album The Golden Ass. For her artist name she chose, “Fauness”: a play on the Latin faunus, a woodland god with the body of a man and the horns, ears, and legs of a goat. The feminine equivalent fauness is a modern invention, made up by rococo sculptors in 18th century France. Cora was drawn to this pseudonym because of its temporal layers and amalgamation of beauty and beast, which, for her, captures something of her complex personal story.