Bishopskin’s new single Doggerland is less a song than a passage into a forgotten world. Inspired by the land that once bridged Britain and continental Europe before it disappeared beneath the sea, the track arrives like an echo of history surfacing through sound. What makes it remarkable is not only its theme but the way the ensemble renders it musically, turning myth and memory into a living, breathing landscape.
The piece begins with sparse guitar and deep-toned vocals that establish a sense of solemnity, before strings and woodwind unfurl to expand the horizon. Violin and cello weave mournful lines that suggest both ritual and remembrance, while clarinet slips in with a distinctly human fragility, like breath carried across water. Electric guitars and bass underpin the arrangement with weight and resonance, ensuring that the atmosphere never drifts too far into abstraction. Every layer feels deliberate, creating a slow-burning progression that swells until the final minutes arrive like a tide overtaking the shore.
Vocally, Tiger Nicholson delivers with gravity, his voice grounding the track in narrative authority. Opposite him, Tati Gutteridge’s harmonies soften and lift the texture, a dialogue of shadow and light. The interplay of voices mirrors the theme itself: memory and loss, permanence and erasure. In a live setting, one can imagine this contrast carrying a ritualistic power, transforming the performance into something communal and almost ceremonial.
What lingers after listening is the sense that Doggerland does not simply recall the past but channels it. Bishopskin blur the lines between folk tradition, post-rock expansiveness, and spiritual hymnody, crafting a work that feels both ancient and urgently contemporary. It is music as excavation, pulling history and myth to the surface and letting it resound with haunting clarity.