There is an impressively austere quality to Alison Cotton’s music. Set within the self-imposed parameters of only using instrumentation that she owns, that policy initially saw her limited to viola, voice and Omnichord drone on her debut. In contrast, The Gods Laugh has an expanded palette that also includes harmonium, piano, hammer dulcimer, treble recorder, bowed cymbal and percussion while partner / producer Mark Nicholas contributes bass, drums and synths. Both in its sound and inspiration, her catalogue has a seriousness of intent. This was exemplified by her 2024 album, Engelchen, which translates as ‘little angels’ and was inspired by the lives of Ida and Louise Cook who used their travels through Nazi-occupied Europe to see their…

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