t would be hard to find a more arresting opener to any album of 2026 than the jarring discordant flutes and blast of brass which announce Grace Cummings’ fourth LP, Bloodhorse! In fact, let’s push that further and boldly say it would be impossible. Opening track ‘The Hills are Alive …’ arrives with a sudden impact of unusual sounds from all directions; there’s no chance of giving this music only half your attention. If you had hoped to press play, sit back and let the music fill your background, you’ll be disappointed. Cummings belts out “The hills are alive with the sound of – ” and, as the subject of the song appears, the music develops into a big, bold orchestral journey; it’s a clichéd epic presented in an entirely serious juxtaposition with the subject matter.

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