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Hometown: Seattle

Genre: Alt-Folk, Singer-Songwriter, Cinematic

Influences: My Brightest Diamond, Sufjan Stevens, Owen Pallett

Years Active: 2018 - Present

Label: Self-Released

Official Website:


A fan-favorite at live performances since the band’s inception, the Radiohead cover (originally made famous in the closing credits of Baz Luhrmann’s Romeo and Juliet) comes as Glass Heart String Choir’s first release of 2023, warming up to the duo’s inaugural full-length album, due in early November.

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Exit Music (For A Film)Glass Heart String Choir
00:00 / 04:13

CONTACT: Ian Williams, (206) 714-1586


“Light glows with complex luminous colors, supple textures, and a gorgeous liturgical aura.”


“Their music can often bed down deep inside you;

such is its expressive quality.”

Folk Radio UK

“Glass Heart String Choir dwell in a beautiful, humbling darkness. Their honesty strikes the heart
with a fierce blow, beckoning us further into their
world of wonder and woe.”

Atwood Magazine

“...a hearty slice of baroque indie folk that
wonderfully captures the duo’s synergy as
songwriters and performers.”

For Folk's Sake

“In a vast sea of disposable music, every once and a while something comes along that notches out its very own immaculately unique nook.”

Global Texan Chronicles

"...a tsunami of melody...

guaranteed to pull at your heartstrings."



Friends-in-arms reveling at the intersection of classical virtuosity, existential poetics, and art-film surrealism, Seattle alt-folk duo Glass Heart String Choir weaves golden lyrical threads of haute-art into their achingly beautiful orchestral tapestry. They have toured the US, New Zealand, and Canada, and opened for esteemed indie-artists Devotchka, Emily Wells, and French for Rabbits.

Following 2022’s instrumental EP Falling Stars (“Blending cinematic, folk, and classical in a way that is almost exclusive… [Music Dances While You Sleep]) and single Divinity (“...steeped in imagery and genuine emotion” [York Calling]), Exit Music (For A Film) begins true to the original, with Ian Williams’ acoustic guitar and close vocal drawing on the power of the source material, before violinist/composer Katie Mosehauer reconfigures the dramatic musical cues with authoritative violin and a heady assortment of synths and swirling sound effects, leading to a climactic double-build worthy of its cinematic roots.

“Blending cinematic, folk, and classical in a way that is almost exclusive” (Music Dances While You Sleep), Falling Stars focuses on violinist/composer Katie Mosehauer’s classical influences and string arranging prowess, bringing both to the fore while maintaining the duo’s penchant for gliding gracefully between melancholic-folk and sweeping orchestral beauty. 

Divinity, their previous single, takes us on a journey through the careful tending of love and relationships, when the tools we have aren’t made for the task at hand; our knives too dull, our fingers inelegant, our words graceless. “Even though the song’s central realization is that of the hopeless, I somehow remain a blind optimist regarding the future”, states singer Ian Williams. “Maybe in the awareness that the approach we’ve taken doesn’t work, our eyes are opened to another door. Let’s try that one.” Floating elegantly upon Katie Mosehauer’s violins and string quartet, Divinity carries the string-orchestra vitality found in the work of My Brightest Diamond, Bjork, Father John Misty, and other sweeping, cinematic music.


Previous releases include Call It Dreaming, a cover of Iron & Wine's indie-folk hit, a special recording that came to life by request from a longtime supporter of the band as a wedding gift to their partner, and Wounds, a delicate folk-pop offering set within the alluring visuals of Joshua Tree and the Coachella Valley. The Wounds video finds her attempting to escape the confines of memory, artfully moving through unforgiving landscapes, endlessly looped back to a pool that should be a reprieve from the heat, but is instead a beguiling entrapment. Katie explains, “There are so many emotional spaces that we occupy alone, carrying a burden of psychic wounds and emotional scars that we never speak of to anyone. Music is an important place to give names to those spaces and make them visible to everyone.”


2021’s California is a lyrical tug-of-war between fond recollection, consolation, and sorrow, with vocalist Ian Williams’ sanguine delivery floating upon Mosehauer’s elegant violin melodies and choral soundscapes suggestive of contemporary soundtrack composers Yann Tiersen and Jocelyn Pook. The 100+ string-sections and near-operatic highs of their Light EP are replaced with an airy, Enya-esque choir that haunts the piano-driven bridge, and boldly carries the song forward in its latter half, bringing a soft new dimension to the traditional repertoire.


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