For those readers that haven’t heard of before could you tell us a bit about yourself?
Sure thing. I’m 6ft 3ins, blonde with glasses. GSOH. Love taking long walks with my dog and quiet nights in by the fire, watching obscenely graphic horror films on either Amazon Prime or Netflix. Oh, I also make music.
Having specialised in audio forensics do you find that you approach writing music differently to most people?
Probably not, although I’m not sure. I tend to start with a rough outline of the song on the guitar and then record that in and produce around it. However, there are times where I’ve programmed a loop on the computer and built the track from that. For example, Fire Breathing was just a small acoustic loop which I recorded into the computer and then layered up to the monster it is today.
You can probably tell which ones were done in which way depending on how heavily they rely upon the guitar. If it’s an intricate guitar part throughout the song then I’ve probably written that first before layering the production on top.
Can you tell us a bit about the recording of your latest album “A Change of State”?
I had initially decided to not do another album, but rather to focus on things like mixing and song writing for other people. After about a year after I became a father, I started messing around in the studio and I came up with A Careless Anon. Originally I thought it might be a goodbye song. A nice farewell to leave the fans. I soon realised that there was more where that came from. The album took about a year to write and record. It then took another 6 months to get everything else done. Mixing, artwork, vinyl, tour planning.
Your album title relates to the change of state of, solids, liquids, gasses, and the energies of transform have you always had a keen interest in science?
I have. I really enjoyed physics when I was younger, it’s like real life magic. Unfortunately I’m super bad at maths so couldn’t do it at A Level.
How do you translate, your recorded work to the stage?
It’s a long process and one that only works for some of my songs. I go through each song and figure out what I could play, either guitar or synths / samples or both. I then chop up the separate stems and put them into ableton. Once in ableton I can then elongate bits that I find are working and see where is best to ad lib other bits. I try and stay true to the arrangement, but everything else is up grabs.
Sometimes I just can’t play a song because it’s in a strange tuning that would involve about 3 mins of messing around with my guitar. I know that doesn’t sound like a long time, but just 2 seconds of silence is an eternity when you’re onstage.
What is the most interesting venue that you have performed at?
That’s difficult. I’ve played on the beach in the Bahamas for Time magazine. I’ve played before the snow-capped mountains of Tignes in France. I’ve played in a velodrome in Germany. There have been so many. I guess one of the above!
Here at Artistic Echoes we are always on the lookout for new artists, do you have
anyone you’d recommend people check out?
Hmmm. I’m always late to the party on loads of people, but here we go. Bayonne is someone I’ve been listening to loads. Also Weval. Apologies if you’ve already heard of them.
What are your plans for the rest of the year?
Well, hopefully arrange some more gigs and start filling up next year with European shows. I have a pile of slightly heavier tracks that didn’t make the album, but are worthy of being released, so I’ll probably be working on those for a bit too.
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