31 March 2017


Photos of Jens Lekman at Oval Space, London on 29th March

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17 March 2017


Spoon discuss new record Hot Thoughts, the most difficult moments of their career and their new music direction.

Photography by Eleonora C. Collini
“For this record we really wanted to go into the future”, Spoon frontman Britt Daniel immediately tells me as soon as we start talking. The two of us and the rest of the band are in a Kensington hotel suite with a stunning view on Hyde Park and enthusiasm is in the air. The Austin five-piece have just played a mind-blowing (to say the least) intimate show at the legendary 100 Club the night before as a part of an European warm-up tour in promotion of their ninth record. 

Hot Thoughts is still indie-rock at its core, but new different sounds have been incorporated, ranging from dance-rock and dirty funk, to drum’n’bass and disco. There are also more dramatic orchestral arrangements and less guitar, no acoustic guitar at all. “I had been working on an acoustic ballad, ‘All your mistake’ for quite a while and I knew it was good, but that seemed too rootsy and old-fashioned, and that is not where we wanted to go”, Daniel explains. “We like that kind of stuff too, but this time we wanted to make something more futuristic.”

Lyrically, Daniel feels that his sources of inspiration have also shifted. “I think we are writing about different things now. For example, ‘Pink up’ was written from the perspective of a society menace. As for ‘I Ain’t the one’, the initial idea was a Johnny Cash type of song, as I wanted to write from a loner, tough guy point of view. That was actually another song I had to change because it was originally on acoustic guitar, but it wouldn’t have worked out that way.”

Like for all previous Spoon records, most of the new songs evolved out from initial ideas Daniel recorded on demo and then put on the table to work on with the rest of the band, but this time one of the tracks, 'First Caress' was written by the no-longer-a-secret weapon keyboardist Alex Fischel, who came on board in 2013. “I made a little demo and put gibberish on top, then sent it to Britt and he came up with all the lyrics. We changed the vocal melody a little bit, and we brought it down a couple of keys”, Fischel tells me. 

We all joke that is because Daniel’s voice is too low. “I love my voice, but I wish it was a little higher”, he admits. Apparently, at a Spoon show with Yo La Tengo a while ago they wanted him to do 'Christine' by Souxsie & The Banshes and he was trying to discuss taking it down a couple of keys, but the band thought it was because he wasn’t feeling secure singing that high. “It wasn’t that, I really just can’t sing that high!” he specifies. 

The new album was recorded both in Austin in the studio of drummer and co-founder Jim Eno, and in Cassadaga, NY with producer Dave Fridmann, who has also co-produced Spoon previous full-lenght They Want my Soul. “Dave is so good at achieving that new, unique sound bands are after, and he knows so much about all the different equipment that somehow he pulls out stuff just like that”, Eno points out. Daniel agrees that his contribution in defining Spoon sound is essential. “He has great ideas, he can suggest a melody or put a sound effect on a song that makes it come together like he did with ‘Knock Knock Knock’ [from They Want my Soul], where he created a horror movie effect. And the funny thing is that sometimes he doesn’t even know where that stuff comes from. He cooks up a lot of things like a mad man, then he has to trace them back and figure out what happened.”

To me, all Spoon album covers have always contributed to the appeal of their music. The artwork of Hot Thoughts, a colourful cross section of a human head, is no exception. “It is as if you could see inside that person, see the bones, the skull and these warm colours that represent hot thoughts”, Daniel explains. He found that image on a friend’s Instagram page. “I didn’t even know that she was a painter. When I saw it I thought that looked like a record cover.”

Daniel and Eno founded Spoon in 1993, and despite all the line-up changes (latest of which the departure of long-time member Eric Harvey, recently replaced by Gerardo Larios), if anything their music has got better and better over the years, but back then, they really couldn't imagine still making music together so many years later. The band’s journey from obscure indie darling to festival heavyweight didn’t exactly happen overnight and it took them years and many difficult moments (including being dropped by major label Elektra) to finally gain the recognition they deserved. “I think the lowest point for me was when we played at a Christmas party at a Mexican restaurant in Austin”, Daniel recalls. “Jim had a job, but I was so poor that going out for a Mexican meal was a luxury, so it was so great to have a Mexican restaurant offering us 200-dollar worth of restaurant credits if we played at their Christmas party…. but it was such a bummer gig!” 

Eno felt that the turning point for them was during the recording of the 2000’s EP Love Ways. “While Britt and I were working on a track, I ran the tape machine we’d borrowed, I hit the rewind button, the tape rewound and it snapped in two! We had no idea where it snapped, which was the worst thing that could happen because we had some great stuff. I then put the tape back together, rewound it, hit play and it was going in a song end, then the next song started… it basically happened to cut right between two songs! I felt that we had reached the bottom and were finally going back up.”

Hot Thoughts also represents Spoon return to Matador Records, who released their debut album Telephono in 1996. Back then, they had many major labels taking them out to dinners and trying to sign them, from Geffen, to Interscope, to Warner, but they chose to go with an indie label instead. “We decided that if we could ever be successful with anybody that would be with Matador as they had put out many great records and we just really liked those guys”, Daniel recalls. “And it was kind of the same thing this time too. We are both in a different place now, so we thought we should just try it again.”

For Daniel, playing shows is the most rewarding part of being in a band. “We all say that all it matters is making a record that documents what a band is, and that is what will live forever, but playing shows is hard to beat.” On the other hand, Eno, who runs his own studio in hometown Austin, thinks the recording process is also very gratifying, and he loves producing so much that now he also runs masterclasses for music production students. He first got invited to run a class at the University of Ohio, and then for two years in a row the same professor has invited five students down to his studio for a week to assist while a band is recording. “It is very good because the University pays me, I pick the bands, we record their music for free and then I just give them the songs for them to use if they want, while the students get to see real sessions”. 

"Hot Thoughts" is out today via Matador Records.
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7 March 2017


Photography by Eleonora C. Collini

Nadine Khouri is a British-Lebanese singer-songwriter currently based in London, whose meditative, cinematographic dream-pop has been described as a “music born of perennial outsider-status.” 

Her 2010’s Song to the City EP and her ethereal, yet moody vocals caught the attention of producer John Parish who invited her to guest on a song for his Screenplay LP, and subsequently to record her forthcoming debut LP with him in his hometown of Bristol.

Featuring guest contributions from Parish himself, Irish singer-songwriter Adrian Crowley and violinist Emma Smith (James Yorkston, Hot Chip), The Salted Air, is a beautiful, poetic collection of dreamy, folky songs reminiscent of early Mazzy Star as well as Jeff Buckley and Nina Simone.

I caught up with her in North East London, where she currently lives, and we discussed the album making, working with Parish and her biggest influences. 

When did you start working on The Salted Air?
I had a couple of songs (“The Salted Air” & “You Got A Fire”) kicking around for a while. As for the rest, I wrote a lot of songs 2 or so years ago and a few made it onto the album. There was a gap between the time the record was completed and released.

How did you and John Parish meet? 
I first met John after a show he played with his band at the Water Rats in London several years ago.

How would you define his producing style? 
Well , I couldn’t generalise for every record, but for ours, John worked as “live” as possible. He was interested in capturing something authentic, rather than anything“perfect” or over-edited. He did leave us room to do our thing and brought an incredible sound to the table. 

So, did your record everything live? 
Yes, for the most part. Most of the vocal takes you hear are guide tracks or sung live with the instruments (piano, harmonium, ukulele, guitar, etc.)

Did you write all the instruments and then put your band together or was it a collective effort? 
I wrote demos with ideas on midi originally and brought them to the band. Ruban Byrne (electric guitar, BVs) and J Allen (keys, BVs) were more familiar with the material as we had tried to record the older songs before. For the band itself, we had rehearsals about 2-3 weeks before going into the studio. Emma Smith wrote string arrangements after hearing the demos. But yes, everyone bought something special that’s unique to their own sound and musical sensibilities. 

How did all those collaborations come about? 
Mostly they were friends, or friends of friends, I had known for some time. When the opportunity came to make the album with John (Parish), I got in touch and he suggested Jean-Marc Butty for drums, and another colleague recommended Huw Bennett for double-bass.

The record is mainly around the themes of loss and transformation. Could you call it a concept album? 
I wouldn’t say so, at least not deliberately; but it was written at a time when I had to start over.

Both your artwork and videos have a defined aesthetic. How important are the visual aspects in your music? 
I love being able to express something visually as well as musically. It can be difficult getting the right conditions sometimes, but I think it’s worthwhile and exciting to express what you want through a different medium.

You are originally from Lebanon. What impact do you think that had on your music? 
I think it had an effect on some of the imagery, the memories that I’m preoccupied with, but mostly in my subconscious mind.

The album was released on your own label One Flash Records. Are you considering releasing other artists’ music in the future or the label was mainly founded to only put out your own records?
Yes, initially the label was conceived as a platform for my own releases. It’s A LOT of work to keep it going, but who knows!

Name your three biggest music influences. 
Jeff Buckley, Nina Simone, Lhasa de Sela.

What have you been reading? 
Today, Carol Ann Duffy The World’s Wife

If you could have a super power, what would it be? 
Absolute fearlessness.

“The Salted Air” is out now on One Flash Records

Nadine Khouri is playing at St Pancras Old Church, London on the 31st March

Originally published on The 405
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2 March 2017


I have seen Spoon many times and they have always been amazing, but this show at 100 Club was just special! Interview coming soon...

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21 January 2017


Photos of Cage the Elephant at Brixton Academy last night

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13 December 2016


Banks & Steelz discuss "Anything But Words", playing chess and how easy is to work together.

Photography by Eleonora C. Collini

Banks & Steelz is the surprising collaboration between Interpol frontman Paul Banks and Wu-Tang Clan badass RZA; a pairing that could have gone so wrong for so many reasons; the fusion of two music worlds, indie-rock and hip-hop, rightly considered by most people as residing at two opposite corners of the sonic universe.

Against all odds, the result, Anything But Words, is surprisingly very good. As refreshing and catchy as intricate, it organically combines the dark elegance of Interpol with the confident, distinctive flow and influential production techniques of RZA, with guest appearances from the likes of Kool Keith and Florence Welche thrown in for good measure.

The two legends first met at a Tequila bar in their hometown New York in 2011, after Wu Tang’s manager, Tyler Childs (who now also manages Banks & Steelz) suggested they should hang out. “Tyler read that I was talking about RZA being a big influence of mine, so that probably prompted him to get RZA to check me out”, Banks tells me while chilling out on the tour bus a few hours before the duo’s London show at XOYO.

After that long, funny night, the two became pals, bonding over music and chess, but it was only two years later that they decided to start writing music together. Both being super busy men, scheduling was the hardest part of the process, especially because they really wanted every single step to be collaborative. “We made a point to work only together”, Banks specifies. “It wasn’t like I would record something and email it to RZA to ask what he would think. We only really pushed the songs forward when we were both physically in the same room.”

Thankfully, once they managed to get together the creative juices began to flow abundantly, yielding a huge amount of music. “I am not sure about the exact number, but I think Paul, who is very archival and most likely has all the versions of what we recorded on his phone or computer, counted around forty songs at some stage of development”, RZA proudly tells me.

Apparently the creative process was all smooth sailing, with Banks & Steelz never getting stuck on any big disagreements, and even lyrically -something so important for hip-hop artists- it was approached collectively. Of course, there were times when something didn't gel, but they just had to say the words and they would move on to something else. “The song that probably gave us the most looking at it again, redoing it, trying one more time, then trying it again was 'Can’t Hardly Feel'. My performance might have been done three or four times before we decided to land on the original version that, to Paul and me, captured the sentiment of the song”, RZA recalls.

Sometimes it is difficult for artists to critique each other because of their own dynamics built over a long period of time, but in Banks & Steelz’s case criticism is very welcomed. “We like each others directions and taste, so the vast majority of the time we have been in agreement, but even when RZA is not sure about something, that doesn’t affect my ego and I will just play ball with whatever he is thinking about trying”, Banks explains.

As their music is hard to pin down and quite unique, I wonder if they think people have got what they were trying to say. “To be frank and honest that part doesn’t concern me as much,” RZA promptly replies. “I don’t worry about the translation. The fact that it does exist, that we completed this record, which is very organic, whether you call it pop-rock, hip-hop classic, rock-rap whatever, is what really matters, and I am very pleased with it. I would just appreciate a music listener to take a proper listen to some of the songs on the record and feel the energy. You can define that energy when you identify with it.”

Banks has always expressed his huge appreciation for hip-hop music, Wu-Tang in particular, something you can’t necessarily guess from the music he has made with Interpol and as a solo artist, but collaborating with one of his biggest influences wasn’t something he would have expected years ago. “I think I respond well to a lot of RZA atmospherics and production, plus I did a mix tape [Everybody On My Dick Like They Supposed To Be] where I mixed electronic, hip-hop and rock vocals, so I had some experience doing vocals treatments on hip-hop-y music”, he says. “But before working with him, I didn’t know that RZA chord progressions were really strong. I just didn’t realize what a great song-writer he is.”

Also, by spending so much time with him, Banks gladly found out that RZA is a very positive person to be around too. “That is something I definitely admire and try to learn from, to have a more positive outlook on things and just be a happy chap”, he tells me smiling.

As for RZA, in spite of knowing Interpol by name from being so famous in the NYC music scene, he only properly checked them out after meeting Banks at that Tequila bar. “I am sort of an absent guy when it comes to rock and indie-rock, like for instance I fell in love with Artic Monkeys two years later, and with Interpol it happened even later”, he confesses. “Their song I probably love the most is 'The Scale'. There is an A-level of rock creativity in their music, whether you call it indie-rock or punk-rock I don’t know. I could put an Interpol song on and still be in that groove over and over again”.

On a personal level, what he admires the most about Banks is his perseverance and work ethic both in the studio and on stage. “He won’t bail out on you and that is very important”, he adds.

RZA also thinks that with this project, Banks and himself got each other new fans as a natural result of their music. “We did a show where there were three Interpol super fans that had never heard of me, but they came to me and asked for an autograph as they liked me”, he recalls amused. “I think there is going to be a percentage of people that come to our shows because they are fans of Paul or me and Wu-Tang, and then people coming to discover. But I think that when they all leave they become fans of Banks & Steelz!”

They both have a lot going on outside of this new project, Banks having written quite a few new songs for possibly another solo record as well as planning a potential new album with Interpol, and RZA being busy with his films (the latest of which, Coco, should come out next spring), but they are already talking about new music together. “There is a lot of creative energy between us and many good ideas bouncing around. There are also some songs we have already written, but didn’t make it to the record that I would like to revisit”, Banks reveals.

In the meantime, there is another upcoming tour date in Kansas City, and many more chess games to come. And in case you wonder, apparently RZA always wins. “Unless we are on the clock as, having played a lot of speed chess in my life, I sometimes technically win”, Banks specifies. “Actually, I don’t even know if I have ever even made him at speed chess." “Yes you did”, RZA adds. “I remember that as I was really fucked up, so lets blame it on the alcohol. “

Anything but Words is out now on Warner Bros.

Originally published on The 405

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5 December 2016


The Julie Ruin at KOKO, London on Friday the 2nd

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20 November 2016


Photos of Banks & Steelz at XOYO, London on Friday. Interview to come!

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31 October 2016


Flock of Dimes' Jenn Wasner discusses the making of her debut record, playing with big Orchestras and being impulsive

Photography by Eleonora C. Collini

Jenn Wasner definitely knows how to keep herself busy. Best known for being one-half of the critically acclaimed indie-folk duo Wye Oak, she also founded Dungeonesse (an R’n’B project with White Life’s Jon Ehrens), along with touring as a member of Dirty Projectors, Future Islands, the Gene Clark No Other Tribute Band and various others. And if this wasn’t enough, only a couple of months after the release of Wye Oak's fifth studio album Tween, Wasner has also just put out her first solo record as Flock of Dimes. If You See me, Say Yes, which came out on Partisan Records on the 23rd September, is a compelling collection of folk melodies interwoven with electronic beats and dreamy synthesizers, wrapped around the ever so evocative Wasner’s vocals. 

Flock of Dimes was first conceived in 2012, but after just a couple of 7" releases, it went quiet, not only due to Wasner’s other music commitments, but also because with no deadline, what really mattered to her was to be absolutely sure she wouldn’t have any regrets about the album whatsoever. “You only get one first record, so I wanted it to be the best I could possibly do”, she tells me while sipping a cappuccino in the garden of a Dalston cafeteria on a sunny, crisp autumn morning. “I initially thought it would take a couple of years, but it ended up taking way longer as I wasn’t ready to let it out. At some point I thought I was done and went into the mixing, but I wound up cutting half of it and rewriting it.”

Aside from a couple of collaborations, Wasner played the vast majority of the record, switching from one instrument to the other. “At first I was really excited to do something completely on my own, but I didn’t anticipate that at a certain point all I wanted was to be able to turn to someone else and ask what to do”, she confesses. “It is a very lonely and intimidating process to take on by yourself.”

If You See me, Say Yes was recorded in a few different places. A lot of the initial demos just  featured Wasner, first in Baltimore then in North Carolina, and though she mainly self-produced the album, she got some help from friends and frequent collaborators Mickey Freeland in Baltimore and Aaron Roche in NYC, while John Congleton mixed it in Dallas.

The importance of being alone is a big running theme on this record, reflecting Wasner’s move from native Baltimore to Durham, North Carolina in search of a quieter place halfway through the making process. “I now live alone in a giant house in the woods. At the end of the tour opening for my friends Sylvan Esso, I was sitting down at their house admiring the neighbourhood and they told me that the house next door was available, so I impulsively decided to give it a try. A lot of the songs would have not existed if I hadn’t been able to leave behind some of the distractions of a big city and be present in a quiet space with myself.”

Wasner defines Flock of Dimes as experimental pop-music. “It’s pop music because I intentionally wanted a lot of the songs to be accessible, so that people could feel themselves in them, but the songs are also a bit odd”, she points out. “I always try to write music within a form, but in a way that is interesting to me.”

For this album, she was mainly trying to craft a universe for the songs that felt right and authentic to her. So, along with the synthesizers and the drum machines -on which most journalists seem to fixate, simply labelling the project as electro-pop - there are just as many organic elements like guitar, piano and pedal steel. “One of my biggest heroes is Arthur Russell, whose music has been extremely varied, encompassing many different styles, and like him I am also drawn into not limiting myself and the sounds I can use based on the music genre I am trying to make. In fact I think some of Flock of Dimes songs are the most interesting and complex I have ever written.”

Aware that a lot of people might write this record off because of the way it is produced, Wasner wants
to try and have different versions of the songs available to people. So recently, together with Swans’ Thor Harris she performed a version of “Everything is Happening Today” with xylophones, pedal steels, violin and viola in Dallas, followed by another stunning version of the song re-arranged by William Brittelle and backed by the String Orchestra of Brooklyn at NYC’s Poisson Rouge. “Britelle had worked with Wye Oak before, adapting some of our songs into formats for chamber ensemble and even bigger orchestra, so I wanted him to work on this with me too”, she explains. “Collaborating with these full-on orchestras of world-class musicians was at first very intimidating, but then it actually made me feel more confident about my abilities and what I can contribute than ever before. Everybody is bringing their distinct skills and there is a lot of mutual respect.”

Probably her fondest memory of her now ten years in Wye Oak is another performance with a Symphony Orchestra in her native Baltimore. “Playing versions of songs never played before after practicing for just a couple of hours, in front of a sold-out crowd, with all of our friends and family there, could have gone so wrong, but it just landed perfectly, and I actually felt that I was performing at my highest level”, she recalls. All these Symphony shows are unique, as they happen only once and are over in a flash, so if you are nervous you might not be able to appreciate what is happening in the moment, but on that occasion Wasner felt more present on stage than ever before. “The fact that I was able to be in front of a hometown crowd playing music that I was very proud of, feeling so comfortable and enjoying every minute of it, was probably the best moment of my life as a performer.”

Wasner took some piano lessons as a kid and has a bit of a theoretical background, but she mainly understands music on an instinctual level. “When I hear a part that I can conceive, but I can’t actually play, I can go to someone that is better at that instrument than me and tell them what I want. I don’t really need to be the greatest in every single thing, as I just envision how things should be and then reach out to people that can help me realise them.”

After taking it for granted for a long time, only recently she realised that her voice is probably the instrument she can play the best. “My voice is the only thing that is distinctively mine and the easiest way to express myself in the most immediate way”, she adds. “Since I started treating it as an instrument, practicing constantly and putting a lot of effort into it, it has got more and more satisfying and rewarding.”

Another great recent achievement was having Reverend Guitars contacting her to create the Jenn Wasner signature guitar, which combines the dynamic power of the Charger HB, a model she has been playing for a long time, with the visual aesthetic of her solo record. “When they approached me I was conceiving the visual art for the Flock of Dimes album, and as on the cover there is an abstract painting of me wearing a jumpsuit, I thought it would be really cool to have that guitar miming the jumpsuit patterns. So we got my talented friend April Camlin, who had designed the jumpsuit to also design the guitar”, she explains.

And as if she wasn’t busy enough, Wasner is already thinking of a new Wye Oak album. This year they only released Tween, a collection of outtakes from previous records, but her bandmate Andy Stack is already working on new material. “When I get home from the tour I have lots of ideas from him to work through and expand upon, while he will be on tour playing drums in Lambchop this winter”, she tells me. They hope to have something complete within the next year. “For me it is very important to have both projects to exist simultaneously. Because I am very impulsive and have a very short attention span, I discovered that if I am only doing one thing no matter what that thing is I go crazy as it gets boring and repetitive, whereas if I have both I am more excited to be working on whichever project I have been working on, and it helps keep both of them more exciting and fulfilling.”

"If You Can See Me, Say Yes" is out now on Partisan Records

Originally published on The 405

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28 September 2016


Laura Gibson discusses the making of Empire Builder, her MFA, New York vs Oregon and some of her side projects

Photography by Eleonora C. Collini

Laura Gibson is gentle and soft-spoken, yet articulate and clever, just like her folk music tales. We meet up at the Courtyard Theatre in Shoreditch where she is about to play her second London show this year. Her fourth record, Empire Builder came out last April and is undoubtedly her best as yet, in spite of also being the most difficult to make.

 Mainly written in New York City, where Gibson moved from native Oregon in 2014 to attend grad school, it reflects the struggles she has being going through over the last couple of years. Not long after moving she broke her foot, and a few months later her East Village’s apartment got destroyed during a gas explosion that killed two people. Gibson escaped unharmed, but she lost everything, including her notebooks filled with lyrics and song ideas, and all her musical instruments. The result is a record which is still decidedly folky and tuneful, but also has a rough quality that cuts through the unique musical arrangements.

How is the tour going?

Very good, I think. This is our fifth show of the second UK leg, including a couple of festivals over the last weekend, which was really fun, though festivals are always a little chaotic. I took a break in August, but before then I was touring in the States and I also did a short run over here. The record came out in April, when I was still in grad school for the first six weeks, so I was bouncing back and forth between school and touring. Now that I finished school I can tour longer.

John Askew co-produced Empire Builder. How did the collaboration come along?
I first met John quite a few years back when I sang on a record with the Dodos, Visiter, which John engineered. Then I kept seeing him around and as I liked his manners and the things he had made, I asked him to co-produce the new album. Initially I wasn’t sure whether or not I would be making another record any time soon because I was going back to school, so I just booked two days with him, thinking I was only going to wrap my head around it, but it was really productive as we got seven basic chords for songs, and almost everything we did during those two days made it on the record. John was very smart as he pushed me while also giving me the reins. It was a very good balance between sharing his own ideas together with interesting ideas I came in with.

Your New York apartment was destroyed during an explosion in March last year. At what stage of the new record’s production were you when it happened, and did you lose any material you were working on?
I was almost done. The songs were at various stages of completion, but we had done all the basic tracks by then and I was just going back to sing the vocals. All the sounds were saved in a hard-drive in Portland, but I lost my notebook with the lyrics in the explosion. A few days after the fire I woke up and started writing down as much as I could remember, and though I had days booked in the studio, after the fire I was going to cancel, but John was so encouraging yet gentle that I decided to go anyway. I sang half of the vocals on those days, and when I listen to them now I can hear how exhausted I was, because I had lost everything. My voice was almost unable to perform anything, it sounded so raw and honest in a way, and it would have definitely sounded different had I not gone back and sung those lyrics just after the fire.

Did you also write some completely new lyrics after the fire or it was mainly rewriting what you had already done?
I remembered maybe half of the songs and the other songs were at various stages of completion. It is difficult to say how they would have been had I not gone back and rewritten them, but I think part of the songs were rewritten from memory of what had been written before, part were written beginning again just after the fire.

You recently got a MFA in Fiction Writing. What was the thesis about? 
It was a combination of short stories and a longer piece. All the short stories take place in Oregon and/or around Oregon in different time periods. The longer piece is about several characters in their late thirties including some jazz musicians and women working in shipyards. They are all quite lyrical, as I came in my strength being lyricism, rhythm and words, and I am still learning how to tell a story.

How much is your music autobiography and how much is  fiction?
I think both. It is kind of autobiographical laid on top of fiction, laid on top of autobiography. Even for me who I wrote all that, it is quite hard to tell, as it is all different things I pull from different parts of life, from different things I have read, from different things I have learnt. My songwriting is about what I am trying to express in that particular moment, but there are moments of fiction, moments of details added or taken away in order to both portrait that well artistically, and also to get across what I want to get across in an honest way.

“Not Harmless” is probably my favourite song of the new record. The lyrics are different from what you usually sing about.
There were frustrations at the time, and I wanted to write a song where I was declaring my own agency for both good and bad in the world, a song where I was perhaps the villain. I often play the part of someone wise that oversees things, so I was trying to write a song in which I was both flawed and powerful at the same time, and I am really proud of what came out.

You moved from Portland to New York mainly for your MFA. Now that you are done with your studies, are you planning to move back in the near future?
I have my apartment in New York, so I think I will stay there for now, but eventually I will move back to Portland. It is just that I want to wait till the end of the tour, and also I have moved so much over the last few years, and a couple of those moves took such an emotional toll on me that I am not quite ready to move from the little home I made in New York.

You were born in Coquille, a small town in the Oregon South Coast. How much do you think where people are from can influence the art they make?
Coquille and New York couldn’t be more opposite. I am from a very quiet place at the edge of town, surrounded by forests, where there is so much space and so much silence. I think that has affected how I have made music over the years and the way I think about things, because when you have that sort of space you can be imaginative and thoughtful in a longer way. As for New York, there is so much going on, and almost to match the architecture you stuck thoughts, words and ideas on top of each other in a way that is quite different from where I grew up. But I don’t know if all that comes across on the record. I have always been interested in places, and that is why touring is always so rich for me and definitely affects my music.

What is your favourite part of the writing and/or recording process?
I really love all of it. I love writing songs and putting lyrics together. I think lyrics are probably the thing I spend the most time on.

Do you find more rewarding the initial impetus or the final stages of the process?
It is a different enjoyment. I enjoy just having an idea, but initial ideas don’t involve a lot of work, whereas finishing involves the most work, but it is so difficult yet the most satisfying, because that is when you take the initial idea and make it better. Now I am very pleased that I took the extra time to make this record and very thankful, but that wasn’t necessarily enjoyable at the time, it was actually quite painful. Though the end can seem very far from being an artist, it is part of being an artist too.

You have composed music for a lot of commercials. Many indie musicians are actually against the idea of having their music used for commercial purposes. What is your opinion on that?
I would never want my voice to sell a product which could cause harm to people, I would turn that down. Mostly, it is things that I have composed specifically for a commercial rather than my music being used, so it feels like a job separate from the job of me opening my heart, because I have never had something quite personal and decided whether or not I wanted the money for that.

Last year you wrote the music and lyrics for Up the Fall, a musical production created for performers with developmental disabilities, for the Portland-based Non-Profit PHAME Academy. How was the whole experience?
My goal for the project was to actually write towards strengths and not towards limitations. There were musical pieces just involving people on stage doing movements and not verbal, and some repetitive lyrics for certain songs, because for some members of that community it’s hard to memorize longer lyrics, but if it’s something beautiful it becomes something really profound in the repetition. That was a hard project, mostly because there were a lot of people involved and it was non-profit, which made it more complicated, but also very good. My favourite part was just the interacting with the performers, getting to know them and their voices, and try to write things that would suit their voices.

And would you also consider working on a movie soundtrack in the future?
Oh I would love to, that is a goal and dream of mine.

What is next?
I am collecting ideas right now. I have a few ideas for side projects outside of music, I want to get back to writing and also want to make another record just after touring.

“Empire Builder” is out now via City Slang 

Originally published on London in Stereo

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