FRACTURED AIR

The universe is making music all the time

Posts Tagged ‘Cécile Schott

Colleen with Seti The First & Áine O’Dwyer

with one comment

The following is our account of Colleen’s first visit to Cork, Ireland, for her performance at Triskel Christchurch, on Saturday 2nd November 2013. Colleen was supported by the immense talents of Seti The First and Áine O’Dwyer.

Words: Mark & Craig Carry, Photographs: Izabela Szczutkowska

coleen089 txtcopy

“Raven, why stare at me with those eyes?
Don’t you know I love you
Just as you are?”

(“Raven”, taken from Colleen’s “The Weighing Of The Heart”)

——

Saturday 2nd November 2013. Today is the day we have the joy and pleasure of bringing Colleen (aka French musician Cécile Schott) over to County Cork, Ireland, for her first performance here. The concert is to be held at Triskel Christchurch, Tobin Street, Cork. It’s been ten years since we both first picked up Colleen’s debut album “Everyone Alive Wants Answers”, a record which seemed to open up a whole new world of sound when we first heard it (we would have been eighteen years old, anxious to discover what music beyond the “norm” sounded like). We purchased the CD from our beloved local record store, Plugd Records, at its then location on Washington Street in Cork City. A decade later – and a string of much cherished Colleen albums later – the special soul of Cécile Schott would conclude her “The Weighing Of The Heart” tour (comprising her first live shows in almost five years) in the environs of our own hometown.

A new departure in Colleen’s ever-expanding sound could be witnessed by Schott’s new material on the night (“Lighthouse”, “Captain Of None” and “I’m Kin”) where the influence from the rich musical landscape of Jamaica (through a new dub-like treatment to her compositions) can be heard. “Lighthouse”, already premiered earlier in the year on Colleen’s European tour, contains a repeated mantra-like vocal, where Schott’s voice is at it’s most sumptuous and enchanting to date. Both the lullaby-like vocal delivery of the central lyric “Lights on the ocean” and a short passage on the viola da gamba are looped repeatedly while Schott layers the tapestry-like composition to it’s richly nuanced and beautifully intricate climax. Elsewhere, the new focus on rhythm and percussion are richly evident – augmented by the use of a floor tom drum and an octabass octaver pedal – the latter adding a dynamic, bass-heavy sound to the rhythm – revealing both the boundless possibilities and the forever-expanding inventiveness of Colleen’s most sacred and precious sounds.

————

coleen103txt copy

“Be still, don’t do that
I wanted to be here alone
Who are you, I only know
You’re not the person I wanted to
look like What’s up with you
look like you’ve seen a ghost”

(“Hyperbolia”, taken from Áine O’Dwyer’s “Anything bright or startling?”)

——

coleen057txt

coleen055 txtcopy

“I’ve always experimented with and enjoyed using extended techniques more so than using additional technology. It’s really lovely to bow the lower base steel strings of a harp. A lengthy piece of rubber cable also creates a nice drone. Playing on dampened strings comes in handy. (excuse the pun) Drum brushes work beautifully. I like to lay the harp down flat and play it as a hammer dulcimer too, given the chance. Metal or glass slides work very well along the strings. If I want a guitar or lute sound, I pluck the string closer to the sound board rather than in the center. Playing it backwards is fun! After that, there’s plectrums, harmonics, tremors, string bending……So, plenty of possibilities there before I ever think of plugging it in.”

(Áine O’Dwyer, on discussing the harp’s possibilities)

————

coleen093 copy

“Musically, it represents a bit of a departure from our first record Melting Cavalry so we are both nervous and excited at the same time. It will be still cello driven but Thomas’s Marxophone is set to take a very prominent position also.”

(Kevin Murphy, Seti The First, on the forthcoming second album by Seti The First)

——

coleen043txt copy

coleen062txtcopy

————

“O you my heart be feather-light!”

(Taken from Colleen’s “The Weighing Of The Heart”)

——

coleen069txt

coleen116txt

coleen030 copy

“Once Upon a Time There Was a Pretty Fly (Lullaby)”

Once upon a time
There was a pretty fly
He had a pretty wife
This pretty fly
But one day
She flew away
Flew away

She had two pretty children
But one night these two pretty children
Flew away
Flew away
Into the sky
Into the moon

(Taken from the 1955 film “The Night Of The Hunter”)

——

coleen070 txtcopy

coleen081txt copy

coleen088txt copy

“At the time of making the album, I just wanted my music to reflect a sense of joy and movement in a way. So I think getting into percussion and into rhythm, it really helped me approach my instruments differently and to step out of my usual patterns.

So, definitely when I started to learn percussion, it mostly started with learning the frame drum. Then all of a sudden, I finally understood how the basic rhythms are put together, and then when I took my other instruments, it just felt immediately natural to play in a more accented rhythmic way.

So I think it’s definitely a big step forward and I’m really looking forward to keeping on working in that direction. It’s what I really want to explore further is the rhythm and the use of the voice, that’s definitely the step forward for me I think.”

(Cécile Schott, in conversation about adding percussion to her music, May 2013)

——

coleen067 copytxt

coleen076 txtcopy

coleen098 copy

“Actually, it’s the most common combination, you know, in popular music in the wide sense: It’s someone singing and they’re playing some kind of instrument at the same time. And obviously that’s been going on for the longest time in history and I thought, well, if I am going to use my voice now, I have to make sure it’s really, really special and I have to keep the thing I did have which was special in my instrumental music. So I did work very hard in trying to achieve that.”

(Cécile Schott, in conversation about adding vocals to her music, May 2013)

——

“I rise like the sun above olive trees, like the moon above date palms. Where there is light, I shall be. Where there is darkness, there is none of me. I rise like the moon above date palms. I am counted as one among stars.”

(Excerpt taken from The Egyptian Book of the Dead)

——

coleen115 copy

“Every one of us is, in the cosmic perspective, precious. If a human disagrees with you, let him live. In a hundred billion galaxies, you will not find another.”

―Carl Sagan, “Cosmos”

——

“Moon be bright and shine”

(Taken from Colleen’s “The Moon Like A Bell”)

————

All photographs by Izabela Szczutkowska (http://www.izyandthesunshines.blogspot.ie).

(The complete series of photographs can be see HERE.)

——

Very special thanks to: Cécile, Áine, Seti The First, Lawrence, Triskel Arts Centre, Izabela and everybody in the audience. 

————

Written by admin

November 25, 2013 at 10:03 am

The Story Of An Artist: Iker Spozio

leave a comment »

Interview with Iker Spozio.

In our new regular section – entitled “The Story Of An Artist” (named in tribute to the American singer, songwriter and artist Daniel Johnston) – we will be focusing on the artists who have brought their own distinctive artwork and indelible mark to the independent music scene. First to contribute is the wonderful Italian artist and illustrator Iker Spozio, who currently resides in the northern Spanish coastal town of San Sebastián. Spozio’s name has become synonymous with the independent music scene over the last number of years, with the creation of record sleeves for such independent labels as London-based Second Language and the Brighton-based label Fat Cat Records. Spozio’s work graces the sleeves for such bands and composers as Colleen, Adrian Crowley, Mark Fry, Delia Derbyshire and Hauschka. Over the years, Iker Spozio’s reputation for a master craftsman, engraver, illustrator and painter of immense talent and versatility has been widely evident for all to see.

Words: Craig Carry, Artwork: Iker Spozio

iker_spozio_SELF_PORTRAIT

“Self Portrait” based on El Greco’s “El caballero de la mano en el pecho”.

Even if the Italian artist Iker Spozio is not a household name to you, his distinctive artwork has bound to have passed your eye on more than one occasion. In fact, the chances are his artwork adorns some of your most prized and precious records in your collection. Spozio’s artistry has adorned albums by some of the most inspiring musicians in the independent music scene. Musicians such as French composer Colleen, Irish songsmith Adrian Crowley, German pianist and composer Volker Bertelmann (aka Hauschka) and the legendary English folk songwriter Mark Fry – to name but a few –  have all had their music beautifully adorned by Spozio’s immense artistic gifts.

Most notable in his musical work is his ongoing collaboration with the gifted French composer Cécile Schott (aka Colleen). The pair have been partners for many years and their symbiotic relationship has produced a string of truly memorable and everlasting records over the last ten years or so (with Spozio creating both album and e.p. sleeves as well as concert posters), Spozio applies the visuals to Schott’s music, both as deeply immersive and enchanting as each other. Their most recent collaboration has come in the form of Colleen’s current album, “The Weighing Of The Heart”, an album released last May on London-based independent label Second Language. The album is an extraordinary achievement for both Schott and Spozio, where both artists sought new departures in their ever-expanding artistic visions. The resulting work (both in sight and sound) is a true joy to behold.

Iker Spozio’s work has thus far been as impressive in its versatility and scope as well as in its unwavering and passionate attention to detail. Throughout his varied work (across commissions, personal work and longterm projects) there is a huge emphasis placed on craftsmanship where virtues of both patience and skill are always in evidence. Spozio’s versatility as an artist is nothing short of breathtaking, his portfolio showcasing works across many mediums including watercolour, engravings, monoprints, pencils and india ink. Often, the work is a hybrid of many techniques combined together – where a truly remarkable appreciation for each process’ own intrinsic qualities can be discerned – yet such works never serve to lose any sense of vitality as Spozio’s own distinctive graphic approach can always be appreciated and admired. For any work which bears the name of Iker Spozio can safely be described as something truly precious and singularly unique.

Most recently, Spozio’s work has been published as part of Mark Fry’s “Dreaming With Alice” songbook, a limited, special edition publication which collects together for the first time Fry’s lyrics and sheet music from his seminal 1972 album “Dreaming With Alice”, an album which is today recognized as one of the most defining records of psychedelic folk music. Spozio’s work here encompasses a series of twelve specially commissioned engravings which serve to beautifully illustrate Fry’s dreamlike and mysterious sonic masterpiece. Like any of Iker Spozio’s masterful handmade work, the imagery – like those from an everlasting and recurring dream – will journey straight to your eyes (and heart).

————

30_alicebook11

Taken from “Dreaming With Alice” Songbook, engraving.

Firstly, congratulations on the magnificent achievement of the recently published “Dreaming With Alice”, the lovingly assembled songbook containing Mark Fry’s lyrics and sheet music for his seminal ’72 LP of the same name. The project is obviously very close to your heart as you have expressed a deep admiration for Mark Fry (as both musician and painter) in the past, as well as sharing a close friendship over the years. You also featured Mark Fry heavily in your fabulous “Morning” music magazine when you memorably interviewed him back in 2009 for the issue’s second edition.
So, first off, I would love to ask you can you remember the first time coming across “Dreaming With Alice?” What effect did it have upon you when you first heard it?

I first came across “Dreaming With Alice” about fifteen years ago, when I was still living in Italy, my home country.
I was just starting to work as an illustrator, back then, but also had a “proper” job as a graphic designer for a company which did websites. This job allowed me to pay my bills and also, of course, to cover my badly needed monthly fix of music!
I used to get my pay and then drive straight away to the bigger town in my district, Varese, where there used to be a pretty big and nice record shop, called La Casa del Disco. I soon became friends with one of its clerks, a guy in his fifties who had lived first-hand all the psyche, folk and folk-rock era. He used to suggest me all kinds of amazing records, describing them with contagious enthusiasm and in the most colourful ways. He’s the one who sold me Mark’s album, in its unofficial CD version released by Akarma.
I perfectly remember the particular day I got the album and playing it at home: I really got blown away by it, especially by the eponymous song, that seems to constantly appear and disappear like a ghost all over the record.
I still find it hard to believe that I’m friends with Mark, now. It’s definitely a pleasure and a privilege to me.

————

mark-fry-2

3_i-lived-in-trees

“I Lived In Trees”, LP sleeve for Mark Fry & The A Lords (Second Language, 2012).

You created the wonderful artwork accompanying Mark Fry & The A. Lords LP “I Lived In Trees” which was released in 2011 by Second Language. As this was effectively Fry’s return to music for the first time in over thirty years it was clearly a truly special project for all concerned. I love how deeply evocative your artwork (including the concertina inner sleeve) is to the music within. I also love how – on the one hand – we have strong dominant shapes and forms, yet, we’re also presented with so much texture, imagery, colour and detail. It’s one of my all-time favourite sleeves! Could you talk about the artwork for “I Lived In Trees”, the process and techniques involved and the resulting sleeve?

Well, actually “I Lived In Trees” is the second album after Mark’s “come-back”, following 2009’s “Shooting The Moon”.
I’m delighted to know you like the artwork for “I Lived In Trees” so much, since it’s also a favourite of mine. The idea for a tree being the subject of the sleeve came from Mark, while the format suggestion came from Second Language’s mastermind Glenn Johnson.
I thought it would be a nice concept to depict a tree that would be visible in full only when the concertina would be completely unfolded. This allowed me to insert various elements, sometimes incongruous, in each panel, making each section of the booklet kind of self-sufficient but also part of a whole.
Technically speaking, the background was painted in watercolour, then all the elements were inserted in the typical collage way, using various papers and textures I had prepared beforehand.

————

30_alicebook08

Taken from “Dreaming With Alice” Songbook, engraving.

If we return to the “Dreaming With Alice” songbook and the twelve accompanying illustrations that accompany this special publication. Firstly, just to confirm, these are linocuts?

Yes, they are.

Since there is such an amount of detail and varying focal points across the various compositions, I imagine you must very carefully “sketch” these out beforehand? How does the process between the inception of your idea through to the realization of the completed artwork happen for you?

Yes, indeed, I design, or should I say “plan”, everything in detail beforehand, especially when I’m working on an engraving, a technique that seldom (or never) allows one to have second thoughts.
I must confess that I’m quite a perfectionist, when it comes to my artwork. Maybe too much for my own good, since there is always the risk of getting too rigid and clinical in pursue of a perfection of sorts. That’s why, especially in recent times, I have been kind of forcing myself to “let go” and surprise myself through less thoroughly planned projects.

I love how you have used both reds and blues separately across the work. It seems to create a distinct contrast for the series as a whole, and seems to represent that idea of fantasy and reality for me. What was the significance of the use of colour for you here?

At first I thought of using more colours than those. But, in the end, I found that red and blue were really the most suitable for the project, both technically and aesthetically. The colour choice for each illustration was based on my feelings and the perception I had of each song in Mark’s album. It’s hard to explain: I just found some songs to be “blue” and others to be “red”!

Actually, I seldom use more colours than the primary ones, in association with black and white.
Dealing with colour is not something that came really naturally to me. I used to work in black and white only for several years, until I decided to overcome my lack of confidence and try my luck in the technicolour world!

I love how your work can appear quite abstract and fluid here, yet it always seems so rooted in the world of reality and representation. Recurring imagery such as birds, figures, the moon, floral elements and musical imagery are interspersed throughout. The use of space – both positive and negative – is also so striking and makes for almost multiple versions of the same piece. In terms of the series itself, are the individual artworks done specifically for songs in mind from “Dreaming With Alice” or are they more loosely based on the music?

The illustrations are completely based on the actual songs, and they usually feature elements drawn from the lyrics.
Some of the engravings are more descriptive, others less so. I must confess that I have a marked tendency towards abstraction, which I tried to keep restrained in this particular project. I think that abstraction often got to the surface, anyway, mostly due to the fact that at the time I did these particular illustrations I was extremely interested in African art and its tendency to translate reality into geometric shapes and patterns.
The Odyssey project, which I did not long after completing the Dreaming With Alice songbook, shows my more abstract side, and its illustrations, which are still based on the characters and events described in the book, are so minimal that one may find it difficult to immediately associate them with the text.

If the opportunity arose for you to do a similar project for another classic album (of any time or period), which would it be and why?

Hhhm, tough question, here, since I’m such a music “freak” that it would be a hard choice to make: too many wonderful albums around…
A particular favourite of mine, though, is Burning Spear’s first LP, which I consider a masterpiece. I would love to illustrate it.
Actually, right now I’m working on a series of paintings inspired by Jamaican songs. They are going to be completely abstract, since I believe that music such as dub, which relies so much on sound treatment, could hardly be translated into descriptive images.

————

RUN_RUN

“Run Run se fue pa’l Norte”, inspired by Violeta Parra’s song of the same title.

Just to talk a little about your earlier work and the formative influences on you as an artist. What were the initial sources of inspiration for you to create art? Were there specific art movements in art history or specific painters you were drawn to at the beginning? Since your work encompasses a wide range of various techniques – such as painting, engraving, linocuts – I imagine there must be such a variety of people who have influenced you in your own approach as an artist?

My father, my grandfather and my great-grandfather were all painters, so art, painting specifically, was part of my life since I was a child. I always drew, but it took me quite some time to make the decision to fully devote myself to painting and illustration. It actually came gradually, and in parallel with my passion for music, since the very first works I got published were for indie labels I followed.
I like almost all art, so it would be difficult for me to choose some specific artists or movements as my favourite ones. I must say, though, that, being an Italian, I surely was influenced from the very beginning by all the Renaissance greats, Piero Della Francesca and Paolo Uccello in particular. The Bauhaus has always been a source of inspiration to me, as well as some “eccentric” painters such as Piero Di Cosimo, Léon Spilliaert and Odilon Redon. In a more “graphic design” context, I’d like to mention Neil Fujita and his work for Columbia Records in the fifties.

For the record, what are the techniques you most commonly use?

I first worked mostly in black and white, using indian ink and various kinds of pens and brushes. Then I really got into engraving techniques, such as linocut. I prefer to mix techniques up, though, so I often combine the aforementioned ones with watercolour, gouache and acrylic paints. I also do monotype a lot, a technique I particularly enjoy, since it gives one an endless array of possibilities.

————

artworks-000044739641-mgjp2c-original

3_colleensleeve1

“The Weighing Of The Heart”, LP sleeve for Colleen (Second Language, 2013).

Now, to turn to the music of Colleen and the hugely enriching and stunning work that has resulted from that truly special collaboration. Firstly, I’ll point out that Colleen (aka French musician Cécile Schott) is your partner for many years now and you have been creating the artwork for her albums as Colleen for the last decade or so. The resulting “collaboration” has most recently been this year’s magnificent “The Weighing Of The Heart” album. It’s obviously such a personal and special project for the two of you, not least since it’s the first Colleen record in five years. I know it sounds clichéd, but it just so perfectly embodies visually the music within (for example, Coleen’s new focus on rhythm, colour, and movement). There’s also so much else in the sleeve, including the reference to the Ursa Major constellation, the Egyptian book of the dead and also the location of San Sebastián, where yourself and Cécile now live.
I would love if you could talk about “The Weighing Of The Heart”, the artwork and the new elements found in this new work of your’s and what influenced you in the making of the artwork?

The making of the artwork for “The Weighing Of The Heart” took me an extremely long time, since I really wanted to give it my best. It’s a very important album for both myself and for Cécile, who was getting back to recording music after a fairly long hiatus.
I actually did three different versions of the cover artwork, but never was completely satisfied with what I came up with.
I think that the final one, the one Cécile and I were both happy with, reflects well the changes we’ve both experienced in our respective arts: Cécile’s new poly rhythmic compositions and more “colourful” approach to music coincided with a tendency I had developed to get my works busier and brighter in terms of colour. As far as I’m concerned, I believe it’s a consequence of my passion for traditional African art and also an influence of Juan Gris’s cubism.
It’s funny because I hadn’t heard a single note of Cécile’s new music until I had finished the artwork, so it’s the result of a kind of telepathic communication between the two of us if both music and images work along fine.

les-ondes-silencieuses-cd-scan

3_colleenondes

“Les Ondes Silencieuses”, LP sleeve for Colleen (Leaf, 2007).

It would also be such a huge pleasure for me to ask you about the sleeves for both “Les Ondes Silencieuses” and “The Golden Morning Breaks” here as well. Both those records hold such a special place in the hearts of music fans and both of the sleeves distill so beautifully the space and time in which both those special Colleen albums were made, and embody the particular mood and atmosphere of both records too.

I’m pleased that you like those particular sleeves, even if I must tell you that I find it kind of hard to look back to that particular era of my work now… I don’t feel really connected to it anymore. Actually, the cover for “Les Ondes Silencieuses” is probably the very last “official” artwork I did in that pen-and-ink, Beardsley-esque style I had been working with. Oh, well, I still have a soft spot for that sleeve though, since it has such a “home-y” feeling to it… Cécile and our cat are on it, and the landscape is a familiar one: it could well be taken from the place where we live now or from my hometown in Italy.

————

16_mm12

“Black Magic and Its Expose”, engraving, taken from “Master & Margarita”.

Last year your project – encompassing fifteen engraved panels, all handmade and hand-printed – based on Bulgakov’s “Master and Margarita” was exhibited in the Bulgakov Museum in Moscow. This must have been such a proud and special occasion for you? And this project stemmed simply from your wish to illustrate each chapter from one of your favourite books?

It was a true honour for me to have my illustrations exhibited in Bulgakov’s Museum. The museum is actually in the house where the writer lived and wrote some of his books, including “Master And Margarita”.
When I got the offer to do that exhibition I was really moved, since I enormously admire Bulgakov, both for his work and for the determination he put into it despite the terrible living conditions and restrictions that were imposed on him by the Communist government.
I just wanted to pay a small tribute to him through my work, but unfortunately got stuck creatively midway through and never managed to complete it.
The original idea was to do 43 linocuts!…

Literature has also played a major role in your work as an artist. Which books and authors have you most admired?

I’m a huge fan of classical Russian literature: Dostoevsky, Tolstoy, Pushkin, Gogol, Leskov, Lermontov and, of course, Bulgakov.
I also like early twentieth century russian poetry, Esenin in particular.
Generally speaking, I love the golden era of novel-writing, mid and late nineteenth century.
Other particular favourites of mine are Stendhal, Conrad, Maupassant and Tommaso Landolfi, maybe my most beloved author of all. He’s not well-known outside of Italy (actually he’s kind of considered as an “outsider” also there), but I find he wrote some of the most interesting works in Italian literature, especially when it comes to short stories.

————

27_odyssey04s

“Arrival at Pylos”, taken from “The Odyssey”, a series based on illustrating each chapter for Homer’s Odyssey, collage, monotype and sprayed watercolours.

Film has equally been important for you, I know in the past you have talked about such filmmakers as Marcel Carné and Tarkovsky. Which films and filmmakers would you recommend the most?

Tough question again! Hard for me to choose a few ones only!
I would definitely recommend some of the classic French movies of the 30s, 40s and 50s.
Carné is a big favourite of mine: I love “Hôtel du Nord”, “Le jour se lève”, “Quai des brumes” and, especially, “Les enfants du paradis”, definitely my all-time favourite movie (along with Kurosawa’s “Seven Samurai”).
All the French cinema of that era is really interesting though, especially for the particular flavour of the language used.
French is a fabulous language, so rich and inventive!
I also love silent cinema, the German one in particular (Murnau, Lang, Dieterle, …)
Of course I have a soft spot for classic Italian authors, especially Mario Monicelli, and for music documentaries. A particular music doc I’m totally in love with is Margaret Brown’s “Be Here To Love Me”, devoted to the life and the music of the late great Townes Van Zandt. It’s most probably the best (and most moving) music film I’ve ever seen.

————

10_markfry2

“Mark Fry”, monotype, taken from “Morning” #2.

9_norman1

“Norman Jopling”, engraving, taken from “Morning” #2.

Lastly, to music, and I have to at this point mention your incredible music publication “Morning” (named after the Peep Show’s song of the same name) which you published, illustrated and designed yourself. What’s so special and unique about “Morning” is that you effectively went on a personal quest to seek out those bands and artists from the past who you felt were unfairly forgotten and neglected by the music press at large. The resulting interviews are so poignant as the reader can really get the impression that these conversations were from the hearts of the respective musicians and they valued the opportunity so much. The art direction is a thing of beauty too (imagery comprises either your own artwork or the use of previously unpublished photographs) and is such a far cry from the mostly fairly generic nature of music media at large these days.
Could you recount your fondest memories you have had from your time creating and publishing “Morning”?

The concept behind “Morning” was to publish a magazine in the spirit of vintage periodicals such as “The Yellow Book” and “La Revue Blanche”, aesthetically speaking, and devote it to the music I really love. It focused mostly on artists I personally felt had not had the recognition they deserved, either in their time or even today, when some “underground” musicians of the sixties, seventies and eighties have been re-discovered and become sort of cult-figures.
My idea was to let the musicians talk as much and as freely as possible about their lives, their creative processes and their careers.
I really enjoyed working on “Morning”, especially since all the artists I approached were extremely enthusiastic and committed to the project. It was a truly rewarding experience on a human level.
I only have fond memories about it, so it would be impossible for me to choose a particular one, but perhaps it feels particularly special that Sybille Baier accepted to be interviewed (“because it’s such a nice little project”, as she said – and indeed it was: I only published 150 copies of the first issue). As far as I know, this interview is the only one she has ever given – isn’t that cool?…

9_sibylle2

“Sibylle Baier”, monotype, taken from “Morning” #1.

————

“Dreaming With Alice”, the illustrated collectible songbook featuring twelve specially commissioned linocuts by Iker Spozio (together with Mark Fry’s sheet music and lyrics) is available now HERE

For all information on Iker Spozio and to keep updated with new works please visit:

http://www.ikerspozio.net

————

To read our interview with Colleen please see here, and for our interview with Mark Fry please see here.

Very special thanks to Iker and Cécile for their time, patience and warmth.

————

Whatever You Love You Are: Cécile Schott (Colleen)

leave a comment »

Cécile Schott reveals the music that has been inspiring her lately. This May marks the release of Colleen’s stunning album “The Weighing Of The Heart” on Second Language.

Words: Cécile Schott, Illustration: Craig Carry

cecile_wylya_craigcarry

Records I’ve been listening to:

My boyfriend (illustrator Iker Spozio, who among other things does all my artwork) and I both got heavily into African music from the 70s and Jamaican music from the 70s/early 80s over the past few months. I was already familiar with quite a lot of traditional African music, but didn’t know that Africa had produced so many gems in the 70s, and frankly my mind’s been blown away by the beauty of some of those records. As for dub, I’ve been listening to it for a long time, but it’s one of those areas where you never get to know everything, and with the plethora of reissues these days it’s a never-ending cornucopia !

Some of my favourites:

African Brothers Band (International) – Tribute To Dk

————

Alhadji Haruna Ishola And His Apala Group

————

C K Mann & His Carousel 7 – Funky Highlife

————

Francis Bebey – African Electronic Music 1975-1982

————

L’orchestre Kanaga De Mopti

————

Lee Perry
It’s too complicated for me to mention one single record as it’s almost impossible to go wrong with Lee Perry, who’s definitely my favourite dub producer.

————

Burning Spear – Sounds From The Burning Spear

————

The Heptones – Sweet Talking

————

George Faith – To Be A Lover

————

The Revolutionaries At Channel 1 – Dub Plate Specials

————

Prince Douglas – Dub Roots

————

“The Weighing Of The Heart” by Colleen is out now on Second Language.

http://colleenplays.org
http://www.secondlanguagemusic.com

Colleen is currently on tour, to check tour dates please click here.

Colleen’s three classic (and long sold-out) Leaf Label albums – “Everyone Alive Wants Answers”, “The Golden Morning Breaks”, and “Les Ondes Silencieuses” – are currently online at the Beat Delete Scheme website. The initiative entails fundraising to cover the pressing costs for each vinyl. If you wish to see Colleen’s first three LP’s on vinyl once more please click here.

————

Chosen One: Colleen

with one comment

Interview with Cécile Schott, Colleen.

“To me, it really encouraged me to keep writing because what I find fascinating about writing is that if you take the same subject, say, the grass in Spring. Well if you are a bad poet you can’t write anything good about it but you can take ten different great poets and they will all have written something amazing about something as simple as the grass in Spring. And so, it just goes to show, it’s the way you do things, and your own way of looking at things which then you have to learn to transcribe into words – or into music – but I think it’s the look of the person that really makes something artistic in a way.”

Cécile Schott

Words: Mark Carry, Illustration: Craig Carry

colleen_1_craigcarry

Cécile Schott is an artist in the truest sense. The Parisienne – now a Spanish resident – has been responsible for some of the most beautiful and compelling sonic creations to have graced this Earth. As ever, the music of Colleen bears Schott’s unique vision and masterful artistry. Ever since first hearing Colleen’s debut album, ‘Everyone Alive Wants Answers’ (The Leaf Label, 2003) ten years ago, her music has formed an indispensable part of my record collection. The series of universally acclaimed instrumental opuses recorded for the Leaf label are works of staggering beauty. Like any true artist, their output of work bears their mark. This is certainly true for Colleen, where a divine tapestry of beguiling sound is endlessly created. What I love about Schott’s music – and perhaps this is the ‘mark’ – is the deeply sensual aspect of Colleen’s transcendent music. The intricate layers of instrumentation (bowed and plucked viola da gamba, music boxes and a myriad of other sources) and intricate arrangements truly awaken your senses. It is music to savour. Ten years after the release of Colleen’s debut record, we are fortunate to treasure the newest creation, ‘The Weighing Of The Heart’ and revel in its artistic brilliance and unwavering beauty.

‘The Weighing Of The Heart’ finds Schott seeking a new musical path. A central question was posed: “How can I incorporate the voice without losing the characteristics of my instrumental music?” What is most impressive to me is not only how the unique blend of delicate instrumental music retained but how all aspects of the music is heightened. A sonic canvas is etched across an immense sea of colours and textures before your very eyes. The songs are woven from the light of dawn that gently flows through the pores of your heart.

In many ways, I feel ‘The Weighing Of The Heart’ is a defining moment, not only in Colleen’s songbook, but independent music as a whole. To witness an artist venture down new paths and expand new horizons is awe-inspiring. Music’s endless possibilities are distilled in the album’s eleven transcendent creations. The instrument of Schott’s voice interweaves majestically with the divine instrumentation of plucked bass and treble violas da gamba and the more orthodox sounds of classical guitar, clarinet, piano and organ. Furthermore, rhythm serves a vital role to the new sound captured on ‘The Weighing Of The Heart’. A gorgeous plethora of percussion, from minimal drum kit and frame drum, to toy gamelan and various bells breathes endearing life to the other worldly song cycles. In the words of Schott: “My music is just about rhythm as it is about melody.” A tremendous sense of joy permeates throughout making for a wholly uplifting and fulfilling sonic odyssey.

There is a lovely correlation between Colleen – and this new musical path – and the works of other luminaries, such as Moondog and Arthur Russell. The inception of ‘The Weighing Of The Heart’ was heavily influenced by Schott’s love and admiration of these avant-garde composers; “prompted by my love of Moondog’s records.” Colleen’s music shares the kindred spirit of Moondog and Russell where an undeniable spiritual essence is arrived at. Similar to the unique songcraft of Moondog, an ethereal dimension is wonderfully tapped into by Schott, where the epic and surreal are wonderfully drawn from. A sound is formed that is distinctively Colleen’s. Few others could conjure up such delicate emotion through the art of sound.

‘The Weighing Of The Heart’ was written, played, produced, recorded and mixed in its entirety by Cécile Schott. It simply astounds me how this work can be created solely by one person. The music reflects an artist at the height of her powers where there is a further deepening and refining of her unique songcraft. The songs were captured at home and in a former olive shop (which Schott turned into her rehearsal space), used in the quiet of night once the bustling Spanish life finally ceased. The special spark of creativity is effortlessly captured on these recordings. The resulting body of work possesses an otherworldly realm that transcends both space and time.

Lyrically, themes of the natural world and natural elements form the foundation to the album’s sonic canvas. The lyrics for me reflect haiku-like stanzas, where the refrain of words sung by Schott, offer wisdom and divine inspiration. A kaleidoscope of gorgeous shades and textures are formed of a “moonlit sky”, “lonely fields”, “the moon, the wind” and “the northern sky”. The subject matter was partly inspired by Schott moving away from the city and living in the Spanish countryside, “three minutes walk from the sea, surrounded by hills and mountains…where you can actually get away from civilization really quickly and easily.” Allow your heart and soul rejoice in the triumphant musical landscape.

Album opener ‘Push The Boat Onto The Sand’ comprises Schott’s mesmerising voice and delicate instrumentation of guitar. The refrain of “Push the boat onto the sand” possesses a meditative quality that effortlessly reels you in. A sublime cascade of looped tones and notes swirl magnificently amidst the sand and sea. A beautiful guitar passage ascends to the foreground of the clouds of sound. The closing choral refrain of “O to sail away” shares the spark of Julianna Barwick where raptures of choral bliss forms footprints in the sand.

As I was walking by the Great Bear in the northern sky
I found the seashell missing from the shore below

‘Ursa Major Find’ is my personal highlight on ‘The Weighing Of The Heart’. In fact, this could be the most formidable creations of Colleen’s songbook thus far. Music as precious as this is rarely found. The breathtaking arrangements of Cécile’s voice, blended with treble viola da gamba, guitar and piano is something to truly behold. A heavenly spectrum of organic sounds and timbres opens up a sea of infinite beauty. The lyrics concern the planet and the Great Bear constellation, where a seashell is “missing from the shore below”. The words mix the real and the imaginary. ‘Ursa Major Find’ makes the impossible happen.

‘Geometría Del Universo’ comprises Colleen’s trademark treble viola da gamba. This solo performance encompasses many worlds of sound, closest I feel to Malian music. I feel the spirit of ‘In The Heart Of the Moon’ by Ali Farka Touré and Toumani Diabeté permeate the song’s headspace of delicate viola notes. ‘Humming Fields’ evokes nostalgia, the passing of time and childhood memories, as a whirlwind of percussion, bells and voice fills your heart and mind. The song could be taken from any one of Moondog’s records. The song’s intimacy and directness is nothing short of magical where I feel the breeze of the wind rustling the reeds. A magical sense of place and bliss of solitude radiates from the compelling instrumentation as Schott’s voice transports you to forgotten dreams.

In lonely fields I’ve been humming
Only the grass overhearing
The cat woke me up with his dreaming

‘Break Away’ distills the essence of ‘The Weighing Of The Heart’ where Schott’s voice serves as the glorious instrument that echoes the enchanting sounds of Julia Holter, Arvo Pärt and Moondog. ‘Going Forth By Day’ is sublime instrumental music evoking pastoral landscapes and colours of spring. I love the rhythm (maracas) that serves as the song’s pulse throughout. The use of clarinet breathes new colours and textures to Colleen’s achingly beautiful tapestry of celestial sound. ‘The Moon Like A Bell’ is an ethereal folk gem. The song shares the spirit of Linda Perhacs’ ‘Parallelograms’ where the refrain of “Moon be bright and shine” brings the lament to a fitting close.

‘Moonlit Sky’ is sublime. I love the cinematic quality captured within the recording. The clarinet melody meanders magnificently throughout, resembling the blowing wind in all its power and glory. The arrival of the Farfisa Compact instrument towards the song’s close is the perfect score to the formation of “the moonlit sky”. ‘Breaking Up The Earth’ comprises of bass viola da gamba, voice, muffled floor tom and snare drum. I feel all the elements of Colleen’s artistry is allowed to shine brightly here. The hypnotic rhythms stops you immediately in your tracks. Schott’s voice adds gorgeous ambient flourishes to the three-dimensional sphere of sound.

‘Raven’ is a love song with a gorgeous ebb and flow of viola notes. Schott’s words are simple and direct, yet have an everlasting hold on me. The lyrics resemble a haiku where a wonderfully vivid short story is condensed within the stream of words:

Raven, why stare at me with those eyes?
Don’t you know I love you
Just as you are?

“The time has come to weigh my heart” is a lyric that resonates powerfully on album closer, and title-track ‘The Weighing Of The Heart’. The lyrics – inspired by the Egyptian Book of the Dead – encompass life, death, the after-world and righteousness. A purity is distilled in the words and music that, for me, embodies the triumphant return of the special soul that is Cécile Schott. We are very grateful for your return.

————

“The Weighing Of The Heart” is out now on Second Language.

http://colleenplays.org
http://www.secondlanguagemusic.com

————

colleen_2_craigcarry

Interview with Cécile Schott, Colleen.

I love your new album. It’s such an amazing record. For the records before ‘The Weighing of the Heart’, it was this beautiful instrumental music, but I love how you are able to incorporate your voice so perfectly into the music, while retaining that special sense of beauty. It works very well.

Thank you. Well, basically, I think that was the hardest thing for me to achieve. When I went back to making music – which was about 2010 – I had taken a break for about a year and when I started making music again, I knew that I wanted to incorporate the voice – I knew that – but I wasn’t sure how to go about it. First of all, because I’m not really a singer, well I’m not a singer at all actually. But first of all I had to literally find my voice, so that took me quite some time. And then I struggled with lyrics and also even beyond those two problems of learning how to sing and finding the kind of lyrics that I wanted to have. There was also a problem of fitting vocal melodies into my music. It took me a long time to work on the album because sometimes I had the lyrics but I didn’t have the actual vocal melody to put inside the song. Or it was the reverse, I had the vocal melody that I really liked on some music but I couldn’t see what kind of lyrics to put on there. That really clicked into place quite late, I would say, last summer, you know. I recorded the album from November to January of this year and it’s only in August that I finalized the lyrics. I had things ready in September/October but it was really until the last-minute that I was looking for ways of making everything fit together. It’s true that when I decided to work on the voice, I was aware that there are so many people out there. Actually, it’s the most common combination, you know, in popular music in the wide sense: it’s someone singing and they’re playing some kind of instrument at the same time. And obviously that’s been going on for the longest time in history and I thought, well, if I am going to use my voice now, I have to make sure it’s really, really special and I have to keep the thing I did have which was special in my instrumental music. So I did work very hard in trying to achieve that.

————

You certainly achieved it because it is very much away from that popular tradition. It reminds me very much of Moondog. I love for example ‘Break Away’ – it’s just your voice – but it has shades for me of Julia Holter and these wonderful voices, it works so well. It’s amazing.

Thank you so much. I was really worried that maybe it wasn’t going to be accepted by people, but thank you – I’m really glad of your compliments.

————

I read that a lot of the music was prompted by your love of Moondog records. You must be a big fan of his work.

Yeah, yeah, I’m definitely a big fan. It’s something that’s been growing on me. His music, I loved it from the start but his output is quite large so I think he’s one of those musicians where you know maybe you, I don’t know – I’m trying to think of when I first heard some Moondog music – and I think it was probably more than ten years ago, but obviously I didn’t buy everything from the start. It’s not like I got the entire Moondog discography. Then I actually read his official biography which was published, I don’t know, maybe three years ago. Actually, I’m always fascinated and motivated by certain musicians – not just their actual music – but also their general approach to making music and almost their philosophy of life. So I think Moondog was very important and also, Arthur Russell, in much the same way. They’re people who had a large output but it was quite varied but it always bears their mark, and you can see that they spend, you know, thousands of hours refining their skills. When you listen to their music you know it’s distinctively theirs, you know, from the first second. For Moondog, I don’t know if you are familiar with his second album for Columbia?

Is that the double-album?

Yeah, now they do release it as a double album. The first one which was very orchestrated and then the second one is madrigals and canons and stuff like that, and it’s him and his daughter, so it’s like these dialogues between his voice and her voice, and all sorts of instruments. The songs are usually quite short – around the two-minute mark – buy they’re like these perfect miniatures, and definitely that record was like a model of what can be done with voices, they’re very melodic and yet it doesn’t sound like a pop form as such. It’s very much, you can listen to it in many different ways and that’s what I like, there’s a very strong melodic appeal but it’s also kind of like an experimental miniature but it’s also very human.

————

What you say there, Cécile, to describe those two artists, you can say the exact same for your music. It has a very distinct sound. If you hear for example something off your first album-or any album-you know straight away, oh that’s Colleen, it has its own mark I guess. My favourite song on the new album at the moment is the second song, ‘Ursa Major Find’. I just love how those two lines you sing again and again, it really has a special feel to it.

I’m really happy with that song too and, again, it’s one of those songs that the lyrics are very simple but it took me a while to find out what the lyrics were going to be. So basically I live by the sea and that’s definitely a big influence on my lyrics, just living by the sea. And having moved from a city environment to a smaller place and for the first time in my life actually noticing the natural environment so that was part of the equation in those lyrics. In the other equation is just becoming more aware of the universe, it might sound a bit cheesy but I think it was about two years ago, I watched a series; do you know Carl Sagan?

I don’t actually, no.

He was a popular American scientist and he had this series called “Cosmos” from 1980 which was quite famous and I watched it. After “Cosmos”, I also watched a couple of other series that felt really inspirational in opening up my sense of history and of being “part of the universe” as it were: “The Ascent Of Man” by Jacob Bronoswki (1973) and David Attenborough’s “The Tribal Eye” (1975) and “The First Eden” (1987). It’s all about how the universe was created from scratch and things like that. Actually I got quite into that even though my sense of scientific knowledge is really, really poor but just the little notion of the bigger things around ourselves. So I think, in general, some of the lyrics on the album, they reflect this double interest of the immediate natural world you see, and the sense of wonder of the actual universe around us. I was interested in conflating the two and making the impossible happen. This thing about finding a seashell in the constellation Ursa Major is completely impossible, so that’s how it gets more poetic. It’s definitely not a realistic thing. It’s also more about having images. I also worked really hard in terms of having strong images or like a mini-short story in a way, like those two lines in ‘Ursa Major Find’, it’s like a very, very condensed short story, in a way.

Exactly, because it’s very minimal in terms of the words used but it’s the effect of those words then that makes all that magic happen. Even for me as I listen to it, I feel I am transported to this other universe. It’s really quite something.

That’s great.

————

It’s very apparent on the new album, how there is a lovely sense of the rhythm and the wonderful layers of percussion that blends so well with your gorgeous instrumentation.

Well, that was the other thing that took me quite some time, apart from the lyrics and the singing. People perceive my music as being melancholic or even sad at times. I still have feedback on this album from people, that say it’s melancholy etc and from my end I see it as a much more joyful album than the stuff I’ve done in the past. And definitely when I discovered the world of percussion and – just in general – just taking a more rhythmic approach to playing. My aim in that was to try to push myself away from what comes to me more naturally and more easily which is the melancholy stuff. ‘Les Ondes Silencieuses’, the album before that, was definitely quite an austere album in some ways, and I definitely wanted to go away from that. At the time of making the album, I just wanted my music to reflect a sense of joy and movement in a way. So I think getting into percussion and into rhythm, it really helped me approach my instruments differently and to step out of my usual patterns. Because I think that’s the thing when you’ve been making music for a long time, and in my case, I am going to be thirty-seven soon, and I’ve started to play the guitar when I was fifteen. So, even though I released my first album ten years ago, it’s actually been twenty-two years that I’ve been making music. So I think you know, you go back to your instruments and you do form the same patterns. As far as I am concerned, a part of me think it’s OK and another part of me thinks you really have to always push yourself to try to find something new. If only because I would bore myself if I was playing the same thing again and again. So, definitely when I started to learn percussion, it mostly started with learning the frame drum. Then all of a sudden, I finally understood how the basic rhythms are put together, and then when I took my other instruments, it just felt immediately natural to play in a more accented rhythmic way. So I think it’s definitely a big step forward and I’m really looking forward to keeping on working in that direction. It’s what I really want to explore further is the rhythm and the use of the voice, that’s definitely the step forward for me I think.

————

That’s wonderful. I’m also intrigued further with the lyrics; they’re almost like haikus. They’re very much like words of wisdom where there is very much a sense of the spiritual and the words are very poetic.

Well, thank you very much. Well actually you mention poetry and that’s one of the things I did when I was trying to write lyrics. I was writing stuff but I could see that it just wasn’t very good. I think one of the ways to go forward when you’re having some kind of block is to keep writing and writing and at the same time find inspiration in the best stuff. The idea is not to copy but just to soak up other people’s masterpieces, because I do think that, in a way, afterwards it does tend to rub off on you, even if subconsciously. And so I read a lot of poetry. I did read some haiku, although I’m not a haiku specialist. I am a big fan of Japanese culture in general, so that’s definitely an aesthetic I was already familiar with. Then I read some famous poetry of English-speaking poets and then I read some classics that I have never taken the time to read, like Walt Whitman’s ‘Leaves Of Grass’. I read the entire works of Emily Dickinson [laughs]. That took me months and months because that’s actually huge, but it was really worth it. Especially for instance her poetry; my favourite things of hers are the poems where she describes the natural world and animals, and also things to do with the natural elements. To me, it really encouraged me to keep writing because what I find fascinating about writing is that if you take the same subject, say, the grass in Spring. Well, if you are a bad poet you can’t write anything good about it but you can take ten different great poets and they will all have written something amazing about something as simple as the grass in Spring. And so, it just goes to show, it’s the way you do things, and your own way of looking at things which then you have to learn to transcribe into words – or into music – but I think it’s the look of the person that really makes something artistic in a way, if that makes sense.

————

Yes, it does. That was lovely. Even, Cécile, the title of the album, ‘The Weighing Of The Heart’, it’s something very beautiful having those words together.

Well that’s not from me because that’s actually inspired by the Egyptian Book of the Dead. So, basically when Egyptian people, mostly people of a certain standard in Egyptian society when they were buried, they usually had a book buried with them. The book was supposed to give them instructions so that they could pass onto the after-world, and so that they could have some kind of after-life. And so one of the first things that they had to do was to go through this weighing of the heart ceremony, where basically there were some kind of scales. On one half of the scales you had the feather of truth or justice (I can’t remember if it was the feather of truth or justice), and then the heart of the deceased person was put on the scales. If the heart was as light as the feather, then they could pass on to the after-world. So, basically it is the test as to how you have lived your life; If you’ve tried to do the right thing, to be a good person. Basically, I thought it was a really, really beautiful metaphor for certain situations in life where you’re faced with difficult events and you try to find the right response and not to get overwhelmed by things. At home, we actually have a really nice edition of the Egyptian Book of the Dead. I was reading it and I was really struck by the image itself, you know by the idea behind it and also the words used to express all these steps the deceased has to go through. It really stayed with me and I liked it so much that I chose it as the title of the album as well.

————

It’s a title that works perfectly to represent the actual set of songs on the album, too.

Thanks, I haven’t thought of it that way but someone has actually told me kind of the same thing, that they thought also it was a reflection on the balance between the different musical elements and the instruments and the voice on the album.

————

I’d be very interested to hear, Cécile, about your long-term interest in ceramics and stone-carving. These are a form of art in itself but I’d love to learn how this feeds into your music, because it must be a nice parallel.

Well actually I stopped making ceramics and stone-carving because basically I took lessons when I was still living in Paris. I was going through a period of having no inspiration at all to make music so I really threw my heart and soul into that and it really, really helped me because otherwise, I would have felt really terrible about not making anything creative. The really interesting thing for me to do was, first of all, I think I learned again how to concentrate on something. Because I think my problem was that my music was kind of successful. In my life I ended up spending way too much time dealing with emails, traveling, that sort of stuff and I just wasn’t concentrating anymore on making music. I think it’s the first thing that was beneficial for me in learning ceramics and learning stone-carving – even at a small level – because, you know, I’m not a ceramist or a stone-carver. You find yourself in a place for two hours, three hours, four hours, and all you do is you throw your ball or you carve your piece of stone. There is no email, no internet, it is just you and what you are doing. It kind of reminded me what went wrong for me, you know, if I’m going to go back to music, that’s just what I have to do, it just has to be me and the music and I just have to forget about the rest. So, that was the first thing and the second thing that was interesting was somehow there are parallels between all art. And that in a way all the ceramics that I did and my carved stone –  which was a bird – well, in a way they are a bit like my music. In music you have melodic lines and you also have texture, either depending on which instruments you are using. With ceramics it’s also the question of line, of colour, of texture and the clay you use. With the bird it is the same; are you going to sand the stone a lot, are you going to keep it rough. So it was just a really nice experience to just try different mediums. In the end I did think: “Well, I do want to go back to making music” [laughs]. That’s what I like the best. But for now that’s probably what I do best as well.

————

I’m glad of that anyway. I was very interested to read you were recording the songs themselves at times in a disused olive shop.

Yeah, that’s not a marketing thing, it’s real [laughs]. So, basically, what happened was when I moved here, I couldn’t make music in my flat. I’m a professional musician but my way of doing things is very much DIY because I like working on my own, and to actually get a real, professional studio to myself all the time, you know is obviously beyond my means. So far my way of working was mostly working from home and in Paris, I was quite lucky – at first I didn’t have many neighbours – and the place was quiet and everything. Then that changed and after that I moved here to Spain and over here it wasn’t possible for me to make music in the flat. So what I did was I looked for a space to rent as a kind of rehearsal studio space. The place that I found hadn’t been used in years and it used to be a place where they would put olives and small peppers in brine. And from that place where they would have all the olives and peppers there, and apparently they would distribute these to the local bars. It’s really funny because when the people actually see me opening the doors of the shop – it happens like every week – that someone stops me and says, “Oh, are you from the same family as the man who had the olive shop?” So, apparently it was a legendary place in the neighbourhood.

It’s a really nice place but the problem is that because it is quite old, the doors don’t filter out any noise and it’s quite a noisy town, so that’s why I had to go and record at night because during the day it was just impossible with cars passing by and people walking by. So that was a bit of a challenge. I’m actually looking for another place – it may not be as nice or as pretty as the olive shop – but I just need to find a place to make music constantly. Because of the way I work, I make music all of the time. It’s not like I go into the studio for two weeks and record there. My way of working, ideally I make music and if it’s good I want to record it immediately. So, actually I wasted quite a bit of time because of this noise issue.

————

I can only imagine too, it amazes me to think that you write, play, produce and record everything, it’s all just you. Is there a process in your head of how you see how a song starts and ends? It’s amazing because you are obviously behind all the stages of the song.

Yeah, well I don’t know if there is a process as such. It always starts in the same way; just me and an instrument and just playing. If something good happens I have two ways of remembering the stuff that I’ve come up with; I try to record it immediately, even if it’s very sketchy and I also take notes-I have this kind of tablature thing and I immediately try to write down how I actually played the thing. Then I just go back to things and now with the lyrics it’s even more complicated, because I have to think about lyrics. I have to say for this album it really is the first time that it is completely me. The first album (‘Everyone Alive Wants Answers’) was just samples from other people’s records, well it was 95% samples. The second album I did everything myself but, on the other hand, it was recorded through my looping pedal so it wasn’t something in terms of sound. I love actually the second album, ‘Golden Morning Breaks’, I think it’s my favourite of the ones I have done. But it wasn’t really, let’s say, a “professional” sound. And then the third album ‘Les Ondes Silencieuses’ I got lots of help from an engineer called Emiliano Flores who also mastered my first three albums, and we recorded half of the album in his parents’ place in an attic so ‘Les Ondes Silencieuses’ the really good sound mostly comes from his skills and his microphones.

But then, after that, he sold me a really good microphone and a really good pre-amp. Because I’d been able to observe the way he was recording stuff. Basically, I’m self-taught and it’s very hands-on so I think if a professional engineer saw how I make my records they’d be horrified because it’s not the right way to do things. So, definitely I learned a lot on making this particular album and especially the mixing was extremely hard but in the end it paid off. Finding the balance between the different elements because there is a lot of stereo panning going on and stereo recording that really brought life to the songs. I mean, the songs were there, everything was recorded but paying special attention to the mix. That really transformed the songs. It’s actually something I’m really looking forward to working on – this aspect of making a record – because I think you can go from something that is OK to something that’s much, much better by spending time on that.

————

“The Weighing Of The Heart” is out now on Second Language.

http://colleenplays.org
http://www.secondlanguagemusic.com

Colleen is currently on tour, to check tour dates please click here.

————