We caught up with Sarah Heneghan during the release of her new single 'Heckler', the first release from her solo project Power Out, and chatted about her creative process and being a female percussionist.
What is your creative process? It must be interesting working solely with rhythm during the creation of music.
My creative process for this is a whole bunch of things:
- Finding a drum groove I like, and then seeing how it can interact with a DM groove, and then what kind of structure I can create with those musical building blocks.
- A motif or phrase. Develop.
- Coming up with a title I like and then thinking about what sound that conjures up. I’m a fan of needlessly long song titles that sound like they’re conveying something profound, but really it just sounds cool.
- Weird sounds on my trigger drum - these can be samples of anything, like running water, or a thunder clap, not just percussive sounds.
- Learning other styles of music in my personal practice. My music for Power Out has lots of different stylistic influences.
We caught up with J Frisco about their new album Cut Throat, the history of the band and their approach to music.
Tell us about how J Frisco formed and some early memories of you playing together?
We met at Leeds College of Music, we kept bumping into each other and kept saying we should have a jam together, we hardly knew each other… Eventually we booked a rehearsal studio and jammed, free improvising. It was incredible. It was the first time all of us had played with just women, and it was really quite electrifying.
We spoke to Craig about his latest album I Am Revolting, his approach to music and advice for young musicians.
Tell us more about the new album, what direction it has taken and how it formed? Where can people pre-order and find more info?
The album is called I am Revolting, it is intended as an allegory of our navigation of the digital age - as the lines between physical selves and digital anima become blurred, we are overwhelmed with the exponential growth of information & consensus reality crumbles as our individual reality tunnels and ideologies become increasingly radicalized.
We had a chat with Skeltr as their new album Dorje was released.
Tell us a bit about your process creating Dorje and how does that differ to your debut album?
The process of creating our new album Dorje was all about fine detail. We began recording in June 2018 (I began composing probably as early as 2016 before the first album had come out!) and we endeavoured to create a sonic world that was both familiar to listeners of all types of music and yet distinctly original in its performance and melody presentation. We layered each instrument over time, creating guide tracks and then re-recording better and better parts as we went along. Saxophone was the final instrument to be recorded, then from there we spent a long time producing, playing with auxiliary synth parts and adding in different effects as well as changing some arrangements and then finally mixed the whole album trying to achieve an almost symphonic scale sound. The difference between the first and second album is vast, I learnt many lessons from the first album, you could say it is raw and less refined, which is an artistic choice, the second album is aiming for a much more polished, yet wild musical experience.