Charlotte Spiral is a duo of Amy Spencer and Avi Barath, two former Goldsmiths students now writing complicated songs laced with lyrics loaded with emotional uncertainty; those words are only matched in their complexity by the many-layered musical architecture that supports Spencer’s distinctive voice.
“I kind of like it that people think my name’s Charlotte,” laughs Amy. “The name Charlotte Spiral came from a pose in figure skating. We started putting the music on top of old figure skating videos and then Avi and I decided that our band name should have something to with it because it’s so elegant. We wanted that to be reflected in the music.”
Upon the release of their debut EP, the gorgeous, mesmerising and haunting Ideal Life, Charlotte Spiral spoke to Further. about fake medicine and ‘A Lovely Bunch Of Coconuts’ – very probably the one and only time that song’s going to get a mention here, and highly unlikely to feature on their debut album, I imagine.
What’s your earliest memory?
Amy: When my brother and I were kids my grandparents would look after my brother and I, mostly after school and also in the summer when our parents were at work.
I have a strong memory of them sitting together on a bench under the apple tree in the garden. My granddad loved music and he could sing beautifully – he could play the harmonica and even the spoons! My grandma would sing that song ‘I’ve Got A Lovely Bunch Of Coconuts’. I’m sure she sang many other songs too but for some reason that one sticks!
Avi: There is a place in Rhodes that is meant to be very beautiful called Butterfly Valley. Sadly, my earliest memory is of being very sick there. My dad tricked me and gave me a Mentos sweet, which he told me was medicine. I think it actually worked…
What’s the best piece of advice you’ve been given?
Amy: Stop worrying!
Avi: Trust your instincts.
Where are you most productive or inspired?
Amy: I often get ideas for lyrics when I’m travelling or walking somewhere. It’s usually just a line or two that I will finish once I have a chord progression and melody.
Avi: It changes all the time to be honest, but recently it’s been wherever there is a piano.
Ideal Life by Charlotte Spiral is released February 7 2020.
Sad Man is the alias of Bournville-based Andrew Spackman. The last few years have seen Spackman deliver an incredibly prolific series of electronic albums that straddle the gulf between odd rhythmic gestures and jazz, the result being a suggestion that those two worlds aren’t necessarily so dissimilar or incompatible as they might first appear.
His latest album, The King Of Beasts, is due to be released on February 10 2020, and finds Spackman proffering a highly accessible, many-layered journey through the musical themes that have coloured his recent output, while placing a greater emphasis on traditional jazz reference points.
Further. spoke to Spackman about his formative musical influences, in the process no doubt distracting him from his work on what is probably another Sad Man album expected to land later this year. “It’s definitely not an exercise in being, or looking, cool!” he warns.
Geoff Love & His Orchestra – Big Western Movie Themes
My parents didn’t seem to have any particular interest in music. They were teenagers before the teenage revolution really got going, and so they still had quite an old-fashioned view of entertainment. My mum, however, was a big fan of musicals and westerns, and we had an old 1960s Radiogram that sat in the living room. It didn’t seem to get used much, but I was particularly fond of how you could stack the 7-inch records in such a way that once one finished the next would drop down on top of the previous record. That probably horrifies the purist vinyl collectors out there.
My parent owned a few records. Mostly they were compilation albums of movie music from the Music For Pleasure series on EMI. I particularly remember listening to this record, Big Western Movie Themes by Geoff Love & His Orchestra. Although the orchestration was probably very heavy-handed, it suited the bombastic scale of these western themes. When I listened I could see the barren landscapes of Spaghetti Westerns, the beating heat of rocky canyons, and sound of cowboy boots on the front step of the O.K. Corral. Beguiling stuff.
Mike Oldfield – Incantations
Up until the age of nine I shared a bedroom with my brother. He was much older than me and his taste in music would today be described as ‘Yacht Rock’, which is now rather cool, but back then, it was not. His stereo played host to a blur of Billy Joel, Christopher Cross, and Hall & Oates. In amongst this smothering smooth-fest sat a collection of Mike Oldfield albums: Incantations, Platinum, QE2…
Even at the age of nine I preferred instrumental music. I liked listening and trying to understand how all the instruments wove together. Also, the idea that Mike Oldfield played all these instruments too fascinated me. I remembered watching him on Blue Peter and he had this extraordinary technique when playing the guitar and very long fingernails. The track that I particularly liked was the live version of a track called ‘Punkadiddle’, which has the most amazing guitar solo on it. I later learned that Mike Oldfield got that sound by playing his guitar through the tape heads of an old tape recorder to give that fantastic fuzz / distortion sound with seemingly endless sustain.
Incantations features the vocals of Maddy Prior on ‘Part 2 – Song of Hiawatha’ and strings arranged by David Bedford. Like many of his albums, it is a cocktail of styles and instrumentation, with no fixed genre reference point. I’m not sure if it completely lasts the rest of time, but putting it context, he pretty much did everything before any one else had even got out of bed.
The Albion Band – Lark Rise To Candleford
When I was about 15 years old my school staged the National Theatre’s adaption of Lark Rise To Candleford. The play featured music by the Albion Band, made up of Fairport Convention’s Ashley Hutchings, Shirley Collins, Martin Carthy and others. I had a very minor role in it, but it brought me into contact with folk rock music, played on this occasion by an excellent line up of local musicians. A few years later I went on the play for several folk rock bands too.
My love of folk music has continued, despite it seeming incongruous with my electronic music output as Sad Man. I love The Unthanks, This Is The Kit, Kate Rusby and Lau.
The The – Soul Mining
My first introduction to The The came when I was 19 and I had just bought a Triumph Spitfire. It was a beautiful green colour, and despite the constant smell of petrol, the ill-fitting doors and the extortionate insurance cost, I loved that car. It also had a very nice Pioneer stereo with speakers fitted into the doors, which, when you were in the driving seat, weren’t far off ear height.
I would often drive around the country roads with the top down late at night, to and from a pub where I worked in the evenings. On the stereo was The The. First was the Infected album (my first introduction to Neneh Cherry) but then later I discovered Soul Mining with its use of the Roland TR 606, pounding drums and chanting by Zeke Manyika. I think The The are the only band that I’ve ever had a fan thing for. I saw them play at the Albert Hall with Jonny Marr on Guitar. They were perfection.
David Toop – Ocean Of Sound Volume 3 – Booming On Pluto: Electro For Droids
When I moved to Bristol in 1997 my musical tastes had already travelled through rock music, folk rock, progressive rock, shoegaze, funk rock, grunge and indie music. Apart from the odd album from The Art of Noise, Tangerine Dream and some others, very little of what I listened to was electronic.
The Gloucester Road in Bristol had several second-hand record shops, and when I moved there and started making experimental and electronic music I also started buying CDs and records and expanding my repertoire: records by Scanner, Black Dog, Jack Dangers, anything on Warp records, Mu-Ziq , DJ Shadow, Jimi Tenor, Black Dog, Red Snapper, Labradford, Plaid…
I bought Booming On Pluto from the bargain bucket and loved its electro sound. Afrika Bambaataa, To Rococo Rot and A Guy Called Gerald all feature on this album and it’s a real classic. I guess once I’d heard this, the future of music for me was no longer guitars and distortion pedals, although I’m still very partial to a good distortion pedal (ProCo Rat, ZVE Fuzz Factory, Fuzz Face).
The King Of Beasts by Sad Man is released on February 10 2020.
No matter how hard I try, no description ofRugbymulti-instrumentalist Matthew Barton’s latest single ‘Orchid’ is going to get anywhere close to his own: “‘Orchid’ was inspired by Prince minimalism and the Casio organ sound of the Young Marble Giants,” he advises. “I wanted to write something simple and direct. I think of it as like Prince having a baby with a Georgia O’Keeffe painting at a video game arcade. Or something.”
If that sounds brilliantly odd, it’s because it is. Driven by layered, sparse preset rhythms and a shimmering keyboard melody as hypnotic as it is absent, the vast empty spaces of the music act as the perfect setting for Barton’s distinctively impassioned, soulful vocal. There is tender anguish writ large here, spliced together with a vulnerability heralding the arrival of a singular musical talent.
Matthew Barton is working on a cassette release for Knife Punch Records that is due for release in the Spring. In the meantime, Barton talks to Further. about almost drowning and getting stuff done. Listen to ‘Orchid’ below.
What is your earliest memory?
Probably being fished out of a swimming pool by my dad, having fallen in, unable to swim. That wasn’t the last time that happened either. Maybe I can trace my fascination with water back to that moment.
What’s the best piece of advice you’ve been given?
As a serial procrastinator, “You will never feel like you are ready – so just do it,” is useful and motivating. I’m trying to get better at that this year. Isn’t adulthood all about just pretending you know what you’re doing anyway?
Where are you most productive or inspired?
I find that new places, and new instruments, tend to spark ideas.
I have a lot of random voice memos on my phone recorded in weird places, usually while I’m just walking down streets, probably looking a bit bonkers.
New instruments too – my brother bought me a kalimba for my birthday and I’ve been writing some different stuff on that. You’ve just got to be open to everything around you.
Orchid by Matthew Barton was released January 21 2020.
YOVA are a duo of Jova Radevska and Mark Vernon. Their first single, ‘Moondog’, was released last year and found the pair accompanied by a diverse group of players including Grumbling Fur’s Daniel O’Sullivan and PJ Harvey collaborator Rob Ellis.
On new single ‘Rain’, Jova ratchets up the mesmerising, enthralling innocence of her naturally soulful voice on a song detailing a painful, terminal break-up. The track has been given a a special mix from Erasure’s Vince Clarke that will be available from February 28. Both tracks will then be released as part of a four track digital bundle on March 6 2020.
To celebrate the release of ‘Rain’, Further. asked Jova and Mark our customary 3 Questions, with typically revealing results.
What is your earliest memory?
Jova Radevska: Wrapping my stuffed monkey in a blanket and also screaming my lungs out near a scarecrow in a cornfield with my grandmother.
Mark Vernon: The psychedelic colour of leaves, buildings, blues skies, clouds, stars and moon from the pram
What’s the best piece of advice you’ve been given?
JR: Trust yourself and don’t put all your Easter eggs in one basket.
MV: Never take no for an answer. Less is more. Don’t put the cart before the horse. The latter is from The Velvet Underground’s John Cale.
Where are you most productive or inspired?
JR: Mostly in solitude and when I’m sad and angry.
MV: When I’m either within reach of a keyboard or fretboard.
In 2019, The Tapeworm cassette label celebrated ten years of issuing contrarian works of sound art. Starting out as a resolutely tape-only label with no accompanying downloads, The Tapeworm has since expanded to encompass music on other formats through The Wormhole and exquisitely-typeset books through The Bookworm. The label was formed in London by Philip Marshall, Touch co-founder Mike Harding and illustrator / writer / musician Edwin Pouncey (Savage Pencil).
In a rare interview, Further. spoke to Philip about the early years of The Tapeworm, how it feels to be celebrating a decade of operations, the occasion of releasing over 100 cassettes and the label’s ongoing ethos. “The Tapeworm was always structured to be a way of freeing ourselves from having to do any promotions or interviews,” he says. “You bastard! Look what you’ve done to me. I’m sitting here doing a fucking interview. I agreed to it in a moment of weakness. Damn you Smith.”
From a very young age I was obsessed by music, but I was never ever any good at it.
In my early twenties I figured out a way to be around musicians and get into clubs and gigs for free, while at the same time thinking about how I could support these people: I could do flyers. I could design things, like record sleeves. I realised that I could be involved in music through design.
I’d always been a fan of Touch, Mike Harding and Jon Wozencroft’s label. By about 2000 I’d gotten to know them through a mutual friend. They had a terrible website, and I was doing a lot of digital design at the time, so I decided that I would say to them, ‘Your website’s shit and I could do you a better website. I don’t want paying for it. I’ll just do it as a favour for the label – just give me a bunch of records for free.’ And that friendship then developed. Mike, Jon and I got on very well, and as that friendship deepened, a working relationship evolved out of it.
Fast forward eight years. I’m living in Paris, and I’m just ending a relationship. I’m a bit sore about that. I’m feeling a bit fed up and looking for something to do. Mike Harding said said, ‘Pull yourself together and get on with something. Let’s do a new project.’
Just before that an artist friend of mine in Berlin, D-L Alvarez, had invited me to take part in a group exhibition called Psychometry (The Space Between Seeing And Knowing Is Haunted). D-L asked me to do some sound work, so I did this installation called Three Questions And An Answer. It was a looped piece of tape playing in a corner of the gallery based around the theme of the exhibition. I said to Mike, ‘Why don’t we do a cassette? Why don’t we put it out?’ So we did a cassette on Mike’s label Ash International, and it sold out. I had no name as a musician, people only knew me as a graphic designer, but the thing sold out.
I thought to myself, ‘Oh, that’s a curious thing.’ Mike and I were steeped in tape culture. After all, Touch obviously came out of being a cassette magazine in the early Eighties. We both had a great love of that culture, but even so, we were amazed that people would buy, for no reason at all, a tape by an unknown name. Around the same time, we were getting frustrated by spending a vast amount of time and energy for next to no dividend in putting together releases that would be sent out to press or sent out to stockists, yet which would get no traction at all. Those releases were very much reliant on a good review in The Wire, or someone’s blog, but then for an arbitrary reason could be ignored. So we asked ourselves, ‘How can we make a structure of a business that doesn’t need promotion, that feeds itself.’ Almost like a tapeworm, you might say.
So we came up with this idea of having this thing where we could say to an artist, ‘Well, there’s no money here, but do you have something in your archive, or do you have a piece of work that is not part of your core body of work, but which something that you’ve always wanted to do?’ Choosing tape as the format created certain practicalities and gave a certain physicality to it. It dictated the duration and restricted the programming because you can’t easily shuffle through it. We were also interested in the more philosophical qualities of tape: it’s about memory, it’s about recording a memory, it’s an imprint, and then there’s the whole magnetism of it all.
I remember that we were sitting in a garden in Balham, where Touch are based. Vicki Bennett from People Like Us was there that day, and we just said, ‘Hey, do you want to do a tape?’ And she was like, ‘Yeah, yeah, yeah. I’ve got my gran, and her best mate, and they do readings of texts – why don’t we do that? What shall we read?’ And then we gave her a copy of Le Xerox Et L’Infini by Baudrillard and two weeks later she came back with a recording of these two ladies doing this blind reading of this book of French philosophy. It was one of the most standout hilarious things we’d ever heard.
At the same time we’d emailed the turntable artist Philip Jeck and he said, ‘I’ve got these recordings where I’m doing the same live set-up with a bass guitar, which I can’t really play.’ So then we had our first two releases. Savage Pencil – Edwin Pouncey – met with us the day after and we said, ‘Oh you must be involved – we’d love you to do the artwork.’ And he said, ‘What’s it called?’ And we said, ‘We don’t know.’ We came up with some really bad names – terrible, horrendous names. And Edwin said, in a very gruff, very blunt way, ‘Look, it’s called The Tapeworm.’ And there was no arguing with Edwin, so that was the name of the label. He drew the worm and said, ‘There’s your logo.’
For perhaps the first five years, we made a decision to not fess up to who was behind The Tapeworm. We wanted to be like Basic Channel: we liked the idea of being as anonymous as possible. Because if you suddenly go, ‘It’s Philip, who works with this bunch of people, and Mike Harding with his history of Touch, and Edwin Pouncey, Savage Pencil, who’s got this other history,’ it becomes a bit too fucking obvious about where it’s coming from. So we liked the idea of being a slightly weird, connected, underground thing that never revealed itself. In that way, the label became a personality rather than the people behind it. It started off with the intention of being a collective, and then I pushed my way to the front, because I was the person with the energy.
When we started The Tapeworm in 2009, cassettes were still quite an underground thing. Things have changed now. I don’t blame myself for the fact that you can buy Kylie’s Greatest Hits on cassette today – that’s probably a fucking brilliant release, but you don’t need it on cassette, do you? There’s no need for that. It’s kitsch. We always wanted to be a label that was investigating a format and being honest about the format, and its limitations, and its strengths, and its beauty. The initial call-out we gave to artists was all about making people consider the format. Nowadays cassettes have become a kind of thoughtless marketing tool
We’ve never allowed the releases to be released digitally at the same time. We’ve just done this Jay Glass Dubs tape, Two Devotional Songs For Spacemen 3 In The Style Of Love Inc., and I’ve literally had eighteen emails in the last two days from people who bought the tape asking ‘Where’s the download?’ We’ve always made it clear to the artists that they will retain the copyright of the audio, and if they want to release the audio digitally, afterwards, that’s brilliant: that’s their choice, but we’d prefer them not to because this is about an investigation of the format and the sound of the format and what the format means. We’ve always wanted people to be more precious. We wanted to create this idea of an intimate art object that sells for a fiver, and which is only available for a short run. But it’s also affordable and accessible to anyone, as long as you’ve got a tape player. And if you haven’t got a tape player, why the fuck are you buying a tape? It fucking annoys me. The only reason to buy things in a certain format is because you want to interact with the format. Maybe I’m old fashioned in that regard. I think people just expect to offer a download with your tapes these days. Fuck that shit. I can’t be bothered with that.
It’s strange to be celebrating ten years of The Tapeworm. It’s funny – we thought, collectively, that it wouldn’t work as an idea at the very beginning. And then, to make that worse, I had the idea that I wanted to release a stupid amount of things constantly, and so I think in the first year we put out something like twenty releases. That’s stupid, but then they all sold out and they all did quite well. We started off being really awkward about insisting on the cassette format, I think. After the first ten or fifteen releases, it seemed a bit silly to be less awkward. The series was working, so I think we just decided to just keep on being awkward.
Despite having a very distinct manifesto at the beginning, but we never had any forward-looking plans. Over the decade, things have shifted a bit. Opportunities would arise where we’d go, ‘Oh, you know, this doesn’t quite fit into this tight remit, but now we’ve got this history and body of work we can go different places with it.’
But that brings us to an interesting juncture, because we now release things on other formats through The Wormhole. We were doing The Tapeworm, and so we had to release everything on tape. Mike Harding had done a recording as Souls On Board for our seventh cassette and that featured Bruce Gilbert and Daniel Menche. Mike’s tape was brilliant. At our first live London gig at Café Oto in November 2009, Mike performed as Souls On Board, and Edwin and Sharon Gal performed as Melatot – Melatot was our eighth tape. We got the recordings back from the gig, and they were brilliant. Mike said, ‘We’ve got to release these.’ And I said, ‘It’s a tape!’ And he said, ‘No.’ At the time we had this principle that we would only ever release artists once. So we had this principle that we’d never return to an artist, like, ‘Okay you’ve done your tape, fuck off and never come back.’
So Café Oto had recorded our debut gig. We had these two brilliant recordings, and Mike said, ‘Well, we need to release this.’ And I said, ‘Tape.’ And he said, ‘No, we can’t do this on tape, I’m going to do a vinyl.’ So he released a vinyl on Ash International. At that time, I’d said, we could do a sub-label, for Tapeworm things that doesn’t fit onto tape, and we could call it The Wormhole. And he said, ‘No, we can’t do that – it’s far too complicated.’
Then a few months later we’d done this tape with Leslie Winer, & That Dead Horse, and Leslie turned to us and said, ‘Would you like to release this record of mine?’ It was her and Christophe Van Huffel under the name Purity Supreme. And I said to Mike, ‘Wormhole!’ And he said, ‘No. We can’t do that, there’s not enough time, I’m going to put it out on Ash.’ So those two records – the Souls On Board / Melatot performance from 2009 and the Purity Supreme 12-inch from 2011 – should have been the first records released on Wormhole, in my opinion. They were literally down the wormhole. In maybe every sense, every Wormhole release shouldn’t exist.
Then we decided to put out books. The Bookworm happened because a very dear friend of ours, Leif Elggren – one of the Kings of Elgaland-Vargaland – sent us a copy of one of the books he’d done, and I was like, ‘Oh we should do a book.’ ‘What shall we call it?’ ‘Let’s call it The Bookworm’. ‘What shall we do?’ And so then another mutual acquaintance of ours, Ken Hollings, formerly of Biting Tongues and a broadcaster on BBCs Three and Four, had written an essay, and so we brought out a book of the first 25 illustrations of The Tapeworm releases and Ken’s essay, Parasitic Infestation.
Again, it was quite a nice object and we really liked what it was, so we thought we’d do some more of those. It’s like, once you’ve done one you can’t just have one, can you? I mean, that’s just crap. You need to do a couple more, so we did a couple more, and they’ve sold as well. The third book was by Stefan Goldmann, Presets – Digital Shortcuts To Sound. It’s an epic book on presets. Right now we have this book out by Savage Pencil and Barbara Frost, which is amazing, a real bodice-ripping page-turner.
Once you’ve done one thing, you can just go, ‘Oh, that’s it.’ So once you’ve done one record, one Wormhole, you’ve got to do more, once you’ve done a hundred tapes you’ve got to do a hundred more. And then you’ve got to move on to other things. At the moment, I’m almost breaking the original idea of The Tapeworm, but it’s almost like we have to contradict ourselves eternally. I’m considering doing a label called Digital Archives Of Tapeworm, or DAT, which is going to be an archive of Tapeworms digitally, just to shut people up more than anything else. Once you’ve done one thing you might as well do them all. I gave myself rules and now I’m going to break them. I don’t like rules.
Having reached 100 releases on The Tapeworm this year, Mike, Edwin and I talked about starting again in exactly the same order, but we didn’t do that because it seemed too much like hard work. In any case, we realised that we couldn’t, because some people had died, and it would have got quite a bit complicated. But conceptually, it was a very interesting idea, and that’s what matters: having the idea was good, doing it didn’t matter so much.
Interview: Mat Smith at Fork, Bloomsbury, November 12 2019.
It’s been seven years since the last Amongst The Pigeons album, and five years since Daniel Parsons decided to call pest control and exterminate the ATP project. After a spell working in the duo Exactly Zero, Daniel found himself idling away the time in a local café and before he knew it he was donning his characteristic pigeon mask all over again, and Those Stolen Moments was the eventual result.
In this exclusive feature for Further., Daniel talks us through the nine new tracks on a record that is distinctively ATP but more acutely focussed on its creator’s own instincts rather than deploying guest vocalists. It is a record of continually-evolving electronic juxtapositions and thought-provoking contemplations on how we spend that most undervalued of commodities – our personal time.
The album opens with ‘Happy Beginnings’.
The track started out as an instrumental but it never felt finished and I spent a long time working out what to do with it. Last year I started going to car boot sales and while looking through some vinyl I found an old record that taught children how to play instruments. The samples in this track come from that and work perfectly for the opening of the album.
The title for this one came from a conversation I had with a friend. He was talking about the concept of a ‘happy ending’ massage and said that in his mind it would be better to start with the ‘happy’ activity and then move onto having a nice relaxing massage.
The second track is Inflight Entertainment. This track was born on a flight to Poland using my iPhone and GarageBand. During the flight I created a 20-second loop which was sounding quite cool. When I got home I took the loop into my Shedio and fully fleshed out the track. A Shedio is a recording studio in a shed and mine sits at the end of my garden. It’s a magical place where time often stands still.
When I made my debut album and early EPs I used a lot of field recordings and still like to capture sounds while I am out and about. In the background of this track there are samples from the actual flight.
Back in 2014 I announced that I would stop making music as Amongst The Pigeons.
In the years that followed my friend Ollie and I made music under the name Exactly Zero (exactlyzero.co.uk). We would meet up each week and work on tracks but it was a slow process and in between our weekly meets I was starting to work on some new music on my own.
‘Perching’ was the first ‘new’ Amongst The Pigeons song and it really did come about by accident. One day I was sat in Perch (my local coffee shop) and I had my MacBook with me, I hit record and started capturing the background noise of the café. When I got back to the Shedio I cut up some of the clutter and created a little beat with the crockery and started putting synths over the top.
This track also has both of my kids voices sampled across the song. They enjoy coming out to the Shedio and if I am in the middle of recording I always try and get them to shout and sing into the microphone.
Polly Bee Gone
‘Polly Bee Gone’ is one of the heavier-sounding ATP tracks and became a bit of a nightmare to finish. I actually released an earlier version of this back in March on an ‘introductory’ album. My plan was to draw a line between the old ATP songs and the new ‘ATP 2.0’ music. I kept working on this song after that original release and managed to tidy it up a bit more and get to the stage where I was happy with it.
The song title came from the synth patch I was using which was a ‘PolyB’ sound.
I also made a video for this track which features me wearing one of my ATP Pigeon Masks while walking through Trafalgar Square. There was a very funny moment when a small kid was chasing a load of pigeons and they turned round to see a 6ft Pigeon towering over them disapprovingly.
Beautiful Negative Space
As I mentioned earlier I didn’t really plan to restart ATP, but once I had a few tracks, I started to question what I should do with them. Originally I was going to release a four track EP, then a five track EP and so on. It got to the stage where I had eight tracks and I thought I should stop but then I started work on this song and felt it would sit perfectly in the middle of the album.
It is one of the more mellow tunes on the record and originally I wanted to get guest vocals on it and turn it into a Robyn-esque tune. I don’t sing myself and in the past have been lucky to work with some awesome artists, but the more I thought about it, I wanted this album to be much more of a pure electronica set of songs. The next ATP releases will likely feature more guest singers.
At Any Opportunity
The album is called Those Stolen Moments as I wanted to capture the circumstances around how it was made. I have a full time job and a family so my ‘free’ time is limited and this album was made in those pockets of time that don’t really exist. I usually head out to the Shedio one or two nights a week and tend to work between 9 or 10pm and 2am. It’s a beautiful time of the day / night and I love being awake and creative while many people are asleep.
‘At Any Opportunity’ has a little sample at the start in which I try to sum up my feelings about making the most of time and seizing chances. There are times when it can be hard being a solo musician and you only have yourself to push you along to get music made. There can be times when self-doubt creeps in and you question everything you are doing.
Thinking Is Addictive
This track features part of an Eckhart Tolle speech about how thinking can be addictive and the importance of being able to stop thinking. What he says is very true and it fits so perfectly as an Amongst The Pigeons tune. There are some great synth and bass parts hidden away in this song. I always try to make my music do the unexpected and take people on a whirlwind journey as they listen to the songs. I also made a lyric video for this track which took ages to do.
I have no idea if Tolle would approve of this track but I like to think he’d appreciate it.
The 25th Hour
The title of this song again harks back to another example of making the most of time that doesn’t exist. In my mind the 25th hour is the extra time you create when you really push yourself to do more with your day and get stuff done.
This song was pretty much made in a single night and was born out of being utterly uninspired. I went out to my Shedio and was feeling quite fed up after a long week at work and didn’t really fancy doing anything at all. I started making the track and it all came together incredibly quickly, it was one of those nights where it got to 1am, then 2am and I thought I really should go to bed but couldn’t stop working on it.
For me that is the biggest thrill about making music. When you start, you effectively have nothing, but an empty page, and over a period of time you are creating something that didn’t exist before.
Water Into Whisky
Most of the songs on the album all clock in at under three minutes but on this closing track I allow things to take their time to unfurl.
It is fair to say that one of my favourite bands when I was growing up was Orbital. They have always heavily influenced the sound of Amongst The Pigeons which I think people may hear while listening to this song in particular.
This song started out as a little 10-second loop of random synth riffs. A few years ago my friend Adam (from Monkeyfist) came down to the Shedio with his euphonium to record on one of the Exactly Zero tracks. During the night we polished off a bottle of whisky between us and before we finished for the night we spent half an hour messing around with the synths.
A year or so later I revisited the loop we had made and started to stretch it out and build this song around it. It’s a slow build which leads into a more epic ending for the album and brings everything to a close.
Those Stolen Moments by Amongst The Pigeons is released November 15 2019 by Peace & Feathers.
Brook is an electronic duo of Beth Brooks and Howard Rider. Two years in the making, the intimate songs on their debut album Built You For Thought bring together Beth’s schooling in blues and soul performance with Howard’s carefully-restrained synth arrangements.
With highly personal, carefully-shrouded lyrics that feel like we are reading Beth’s most private concerns, and Howard’s skill in crafting subtly dramatic accompaniments, Brook’s music is delicately poised between the futuristic and the human.
Built You For Thought is out now on Vince Clarke’s VeryRecords. Read David Best from Fujiya & Miyagi’s review of the album here.
What is your earliest memory?
Beth Brooks: Hiding under the bath from my two elder sisters at about four. I had made a den under there. I had to hide from them a lot as a youngster.
Howard Rider: Glancing down the street at four years old when moving in to a new family home, and seeing someone of a similar age who would then become one of my closest friends for life. I can still see him now!
What’s the best piece of advice you’ve been given?
BB: Don’t always listen to advice!
HR: Live now.
Where are you most productive or inspired?
BB: When I’m alone.
HR: When there’s a strong element to work with, or something that excites me, whether that’s a thought, an emotion or a sample. The most important thing, though, is a strong vocal.
Built You For Thought by Brook is released by VeryRecords on September 20 2019.