INTERVIEW:
Individual Recordings
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THERE is that blend of enigma and raw honesty…
when listening to the music of Individual Recordings. I have been talking to Paul, the man behind the music, and how the concept got started; how he came to work alongside Bethany Compson-Bradford and whether there is a chance he will take his work on the road.
I learn how all the fascinating sounds come together and what we can expect from the forthcoming album; when music arrived in Pau’s life and what advice he would give to fresh artists coming through – the talented musician recommends a new act worth some time and affection.
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Hi, Paul. How are you? How has your week been?
Fine. Thank you for asking. I'd say that the week's been an average week…
For those new to your music; can you introduce yourself, please?
I promote my own music under the banner ‘Individual Recordings’.
I have chosen to describe the music as a kind of dramatic, contemporary orchestral Electronica...that's fairly downtempo.
What is ‘Individual Recordings’ and how did the concept come together?
To be honest, Individual Recordings was born out of dissatisfaction with the commonplace plugging of a particular type of music that appeared happily de-differentiated from the standard - and was certainly not creatively divergent from it.
I thought that I needed to have a go at creating some sort of sound that didn't conform to ‘production house rules’ and that was not particularly concerned with popular expectations regarding song construction, whilst not completely divorcing any work from the mainstream.
Perhaps, a little strangely, I was inspired by the curiosity that is The Langley Schools Music Project and some rather bare and naive recordings made back in the mid-1970s by a Canadian music teacher and an orchestra of students from various elementary schools of the Langley School District in British Columbia. The recordings were very lo-fi but easily found an audience by offering arrangements of a bold selection of classic songs that were interestingly re-contextualised by the simplicity and honesty to be found in the orchestra's recorded performance.
People found that they could relate to the work; an expression of emotion communicated through music that had an unrefined nature and that revealed essentially flawed mechanics. It was music divested of any pretence to be anything other than a sonic capture of the moment; honest and real.
Yep…that's what I wanted to create.
There is a cinematic aspect to the work. How do those sounds come together and form?
Sound can be manipulated in any way these days.
I start with a theme or motif and, then, experimenting with instrumentation, work it in ‘off-centre’ directions hoping that the result will provide some sort of emotional impact. Generally, I find I end up with some sort of an orchestral core bathed in a constructed ambience...or something like that, anyway.
How did you come to meet Bethany Compson-Bradford? Did her talent and voice add something special to your work, would you say?
Simply, Bethany kindly responded to a ‘shout-out’ for a singer.
She had London West-End stage experience which I thought impressive, and she immediately demonstrated a capacity to alter her vocal style/intensity in precise keeping with my intentions for a song. If the songs that have been recorded meet with a positive response, then it is without doubt largely due to Bethany's vocals: interesting, emotional, beguiling.
I believe an album is out later in the year. What sort of themes and ideas can we expect to find?
Well. It's probably fair enough to say that it will not be hailed as a jolly sing-along experience. They'll be ghost motifs of fragility, underscores expressing unspoken emotion and a tidal rush of orchestral sound. Ultimately, of course, the songs featuring on the album will be whatever people find them to be. I can only hope that a listener finds them engaging, different and deserving of re-play.
When did music come into your life? Were you always drawn more to sounds and composition than conventional choruses?
Probably began to pay attention to music in the mid-teens…
My taste is music has changed over the years. Once, I was easily seduced by guitar-dominant works and found immediate appeal in hook-laden verse/chorus/verse etc. compositions. Whilst I do still enjoy moments of higher-octane/higher-energy music and songs/styles that venture into the anthemic, I have found that, nowadays, I am given to spending more time investigating the way music can convey feeling through generously-detailed and texturally ornate waveforms. I find that, often, the only way to introduce those elements of detail and texture is to visit an idea in an orchestral setting.
Can we see you tour this year? What gigs do you have coming along?
No touring is planned. I'll wait for the demand! (I won't be holding my breath).
How does an Individual Records performance sound? Is it easy translating the songs onto the stage?
The Individual Recordings sound was designed without any consideration being made of later live performance. Recordings were split between venues/studios and the resulting recording stems combined at leisure elsewhere.
Actually, on reflection, this might turn out to be a good thing as it would mean that, ‘on stage’; with parts re-worked with new instruments, the songs would take on a fresh character.
That sounds exciting!
What do you hope to achieve in 2018?
Some recognition that the music exists…
Have you got a favourite memory from your time in music – the one that sticks in the mind?
Politely telling someone playing the euphonium to be quiet.
Which three albums mean the most to you, would you say?
Almost impossible to answer: I could give the title of three albums but, if you asked again in another year or two, I wouldn't give the same answer.
What advice would you give to new artists coming through?
Always think about what you could change regarding what you’re producing to better bring originality and individuality to the mix.
IMAGE CREDIT: Half Formed Things
Are there any new artists you recommend we check out?
I would like to recommend Half Formed Things from Edinburgh.
Do you get much time to chill away from music? How do you unwind?
If ‘chilling’ is getting excited by sports events, then, yes, by doing that. Unwinding is probably best achieved by spending time doing stuff in the garden (obviously, not when it's raining)
Finally, and for being a good sport; you can choose a song and I’ll play it here (not any of your music - I will do that).
I'd like to just mix it up a bit and select a piece of music from Gattaca: Original Motion Picture Soundtrack (1997). Is that okay? The track is The Departure.
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