Hola! I’ve been well thanks, still acclimatising to life in the Spanish mountains, but so far so good.
Can you talk to us more about your latest single “Polly Brown”?
It’s different to most of my output – I guess it’s my attempt at writing a three minute pop song, ha! In any case, it was the obvious lead single from a huge wave of conceptualised songs relating to love’s broken goddesses. The story is set in the late 80s, so sound-wise, it’s loosely inspired by the Sarah Records indie era. The recording turned out way better sonically than I expected, and it’s still edgy enough to make the Bloodjoy discography.
Did any event in particular inspired you to write this song?
No particular event, just an obsessive phase I went through, drowning in the Goddess concept.
Any plans to release a video for the single?
A film-maker called John Ninnis offered to make a promo for the single, which he did and put on YouTube. I asked him for black and white VHS-tainted video to symbolise flash memories; nothing specific, just something to represent the story of some guy remembering his first love: a girl named Polly Brown, who scarred his heart. I’ve yet to make a proper Bloodjoy video. It’s something I’d definitely like to do because a lot of my songs are crying out for creative/cinematic videos. There just hasn’t been a budget to make any of that happen so far.
The single comes off your new album Love Is A Fucked Up Goddess: Part Two – what’s the story behind the title?
The record is actually two EPs that were first released by psych tape label, Eggs In Aspic. Part I came out last year, Part II followed this spring. The vinyl adds two exclusive unreleased tracks (‘Golden Lashes’ and ‘Another Goddess In My Veins’). The idea was to write songs about the fucked up nature of love, and how it must stem from the fucked up goddesses responsible for the energy behind it. I suppose I got carried away.
Would you call this a conceptual record?
Yeah. I often write conceptually – absorb myself in a theme and write a novel with songs. Good or bad, the process clears my mind, rids me of a lot of mental baggage and gives extra meaning to the hours I’ve dedicated to writing and recording songs, which to date, hardly anyone has heard!
Will each installment follow a different theme?
The ‘Love Is A Fucked Up Goddess’ era is complete, so yes. Different concepts may overlap at times, but the next thing will be different.
How was the recording and writing process?
The writing process was easy, it all began with the notion of an insecure and suicidal Aphrodite; the rest followed. The recording process is always a challenge because I impose limitations on it. The rule is that aside from vocals and hand claps, everything else you hear on a Bloodjoy record has to originate from the acoustic guitar itself; so the beats and all of the music comes from one source.
What aspect of love did you get to explore on this record?
Obviously, I explored it’s fucked up nature, holding Venus and the other goddesses of love responsible for our messed up human experiences of it. It’s all based on the idea of love being a feminine energy, and within that, the songs take on physical, spiritual, emotional and ghostly forms.
Any plans to hit the road?
I only booked one 2018 show to promote the release, at the Astral Elevator Psych Weekender in mid-September. I would have loved to arrange a tour, but the opportunity didn’t show itself in time and I’d already promised myself that I’d leave the UK and vanish into the mountains, so I did. Hopefully I’ll get to tour in 2019 to promote the next release, should the opportunity arise. To be honest, I’ve stopped planning, it rarely works out.
What else is happening next in Rhys Bloodjoy’s world?
I’ll still be living a minimal existence at altitude, at least for the foreseeable future. I’m currently working on my debut album, experimenting with new sounds and looking at possible collaborations with other musicians. Who knows what the future holds, only time will tell.