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Hi Jess, welcome to VENTS! How have you been?
Hello! Thank you so much for talking to me – I’m very well thank you, which feels like a greater privilege than ever at the moment. Lockdown has definitely been a strange time and devastating for so many people as well as the music industry obviously but hopefully we’re starting to see the light at the end of the tunnel.
Out of all the songs out there, why did you choose to cover Will Gregory’s “Orbit”?
Will actually wrote the piece for me for this album! I have been a fan of Goldfrapp for years, they have such a distinctive sound and energy and I love the way they combine electronic and acoustic sounds to create this crazy aural kaleidoscope. I saw Will Gergory’s Moog Ensemble live in Manchester a few years ago and their dynamism and vitality really hit me – I also knew that Will plays saxophone, so I asked him to write a piece and I feel very honoured that he agreed!
What was the approach you choose to go with this one?
We had a chat a couple of months before Will started writing and the original idea was for the piece to be for synth, alto saxophone and loop pedal and Will sent over a few ideas. Because Will plays saxophone, he put down some rough takes and sent them to me. I tried to emulate his direction and energy which was a really interesting process. In a session where we were trying out different ideas at Will’s studio, I told him about my ensemble (strings, bass + percussion) and he decided to incorporate those instruments which creates an electro-acoustic sort of vibe with a driving bass synth, saxophone and the ensemble. I think it has a great groove!
How did you go on balancing the original with your own take?
It was super interesting to be able to hear Will’s ideas behind the piece as we were working on it. He describes Orbit as a circular journey presenting different facets of the same underlying view…. could be circuitously arguing different sides of a question – playing devil’s advocate at one moment then clothing the same argument differently to arrive at the opposite conclusion. By turns subtle and crude, rational then cajoling, then pleading …. but never quite arriving at an answer … until perhaps at the end when it becomes suddenly glaringly obvious…. or perhaps simply understands the never- ending nature of the journey.
The single comes off your new album Time – what’s the story behind the title?
The album reflects the arc of energy in a passing day from daybreak to nightfall. Last year I moved to London and quickly became acutely aware of the speed and intensity of life here. Everything is in constant orbit: I am orbiting around the world as a musician, there’s the orbit of a day, of thoughts around the mind and I noticed how many people seem to be searching for a place to stop and reflect.
I heard Bjork speak about the fact that music can be its own microcosmos – a place in which to exist, explore and look around – not necessarily playing a part in the narrative as a listener. It’s a similar idea to some of Brian Eno’s music; you can walk into it and its own emotional microclimate! I thought about this quite a lot and attempted to create an album which gives the listener space in which to immerse themselves and perhaps give them a moment away from the world as it is right now. I listen to and love such a huge array of music, so the album’s influences range from classical to techno and minimalism to alternative pop.
To me, music can be completely transformative and the experience of watching a live performance or sitting down to listen to an album is one of the only places in modern life where we can completely focus on what is happening before us with no distractions. There are no screens, no instant messaging, just a sense of direct communication. It’s something that can require patience but can be utterly life-affirming.
How was the recording and re-writing process?
We recorded at RAK Studios and it was an absolute dream! The producer of the album, Jonathan Allen, was absolutely brilliant to work with, as were the ensemble who brought so much passion and a real sense of collaboration to the sessions.
What role does the UK play in your music?
I’m originally from Ulverston in Cumbria (on the edge of the Lake District) and I think coming from a small town where everyone is super friendly has really played a part in wanting to connect and communicate through music. There isn’t a huge music scene in Cumbria, but I was lucky enough to come from a music loving family and have the opportunity to start playing at a Carnival Centre in Cumbria – the Barracudas.
Did you draw inspiration from other sources for this songs and lyrics?
I listened to a lot of Goldfrapp to try and absorb some of the style and for the album generally, I was listening to a lot of singers – Thom Yorke, Bjork, Michael Kiwanuka, Ella Fitzgerald, James Blake, Lianne La Havas, Nina Simone and David Bowie.
What else is happening next in Jess Gillam’s world?
I’m planning to tour the album with the ensemble but as live performance looks increasingly unstable, I’m working on some virtual projects. I set up a Virtual Scratch Orchestra in lockdown so I’m working on some more ideas with that!
Watch her second piece of “Let It Be” by The Beatles here
