Yes, I've recently been recording on my eight track again and that's a different experience. I enjoy the process of recording at home because there's no pressure but it was really good to have the amazing equipment. And working with Ali because he had input and just having somebody there who has really good ears to kind of encourage you in the right directions and say 'that takes not so good, do it again'. It was a really good experience.

How long did that take?

It took about ten days

You've got a bunch of Bristol people on there, haven't you?

Yes, friends. It's nice to do it that way. I've met people through music. I'd known all of them for quite a while. Some of them, like Rozi Plain, for about eight years and Wig Smith five years. We've always played music together.

Will's kora gives everything quite a distinct sound.

Yes, it does. I live with Will and I get the sound of his kora drifting out of his loft. I'll be sitting in the garden working on my textiles and I'll listen to his kora, it's nice.

Which instrument came first for you?

Clarinet was first, then piano. Recently I've been at home recording piano songs and adding clarinet so it's been nice, I love those instruments. Then, along came the guitar, and that took over a bit and then banjo. Now I play all of them as much as I can.

Are their particular banjo players you like?

I like Sufjan Stevens, although, I haven't been listening to him so much recently. My Two toms who are a Bristol act, they're really brilliant. And Kate.

I love a lot of your lyrics. The metaphors with animals seem really special.

I think the more I play music, and the more I do art, the more of a world I create that is my escapism. I don't know. I have a bit of a problem with the modern world and the way things are going, so much technology and cars and it all seems really unnatural. Not that the worlds I create are natural, they're a bit surreal, but I prefer them to all of the high-tech human world that is the reality.

At the same time your metaphors seem to speak volumes about the human condition.

Yes, I suppose I do use it to highlight the things I don't like about the real world, like a comparison between natural and man-made. Like a juxtaposition. I suppose it's funny to try and explain it in words. I don't make notes, it's somewhere in my brain and I have to get out what it is without having a practise run (laughs).

I get the impression your tours over here have got bigger. You're going further afield. Is that right?

No, not really. I've done a couple of UK tours with The Hand and myself as Rachael Dadd. And I've played around Europe with The Hand with Ichi, my Japanese boyfriend, we toured for three months and covered a lot of ground. This tour is slightly smaller scale but we are going to Paris and Brussels. That is through Kate's connections.

You tend to do a lot of your touring by train don't you?

Yes, as much as possible.

There must be a need for a compact kit?

You'd think so but actually when I toured with Will and Ichi this summer we had, well, Ichi's box is one and half metres square and inside he'd have trumpet, steel drums, xylophone, glockenspiel, accordion, rhythm box, sampler, loads of percussion instruments and some stilts because he came onto the stage on them. Whereas, Will and I would have a guitar, a banjo, ukulele, then all our clothes, sleeping bags and merchandise. So no we don't travel light, but it is possible to do it. They are strong boys!

Are you going to be taking any of textiles out on tour this time?

Yes, I always take badges and I've made all sorts of textiles. I've worked out what people like the most and I make lots of that. And if it's small and compact it's quicker to make and easier to carry. So badges, wallets and the limited deluxe edition EP, for Whalebone Polly, is coming in a pouch. Kate and I have both been making those.

Whalebone Polly are currently on tour

http://rachaeldadd.com

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