11/12/2009

Inge Thomson Interview - Part 1

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Some of you will know Inge Thomson from her instrumental and vocal work alongside Karine Polwart. Others may recognise her from collaborations with The Broken Family Band, Will Oldman or others, or groups old and new - Drop The Box and Harem Scarem. Now, though, Inge is stepping out on her own with a solo album, 'Shipwrecks & Static' - a highly individualistic affair that Inge describes as 'an eccentric marriage between melodic instruments and the bleeps and squeaks of electronic tomfoolery'. Originally from Fair Isle, Inge wrote, recorded, and produced the bulk of the album and is joined by the angelic voice of Heidi Talbot, the edgy guitars of Brighton based Tom Cook and a cameo appearance of Martin Green from Lau.

Here Inge discusses her latest project and other aspects of her musical world.

How long have the songs for 'Shipwrecks And Static' been around?

Two of my own (Take my time and Where do I sign?) are a few years old, but the rest are infants. I have written quite a number of songs over the years and had a shortlist for the album only to discover when demoing them that many of them just weren't the right vibe for the album.

Is there an underlying theme to the album?

For me - Love, loss, and a touch of sea-soaked madness.

What came first, the songs or the title?

The songs.

Was there a conscious decision to push the individualistic elements of the record?

Not really, it's just what I sound like left to my own devices.

You say the album contains 'bleeps and squeaks of electronic tomfoolery' Are there artists whose work may be termed electronica who you admire?

Yes, there are loads. I really enjoy the glitch pop of Efterklang and way-pavers like Keiran Hebden and Matthew Herbert have influenced how I hear things.

There some great talent on the album. Where did you find Tom Cook?

Actually he and my husband found each other when they were small. I was fortunate enough to work with him in The Martin Green Machine where he impressed and shocked me in equal parts.

Can you explain how on 'Scoundrel Cloulds' members of the Karine Polwart Band and the Armenian British Council came to sing together in an ancient monastery?

We love British Council overseas work. This trip to Armenia was an education, we were taken to an amazing monastery which had been carved into the side of a mountain with a succession of caves within. The natural acoustic was so beautiful that Karine suggested we all sing a random note and see what it lead to, this was the result. There's no manipulation of the original recording in the intro - the creepy modulation that you hear just before the loop kicks is as it actually occurred.

You say you 'grew up in an enormous world of music and your family are prominent exponents of folk and traditional music'. Were your parents the first generation to take up music or does it go back further?

No, my paternal grandparents, particularly my grandfather are musical, and have always encouraged playing together regardless of genre or ability. My grandfather is a marvel, still teaching the fiddle at 85.  My maternal grandfather was a piper in his younger days, I never actually heard him play, but in my teens he introduced me to Sibelius played at decibels not healthy for the human ear.

What are your favourites from your family's repertoire?

Vocal harmony is the big thing in my family, and I have many favourites spanning years, however, for sheer joy and power, the African hymns they sing can't be beaten.

Do you think you would have made a good nurse?

I once took 34 stitches out of a man's face, he never felt a thing.

Go to part two - http://www.spiralearth.co.uk/attitude/attitudestory.asp?nid=3865