Interview: Me Lost Me | NARC. | Reliably Informed | Music and Creative Arts News for Newcastle and the North East

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Photo by Liam Robson

Folky, experimental soundscape creator, Me Lost Me, drops her excellent new single Nevergreen (complete with a Knight Knight Remix). This latest offering from the prolific artist is a haunting and enchanting work of art that takes both the modern and the traditional and blends them together beautifully. The soulful vocal soars effortlessly amongst the persuasive percussion, atmospheric samples and choral chants and transports your ethereal essence to the Midsommar Isle that lies within all our hearts. 

We catch up with the Newcastle based musician to find out more…

How would you describe your sound?
That’s something I have always had real difficulty with, but lately I’m imagining the crew of the Starship Enterprise playing folk music from their home planets to each other on their space instruments, that’s where I’m aiming right now, haha – a kind of future folk. It sits somewhere at the intersection between electronica, melodic folk storytelling and noisy ambient field recordings.

What artists/musicians inspire your music and who have you been listening to during lockdown?
I get inspiration from all over the place, from trad folk to sound art but lately I have been listening to a lot of Felicia Atkinson, her use of texture is so lush and has been really inspiring me lately to play more with that side of things. I’ve also been on some deep dives into long time favourites Pauline Oliveros and Daphne Oram’s back catalogues and books, and enjoying recent-ish releases by Anna Roxanne, Valance Drakes, Wizard Apprentice and Pefkin. So absorbing lots of more ambient/noisy stuff at the moment I suppose!

What is your songwriting process like? Do you envisage the soundscapes that are synonymous with your sound beforehand, or are they built through a more experimental trial and error process?
I write mostly through improvisation and collage so it’s quite hard to pinpoint exactly when different elements emerge – sometimes I’ll improvise a capella with voice and build a soundscape around it, other times I’ll improvise over a soundscape I’ve already made. More recently I’ve been processing field recordings, putting them onto a sampler and triggering samples at random, making the collaged soundscape while improvising lyrics at the same time and recording it live, so a lot of my songs are written in real time.

Tell us more about your latest release Nevergreen… Where was it recorded and what’s it about?
So Nevergreen was written and recorded at home in autumn last year when Brexit was the main discussion across news and social media (a simpler time), so it is kind of about that, despite me vowing to never write a song about Brexit, ha! I made the looped part ‘it was nevergreen, nevergreen’ with that lyric from the hymn Jerusalem ‘England’s green and pleasant land’ in mind, and then I improvised the verse over the loop. I played a lot with collage on this track, especially the second half with all the slightly off samples as though the machine is falling apart. I think it’s mostly about nostalgia for an England that never existed, and in hindsight I think it was also inspired by ‘Sabrina’ by Einsturzende Neubauten, a song that uses the colours of the German flag to address the country’s dark past – I think about that track a lot.

What are your future plans in these uncertain times?
Release an album and graduate from my masters, that should cover me for the next few months! After that it’s all a bit hard to tell, I’m absolutely desperate to tour again but I’m not booking anything new in until I know for certain it can go ahead. I think I’ll just keep making music, art, livestreams – those things keep me going, I want to make sure I stay in love with making stuff.

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