My dad worked in an office and my mum brought up us three boys. The house I grew up in If I could change one thing about myself I'm trying to work on actually doing things rather than just talking about them. I keep finding lists I made three years ago and I'm still no closer to ticking them off. You wouldn't know it but I'm very good at It helps pass the day a bit quicker.
You may not know it but I'm no good at Although you'd probably know that just by looking at me. At night I dream of Last night I had some slightly sad dreams; I tend to dream of memories of things that have gone. What I see when I look in the mirror We enjoy intermittent birdsong throughout this mature, gentle, and intricate life questioning soundscape. A tiny amount of percussion was added to the mix alongside aural snapshots before midway through a brass section joined giving it a funky jazzy vibe bursting into life.
It is really synth and vocal musings in an almost choral, quite spiritual nigh on sensory expedition. Fyfe confirms that this, and the track Laying There, are the two oldest compositions on the six-track EP.
I like to live with things for a while and suddenly, a stroke of inspiration may hit. Free of any external tinkering, Fyfe pursued more of these less conventional musical visions. I learned how to use Logic so I could achieve this. Which is so satisfying. You just keep the elements you need, like one and a half seconds of a random keyboard improvisation. Whenever I was listening to the mix on one channel I would shift the volume up and down, turning it left and right - making it seem more alive.
It enhances my performance, to hear the way that it sounds - it affects how I feel about it. I never actually intended to be a singer, but it just kind of happened. I know I can do that - play the piano and sing - so I naturally end up making stuff that requires a voice.
But first, some questions are in need of answers…. Where have you been and what have you been doing? I loved playing with the band, but it was also so exciting to realise that, for the first time ever, I could now really truly make anything I wanted — literally anything — and make it available for the world to hear. So I just started following every creative instinct I had, allowing things to twist and turn in their own way, and learning how to use a laptop to get the sounds in my head out, unfiltered.
Somewhere to share music-in-progress, in its current state of dress, whatever that might be. Knowing that at any point I could come back to it all and put out different, evolved versions.
So I started channelsmaychange. Whereas I just needed to totally let loose and broadcast whatever I felt like. I got really obsessed with truly representing myself — showing all of me, not just the most palatable, familiar sides. It was a mega intense process, as I was putting each episode together week by week; I was often working on the music day and night, to get it as good as I could in the time I had.
But that pressure also led to some really wild creative decisions. And for some reason — finally — it now feels like the right time to, you know, just start releasing some music again, outside of the context of a surreal four-and-a-half-hour series! You were the front man of Guillemots and on a major label. And, is Guillemots definitely no more? Has lockdown and not touring changed your music making for the better? Have you been writing and recording more?
And discovering live-streams has been a real eye-opener… I did a weekly series last year and just finished another one more recently. Singles, EPs, albums, videos… all sorts.
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