A creator of fleshy, poignant, industrial-orchestral sounds, Irish artist Hilary Woods has been a firm favourite at GIHE since the release of her debut album Colt in 2018. Her most recent album Birthmarks is equally as captivating and we wanted to find out more about what inspired Woods to create it. Read below to discover her processes, her unique artistic vision and her favourite track from the record…
Congratulations on releasing your second album Birthmarks earlier this month. What are you most proud of about this record? Do you have a favourite track?
Ah, thank you. I’m most proud of the process from which this record was made. I think ‘Tongues of Wild Boar’ is my favourite track. I love the drum processing and the presence and character of Okkyung’s cello playing, and I enjoyed exploring, layering and recording a lot of bass analogue synths for this one. It was a sensorial process. I recorded this song many times since its inception many moons ago, and I like where it has journeyed to in sound and feel.
You collaborated with Norwegian experimental noise producer & filmmaker Lasse Marhaug when you were recording the album. Talk us through how you worked together to create Birthmarks‘ dark, shadowy sounds.
Myself and Lasse spoke of the colour palette, atmospherics and the nervous system of the record from the outset. We were both interested in creating textures and what ways we could record and use different instrumentation to achieve such sounds. Saxophone plays an important role on the record, not so much because of what saxophone lines I wrote, but more to do with how Dag plays those parts and how we wanted his breath work through saxophone to be woven into the mix. Field recording, drone and noise all helped create the sound world of the record too. I recorded a lot of the synths, piano, electronics at home in my lil studio, and whilst I was with Lasse working at his studio in Oslo, we recorded guitar parts and some vocals together. Lasse would process a lot of what I had already recorded at home, he recorded cello with contact mics, Kyrre Laastad recorded imaginative textural percussion, and we went from there.
You wrote the album over the course of two years, and whilst heavily pregnant, which is impressive in itself. On your record, there are themes of growth, germination, and feeling either detached or attached to one’s body. Without sounding too invasive, do you think you were more aware of these feelings during your pregnancy? Did it influence your writing in any unexpected way?
I actually wrote this record before I got pregnant. I also had the title Birthmarks decided upon from the get go, which is a little uncanny but true. However, I recorded the album whilst heavily pregnant in the Autumn of 2019. So the writing of this record really was never consciously in a direct way influenced by physical pregnancy, although it was certainly very much focused on themes of self-hood, gestational growth, the birthing of one’s self and processes of becoming. I wanted to write a record that was of the body, one that registered in and with the body, a more physical record than my previous work.
Your visuals and artwork beautifully accompany the music you’ve created. Talk us through how you put these together – from your photographs and videos with Josh Wright, to the album’s artwork…
I feel as both a music and visual artist, my work in both disciplines is very intertwined. I think visually, and when it comes to making videos and artwork there is an ease there, I enjoy that side of things, it comes naturally. The visual ideas arise from within, almost simultaneously sometimes to the writing of the songs themselves. The artwork and videos are for me an innate and important part of the album; although the LP stands alone and is separate in form, I feel the visuals come from the same place. In terms of making videos, I always make and direct my own as opposed to outsourcing them to another filmmaker as an extra thing to do to tailgate the main thrust of the project, if you know what I mean! Josh and I have been working together for a long time, and there is a beautiful communicative short hand there with Josh working the camera, which is cool. He’s also a dab hand at software that I find frustrating and we are friends – which always helps particularly when a video requires us to spend so much time together editing and grading etc. Re the album artwork; the front cover photo of me was taken by friend Emma Martin. It seemed apt to have a picture of my pregnancy on the cover. It’s a strong image and embodies metaphorically what the album addresses; birth, rebirth, hidden growth, unknowing, making redundant the old and a dawning of the new. It is also an image that communicates that this record is heavier and more physical than its predecessor.
Birthmarks is noticeably heavier in sound compared to Colt, but are there elements you feel are similar to your first record?
Yes. At the end of the day I initiate writing melody on the piano or guitar. I also work within my own limitations vocally, as a musician and work with whatever resources I have around me. So there are those similarities. Also, lyrically I have my own patterns with which I lean in to, and I think there are similarities in that regard between Colt and Birthmarks for sure. Overall however, I feel the big difference between the two albums besides the latter being far more sonic and a lot heavier, is that Colt is more a collection of songs, whereas Birthmarks was intended as a piece to be received as a whole, a journey to be listened to from beginning to end in one sitting.
You’re signed to Sacred Bones, along with some of our favourite artists (Zola Jesus, Blanck Mass). They released a compilation album on Bandcamp – I Fall In Love With The Light – to help their artists make a profit during this uncertain time. Your track ‘Mouth To Mouth’ features on it. Talk us through why you chose to include this track.
The label suggested that ‘Mouth to Mouth’ go on the compilation. I’m a fan of the distortion and the mix that Lasse did with it, so on it went!
Photo Credit: Joshua Wright