LISTEN: GIHE on Soho Radio with Peaness 06.04.22

Tash was back on the Soho Radio airwaves playing loads of new music from some of the GIHE team’s favourite artists.

Chester indie trio Peaness also had a chat with Mari about their upcoming debut album, World Full Of Worry, the music that inspires them, the festivals they’ll be playing this summer and the joys and challenges of being in a DIY band.

Listen back below:

Tracklist
Nova Twins – Cleopatra
Ibibio Sound Machine – Electricity
t l k – IWNU
Fears – 16
Midwife – Send The Pain Below (Chevelle Cover)
SASAMI – Call Me Home
Jenny Hval – American Coffee
Ydegirl – I Need This
Coco – Last of the Loving
Hannah Holland x Planningtorock – Planningtobeams
Real Big Sky – Long Lost
Ethel Cain – Gibson Girl
Francis Of Delirium – The Funhouse
x/o – Red Alert
Peaness – How I’m Feeling
**Interview with Peaness**
Nikki and the Waves – Online Chess
Horsegirl – Anti-Glory
Proper. – Huerta
CRi – Something About
Problem Patterns – Y.A.W
LibraLibra – Here’s To You Mr Robinson
Scrounge – This Summer’s Been Lethal
Breakup Haircut – Out Of My Way (I’m Not Getting On The Nightbus)
bestfriend – someplace else
Julia-Sophie – Dial Your Number
Wet Leg – Too Late Now

Introducing Interview: LUIANNA

Splitting her time between Berlin and Bristol, innovative electro-pop artist Jasmine Luianna Emslie – aka LUIANNA – has now announced the release of her debut EP, Skiá. Taken from the EP, she has recently shared poignant new single ‘Witch‘. Propelled by glitchy beats and a soaring ethereal splendour as LUIANNA’s celestial vocals flow with a delicate grace, it’s an empowering reflection on addressing past trauma and coming out stronger.

We had a little chat with LUIANNA to find out about the upcoming EP and more. Have a read!

Hi LUIANNA, welcome to Get In Her Ears! Can you tell us a bit about yourself?
Hi, thanks for having me! I’m a producer and singer songwriter. I was born in South London and brought up in rural Wales, I’m half Greek and half Scottish and have lived my adult life in both Bristol and Berlin, so I’m a mixed bag to say the least… I have been in many bands and different creative music projects, but it feels like everything was leading me to this place here, to have the confidence and ability to compose and write songs myself. I’ve chosen a pretty different life than most and have spent the past 15 years squatting in both Berlin and Bristol, enabling me to be able to spend my time doing what I love, instead of chasing after high rents and bills. The combination of music and meditation is how I navigate through this weird and wonderful world and I’m so happy that I’m in a place to start sharing some of it!

How did you initially start creating music?
I started with acoustic guitar and putting my little childhood poems to basic chords. I went on to make a girl group with my two best friends in school and this got me into college. Through college I fell in love with dance music and was somehow bored of seeing an audience sad in all my gigs, so started writing for DJs and producers – it made me so happy to see a crowd jumping and smiling! After this phase, I moved to Berlin and started singing jazz in cabaret venues around the city, and then joined a hip-hop band for a few years, playing a lot of shows in Germany. This was when I realised I didn’t want to be confined to a genre. I wanted to make music that came as and when it did. So I started to save and buy equipment to be able to write my own stuff. Starting with a micro Korg and teaching myself some basic piano, and then a looper and a drum machine and electric guitar. This all came together pretty quickly and within a year I was ready to record this Skiá, my debut EP!

Your new EP Skiá is out on 29th April – can you tell us what it’s all about? Are there any themes running throughout the EP?
The EP is an intimate view into my life. I open up about my father who is a heroin addict, and share how that has made me feel growing up. I also sing about mental health, and what it is to be a woman – the love, the strength, the ebs and flows of our moods and attitudes. And it’s all tied together with love songs, sad but empowering love songs.

You’ve been compared to the likes of London Grammar and BANKS, but who would you say are your main musical influences?
For me it’s Lauryn Hill, Aurora, Madonna, Portishead. I love beautiful majestic pop, and also hip-hop and old school beats. I think I’ve intertwined all of this into the EP.

How is your local music scene? Do you go to see lots of live music?
I’ve been in Berlin for the past seven years and yes, the music scene is thriving. From incredible street shows, smokey jazz bars to epic clubs; small intimate venues, and an array of concert halls – it’s a fab place to be for live music. I’ve just arrived back to Bristol and am excited to get out and see whats happening here too!

And what can fans expect from your live shows?
Vulnerability, a lot of vocal loops, and hopefully a hint of beautiful and original music to their ears!

As we’re a new music focused site, are there any new/upcoming bands or artists you’d recommend we check out?
Yes! Ber is an incredible new artist that I can’t stop listening too, also LushUs are a new group from Germany with their first single out ‘Velvet’ – love them! 

And how do you feel the music industry is for new artists at the moment – would you say it’s difficult to get noticed?
It’s so tough. To get any reach outside of your friendship group is a challenge. I’ve noticed even when my posts do get shared by friends on Facebook it just doesn’t get seen. If you have a ton of money for adds and PR, and you’ve got a great piece of work to promote, then I think it’s straight forward – but as it stands, it’s tough tough tough. A lot of artists are talking openly about how we are musicians, not content creators and there’s a big pressure to keep active online and posting, but it’s not always easy when you just want to make music and not be on social media day in day out. That being said, no-one said it would be easy!

Finally, what does the rest of 2022 have in store for LUIANNA?
I have just moved back to the U.K, so it’s about getting my music out and starting to gig again. Moving to a cabin in the forest and writing more songs!

Massive thanks to LUIANNA for answering our questions! Listen to latest single ‘Witch’ below:

Skiá, the upcoming debut EP from LUIANNA, is set for release on 29th April.

PLAYLIST: March 2022

The Get In Her Ears team have put together an eclectic mix of guitar tunes, post punk anthems, indie gems & immersive electronic sounds for your listening pleasure. Take some time to scroll through our track choices below and make sure you hit play on the Spotify playlist at the end of this post.

Follow GIHE on Spotify to hear all of our previous playlists too.

Charlotte Adigery x Bolis Pupul – ‘Ceci n’est pas un cliché’
‘Ceci n’est pas un cliche’ by Charlotte Adigery and Bolis Pupul, whose debut album Topical Dancer came out earlier this month. I had the absolute pleasure of interviewing Charlotte, where we talked about the new album, the therapeutic process of making music and the use of laughter to tackle complex topics and her lovely little baby Rocko also joined us for the chat. You can listen back to that interview on our latest Soho Radio show. (Tash Walker)

Julia-Sophie – ‘Dial Your Number’
The latest single from one of our favourites Julia-Sophie, whose new EP, it feels like thunder, has just dropped and it doesn’t disappoint. It comes as part of a trilogy of releases through Beat Palace Records, the new label set up by Anna Prior of Metronomy which has a heavy focus on championing women artists. Julia-Sophie will also be headlining our gig at The Shacklewell Arms on 1st June with support from Dewey and Maria Uzor. Grab your ticket via DICE here. (TW)

Ethel Cain – ‘Gibson Girl’
Since I heard her single ‘Crush’ last year, I have been compulsively listening to American songwriter Ethel Cain. Her heady, devastating tunes throw me off-kilter whenever I hear them and this track is no exception. Taken from her highly anticipated debut album, Preacher’s Daughter, which is set for release on 12th May, ‘Gibson Girl’ is a lustful, deeply provocative offering inspired by American model Evelyn Nesbit. Cain offers some more perspective on the track: “Being a woman is about never quite reaching a goal that someone else set for you. Under pressure to fit an impossible standard, I find myself daydreaming about what it would be like to be perfect in a way I can’t ever possibly achieve. I’ve always been in love with Evelyn Nesbit, the Gibson Girl, and thought she was the absolute pinnacle of feminine poise and grace. Whenever I start to lose myself and forget what I’m capable of, I just turn to her and she’s the greatest reminder.” (Kate Crudgington)

Ailsa Tully – ‘Salt Glaze’
The latest single from Welsh artist Ailsa Tully, ‘Salt Glaze’ offers a poignant reflection on the time that Tully and her partner spent in her late Grandmother’s house during the January lockdown last year. A truly immersive soundscape emanating a comforting warmth and exquisite captivating grace. You can watch the very cute video for ‘Salt Glaze’ here. (ML)

Tomberlin – ‘Tap’
I haven’t been able to stop listening to American songwriter Tomberlin since her single ‘Happy Accident‘ dropped into my inbox last month. Her poetic lyrics are so simple, yet they feel so profound and graceful when she sings them. This track is taken from her upcoming album, I Don’t Know Wo Needs To Hear This, set for release on 29th April via Saddle Creek, and it’s a beautiful musing on trying to disconnect from the digital world and focus on genuine human interaction – something we’ve all been craving since 2020. I think her opening line about over-using Instagram is superb: “Tap the heart until I hate myself / Hit the square, and rearrange myself / I don’t like it what it does to me / Never makes me want to laugh, or sing.” I can’t wait to hear Tomberlin’s songs live at St Matthias Church on 5th April. (KC)

Fears – ’16’
Transforming her ruminations on a troubled past relationship into an elegant, exquisitely raw offering, ’16’ is the latest release from Irish musician & producer Constance Keane aka Fears. Released via her own imprint TULLE, the track is a combination of meditative synth loops, tentative beats and the instrumentals of her late friend, classically trained cellist and trans rights activist Sophie Gwen Williams. These elements mesh together to create a truly soothing, magnetic soundscape. Accompanied by a beautiful video, shot & directed by Zoe Greenway – who performs alongside Keane in punk band M(h)aol – the visuals are a poignant tribute to Williams too. (KC)

Hannah Schneider – ‘Mirror Sphere’ (ML)
‘Mirror Sphere’ is the new single from Danish artist Hannah Schneider, who is also one half of GIHE faves AyOwA. Whilst more stripped back than we’ve come to expect from Ayowa, this solo venture maintains all the glistening majestic splendour and cinematic grace that we associate with Schneider, creating an enchanting hybrid of sounds. (ML)

Real Big Sky – ‘Long Lost’
A brooding, atmospheric musing on feelings of loneliness and isolation, Gothenburg four-piece Real Big Sky have shared their debut single ‘Long Lost’. Full of moody guitar sounds, shiver-inducing cymbal smashes and melancholic vocals, the track is a captivating slice of dark indie noise. I can’t wait to hear the band’s self-titled debut album, which is set for release on the 13th of May. (KC)

Scrounge – ‘This Summer’s Been Lethal’ (ML)
South London duo Lucy and Luke aka Scrounge have now announced the release of their upcoming debut album, and we couldn’t be more excited. Taken from the album, ‘This Summer’s Been Lethal’ builds with a bewitching tension and potent beats, creating a stark soundscape. Oozing the duo’s trademark deep stirring allure and dark, compelling energy, an added uptempo edge propels the track, inciting a small glimmer of hope in these uncertain times. A swirling, immersive wall of sound, here Scrounge have showcased how they are consistently honing their sound; adding innovative layers to create resonant, cathartic anthems for the present day. (ML)

Oceanator – ‘Stuck’
I’m a big fan of this new single from Brooklyn artist Oceantor, taken from her excellently titled new album, Nothing’s Ever Fine, set for release on 8th April via Big Scary Monsters. I love the charging rhythms and doomy riffs on ‘Stuck’, which as Oceanator explains, is “about that feeling of all your collective traumas, disappointments, and general sadness just accumulating over the years and weighing you down more and more.” (KC)

Francis Of Delirium – ‘The Fun House’
“This is a call to arms” sings Jana Bahrich aka Francis Of Delirium in the opening to this single, instantly commanding listeners with her grungy riffs and clear vocals. A reflection on the manic and disorientating mindset that’s been accepted as “the new normal” over the past two years, Bahrich’s track is a cathartic rush of angst that questions what’s “left to believe” in such an overwhelming world. (KC)

Horsegirl – ‘Anti-glory’
I love this playful, rumbling cacophony from Chicago post-punk outfit Horsegirl. Taken from their debut album, Versions of Modern Performance, which is set for release on 3rd June, the band – formed of best friends Penelope Lowenstein, Nora Cheng and Gigi Reece – wrote ‘Anti-Glory’ “almost by accident” whilst messing around with an old song during rehearsals. When speaking about the track, the band say: “As always, this song and album are for Chicago, our friends, our friend’s bands, everyone who can play the guitar, and everyone who can’t play the guitar.” I like that! (KC)

Proper. – ‘Huerta’
Happy album release day to Brooklyn trio Proper.! The band have shared their new album, The Great American Novel, which is a punk infused concept record about how black genius is routinely overlooked and ignored. On this track ‘Huerta’, lead vocalist Erik Garlington evaluates his thoughts about his Mexican heritage, offering listeners an insight into what it means to censor or ignore parts of yourself and the impact this can have on your own identity, as well as the wider perception of this identity in predominantly white spaces. “If these audiences are going to be a voyeur to the Black experience, I want them to hear this record and learn about our identity crises,” Garlington continues about the band’s new album. Proper.’s unfiltered approach on ‘Huerta’ and The Great American Novel is a cathartic and necessary antidote to this voyeurism. (KC)

Petrol Girls – ‘Baby I Had An Abortion’
Highlighting the truth that everyone should have access to an abortion, without shame, ‘Baby, I Had An Abortion‘ oozes a brutal, unapologetic honesty, propelled by the gritty, seething force of Ren Aldridge’s vocals. An immense, empowering statement reflecting on Aldridge’s own experiences of having an abortion in 2018, it offers a poignant ode to bodily autonomy. A raging cacophony fuelled by a riotous catharsis that emits both joy and anger. (ML)

Problem Patterns – ‘Y.A.W’
A powerful, necessary anthem for women and girls who have spoken out against violent misogyny only to be told they’re “just a bitch who can’t take a joke,” it was a privilege to premiere Belfast Punks Problem Patterns video for their poignant new single ‘Y.A.W’ earlier this month. An acronym for ‘Yes All Women’ – antagonising the social media excuse ‘Not All Men’ – the track seethes with a righteous fury, underscored by Ciara’s King’s buzzing basslines, Beverley Boal’s striking guitar riffs, Bethany Crooks’ thudding beats and Alanah Smith’s crystalline vocals. It’s a visceral rumination on the universal rage and despair that permeates our consciousness in the wake of public violence towards women, in particular, the misogynist killings of Sarah Everard and Aisling Murphy. Watch the video here. (KC)

LibraLibra – ‘Here’s To You Mr Robinson’ (ML)
GIHE faves LibraLibra today release their second EP, Modern Millenial. Taken from the EP, latest single ‘Here’s To You Mr Robinson’ offers a satirical FU to the UK Government and any other right wing cretins. Initially inspired by the Tommy Robinson milkshake-in-face incident, it’s driven by a frenzied electro-driven whirr as the impassioned vocal prowess of front-person Beth Cannon soars. Another colossal cacophony showcasing the immense genre-defying power of this band on the rise. (ML)

Projector – ‘Play Along’
A brooding exploration on “the cognitive dissonance that allows you to feel like you are god’s gift, whilst simultaneously feeling like a piece of shit,” I love this new track from Brighton trio Projector. Splicing the dual vocals of Edward Ensbury and Lucy Sheehan with angular riffs, restless rhythms and ominous synths, the track marks new sonic territory for the band and I’m looking forward to seeing what they do next. (KC)

Body Type – ‘Buoyancy’
A rousing, energetic slice of indie punk, this fun new single from Australian trio Body Type is taken from their debut album, Everything Is Dangerous But Nothing’s Surprising, which is set for release on 20th May 20th. Inspired by a text exchange between bandmates Annabel Blackman and Georgia Wilkinson, ‘Buoyancy’ lives up to its namesake and is all about “grappling with internal inconsistencies and moral ambiguities in an incoherent style.” The band also say it’s “a personal reminder that when certain things are rendered uncertain, those you love are an eternal rudder.” C.U.T.E. (KC)

Breakup Haircut – ‘Out Of My Way (I’m Not Getting On The Nightbus’) (ML)
Having wowed us live with their scuzzy, joyous punk-pop at our January gig at The Victoria, Breakup Haircut have now shared a jangly new offering, dedicated to those of us who may not be too fond of big social gatherings. ‘Get Out Of My Way (I’m Not Getting On The Nightbus)’ flows with a jangly, uplifting energy and snarly wit as the band’s colourful charisma shines through. Breakup Haircut are set to release their debut album on 15th July via Reckless Yes. (ML)

girlhouse – ‘paul blart mall cop’
An honest musing about her experience of living with depression, this is a tender but buoyant new offering from US bedroom-pop artist Lauren Luiz aka girlhouse. Through her confessional lyrics and catchy melodies, she explores what she calls “the ultimate dilemma as a person that has dealt with depression for the majority of their life – not wanting to live but not wanting to die.” Despite its heavy context, girlhouse delivers her observations with earnest and cathartic flair. (KC)

BEORMA – ‘Without You’
A bittersweet reflection on losing someone you love and as a result a part of yourself, Birmingham-based band Beorma have shared their latest single ‘Without You’. Mixing R&B and indie pop sensibilities with a smooth heartfelt vocal, the track is an unexpectedly upbeat listen, brimming with emotion and a melody that warmly rushes the senses. (KC)

Amaroun – ‘Brown Skin Beauty’
A poignant offering reflecting on a personal journey of building in confidence to having the freedom to feel comfortable in your own black queer skin, this latest single from GIHE fave Amaroun flows into the ears with a sweeping ethereal soundscape. As her soaring, luscious vocals ripple atop the shimmering musicality, a truly blissful offering oozing a sparkling majestic grace is created. Mars, the upcoming debut album from Amaroun, is set for release on 3rd June. (ML)

King Hannah – ‘All Being Fine’
Having just released their debut album, I’m Not Sorry, I Was Just Being Me, Liverpool duo King Hannah have been firm favourites here at GIHE for a while now. Latest single ‘All Being Fine’ flows with an eerily captivating energy alongside Merrick’s trademark rich, sultry vocals. Building with a dark, iridescent splendour, it oozes a gritty, spellbinding allure, showcasing King Hannah’s unique, majestic grace and exquisite ability to create soundscapes with a truly compelling ethereal power. (ML)

Jenny Hval – ‘Year of Love’
In the run up to seeing Jenny Hval in April, I’ve been filling my ears with the fruits of her latest album Classic Objects, including this song ‘Year of Love’. It’s such a gentle song with those distantly haunting vocals of Hval swooping over like melodic drones, bliss. (TW)

Pongo – ‘Doudou’
‘Doudou’ is the latest release from Angolan-Portuguese artist Pongo who has often been described as the new diva of kuduro – and for good reason! Since her debut, Pongo has never stopped renewing the heritage of this genre by feeding it with sounds from all over the world. Just like this one. (TW)

INTERVIEW: Hinako Omori

It’s 9:30pm on a Thursday evening and Hinako Omori has just completed a day of rehearsals with Kae Tempest when we begin speaking over the phone. The London-based musician and sound engineer is incredibly bright and generous with her time as she talks me through the inspirations for her upcoming debut album, a journey…, set for release via Houndstooth on 18th March.

With a hectic schedule as a session musician and a solo artist, it’s unsurprising that Omori has crafted a beautiful, tranquil soundscape on her debut record, underscored by patience, empathy and kindness. a journey… is a gift to listeners who need respite from the overwhelming stresses of daily life – whether that was during the peak of the Covid-19 pandemic when it was created, or for the present state of “new normal” that often still sends us spiralling.

Differing from her 2019 EP, Auraelia – which was inspired by her experience of intense migraines that were accompanied by auras and other visual distortions – on a journey…, Omori seeks to further understand the physiological effects that music and sound frequencies have on the body. This exploration includes field recordings with binaural heads, tampering with mood-altering frequencies and inspiration from the Japanese practice of shinrin-yoku aka “forest-bathing.” Her music seeks to connect with and understand the human condition in intricate and invigorating ways.

We spoke about the many influences that helped to shape Omori’s debut record, the joy of collaborating with other musicians and artists, and her anticipations for her performance on 19th March in the Purcell Room at Southbank Centre, accompanied by the London Contemporary Orchestra. (you can buy tickets here)

 

Let’s start from the beginning…can you tell us who or what first inspired you to start making your own music?

I feel really lucky, because lots of friends who I admire and I spend a lot of time with have their own musical projects, which has been hugely inspiring.

I think one person that I can definitely can pin point is my friend Hannah Peel. She’s wonderful and I’m such a huge fan of hers. We actually met three or four years ago through a mutual friend and we had these lovely coffee meet ups where we would get together and chat about music. At that point, I was mainly session playing and I hadn’t really made any music of my own. Hannah and I were just getting to know each other when she very kindly asked if I would be interested in doing a remix for her Mary Casio album. My heart was saying “yes!” but I wasn’t entirely sure how, or what I could do at that point. But I jumped at the chance and the remix ended up getting played on 6Music and that was the first instance where I thought “this could really be something.” I really enjoyed the process and there were such kind words from from the output of that, which was a big catalyst for me having the confidence to do more of my own thing.

I remember last year you remixed a track for friend of Get In Her Ears BISHI too. I imagine approaching a remix is completely different to creating your own songs, so what’s the process like each time someone asks you to remix a track for them?

That’s a really good question, I guess it’s a different thought process each time as it’s so specific to the artist’s original music. It’s just an honour to be considered to rework someone’s beautiful music. I always want to make sure I can do it justice in some way. I love spending time with stems to dive into specific sound worlds, because they’re all so beautifully different. So I guess it’s taking those things and trying to craft them into something or shine a light on them that is a little different, that’s the main part of the process. It’s a joy to take something that already exists and is beautiful and make something else from that. It’s a challenge, but in a really fun way. Anything with music is never is never anything other than fun.

I’ve been listening to your debut album, a journey…this, and it really resonated with me and helped me to de-stress after a long day. It’s such a gentle, soothing collection of songs, rooted in a deep sense of calm and peace. I know that you’re inspired by the physiological effects of music and sound frequencies, so can you elaborate on these influences and how you incorporated them into your album?

Thank you so much, I think that’s all I can ever ask for when I make a record really.

It was kind of a patchy process. The album came about from some demos and short synthesiser loops that I’d recorded whenever I was learning a new piece of equipment for a show, or if I’d acquired a new synthesiser. The way that I love getting to know a new piece of equipment is to experiment with it. When I’m experimenting, I hit record and save everything, not necessarily knowing what’s going to be used for something in the future, but so I can always refer back to it. It’s like an audio diary in a way, I squirrel them away on a hard drive.

I had an opportunity last year during the pandemic to take part in an online festival called WOMAD At Home, which is an immersive audio experience. A lovely friend of mine Oli Jacobs who I went to University with, who works as a sound engineer, very kindly sent me an email asking if I’d like to be involved, and I was like, “absolutely!” Firstly, because binaural audio is something I’ve been really interested in for a long time. Although I didn’t do a huge amount of binaural recording at University, I was always really fascinated by it. We had a binaural head there and we’d learned the fundamentals of using it, but I hadn’t really been able to put it into practice much. So I was really excited about that.

When I was given the opportunity to make 40 minutes of music for the festival, I initially thought, “what do I do?” I thought maybe I’d go up there and see what came from an improvisation, being inspired by the surroundings, but then I thought maybe it would be nice to see what material I already had, to take something up there and mix both things together.

So I re-discovered all of these synthesiser loops and I tried to piece them together into a full 40 minute piece of work. Really strangely, when I was assembling all the songs together, I realised that a lot of them just seemed to fit quite naturally in terms of the key that one song finished in and the key that another song started in. It just seemed to somehow magically fit together like a puzzle. I took that and then thought about re-recording some of the parts. That’s kind of where the healing frequencies came in.

I’ve been really interested in binaural beats and how we can train our brains to be in a more relaxed state – alpha, beta, theta, delta. For example, delta waves are said to contribute to deep restorative sleep and healing, and theta waves are supposed to help with creativity, intuition and emotional processing. I wanted to create something for the stressful pandemic situation that we were in at the time, to have something that you can just pop on some headphones and just fully relax.

Mainly, the inspiration for this came from a gong bath I went to just before the pandemic when I was on tour in February 2020 in New York. I just really fully lost myself for the whole time. It was such a beautiful experience. Researching into it and how it works with the frequencies and how that takes our bodies into a more relaxed state, I was really keen to try and incorporate that into the music as well. I recorded some synths and de-tuned some of them to create these binaural beats, so when you’re listening to the record with headphones on, hopefully it will create this relaxing state. I guess the idea of it was to make something that would really promote peace.

I definitely think your records promotes peace. I know you were also inspired by the idea of “forest bathing” as well, can you elaborate on the concepts behind this too?

There’s a term “shinrin yoku” in Japanese, which is kind of a study into nature and the forest and how spending time in a forest environment has been scientifically proven to lower stress levels and is really good for our well-being. So with that in mind, I was really keen to capture some field recordings using a binaural dummy head. I took one out and recorded the nature around me and incorporated that into the music. I was mindful of the fact that not everyone might be able to access nature in the same way – as it was kind of hardcore pandemic time when I was creating it – so I was trying to create an environment where you could just pop on headphones and just immerse yourself in nature for a little bit. I think having the binaural head was such a lovely thing as well, because you really do you feel like there’s a 360 audio experience there too.

Listening to the record feels like a natural form of escapism, I think you’ve captured that beautifully. What would you say you are most proud of about your debut record?

I’ve not really been asked that before! Can I change it to what am I most grateful for? I’m really grateful for the experiences that I’ve had in connecting with with the wonderful team that I’ve worked on the album with. So that’s everyone at Real World studios and everyone at Houndstooth I’ve worked with. I think for my own project, it’s the first time I’ve been able to collaborate with so many creatives who I admire so much. It’s been a huge inspiration and a big learning experience for me as well.

It’s also been fascinating to experience what other people take from the music. I think that’s something that I’m really, really grateful and appreciative of. I’ve worked very closely with a wonderful visual artist called Emi Takahashi whose work I connected with online on a website called itsnicethat.com. I reached out to her not really knowing whether or not she would be interested in working together, but she very kindly was up for collaborating. I think from that, just seeing how she interpreted my music without me explaining much about it and how it naturally connected with her, that was really inspiring for me.

I’m just honoured to able to do this and to be able to call it a job, because it doesn’t really feel like a job!

That’s the dream job!

Do you have a favourite track on the album? If so, why?

I have a track that’s very special to me. It’s a collaboration with a friend called Emily R Grosholz. Emily is an amazing poet, philosopher and a lecturer at Pennsylvania University. We were sat next to each other on a plane about four years ago now, and we had such a lovely chat and a really nice connection. I feel really grateful that we’ve kept in touch and been emailing each other ever since we met.

Emily very kindly sent me a book of her poetry and I was floored by her beautiful words. I immediately felt this pull towards one particular poem in her book Great Circles: The Transits of Mathematics and Poetry. It’s called ‘The Richest Garden in your Memory’ and that screamed out at me, I felt this real urge to put music to it. I asked her if she would be happy for me to do that and she very kindly agreed, so I recorded some piano and synths. I didn’t really want to put too much on it, because I think the words are so powerful and I didn’t want to detract from that. I sent her a demo and it just came about quite quickly and very naturally. Emily was really happy with what I sent over.

That sounds like another very organic collaborative process, which is something that really underscores your album.

How would you say your knowledge and skills as a sound engineer have filtered through into your music?

I studied sound engineering at University, but technically I haven’t worked as an engineer since I left. It’s been so helpful for various projects I’ve worked on though. In terms of working in studios as a session musician, or as a session musician when you’re preparing for a set, it’s really useful to have what I learned at university to guide that. In terms of needing to record something from home to send to other people, especially during the pandemic, it’s been really useful to have a remote recording set up. It’s helped me immensely in creating my own album too. Whatever role you work in in music there are so many things or skills that are interchangeable. So what I learned at University has been a huge help for what I do now.

Finally, you’re playing a show at Southbank Centre with the London Contemporary Orchestra on March 19th to celebrate the release of a journey… What are your anticipations for this performance?

My friend Penelope Trappes played a show there a few weeks ago and it was really magical to hear her music in that setting. I’m just really excited to work with the London Contemporary Orchestra, I’ve been such a big fan of theirs for quite a long time. They have such a unique sound and they can transform something completely. It’s quite a unique format, we rehearse on the day of the show, which is where the collaboration comes about, then we perform it that evening. Being able to perform my music with other such esteemed musicians is an honour.

Pre-order Hinako Omori’s debut album a journey…here

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Photo Credit: Annie Lai

Kate Crudgington
@KCBobCut