Amelia’s Magazine | Interview: Laura Hocking


Illustration by Georgia Coote

As with all the best new music discoveries, more about my introduction to Laura Hocking and The Long Goodbye began with snippets from light-hearted conversations. By the time that three separate friends, (whose judgement I value deeply) had announced excitedly that they were off to see her play, waxing lyrical about her delicate voice, gorgeous harmonies and all-round One To Watch-ness, I couldn’t resist it any longer. Cut to a few Sunday nights back where I found myself in the top room of the Old Queen’s Head in Angel. So it seemed, did a lot of people; the room was packed – always a good sign! On Saturday night they take this heady brew to Deptford, where they will be playing at the consistently excellent Folie à Deux. The wonder and magic of standing in a converted dairy shed whilst hearing the best of the new alt:folk scene never abates. Laura Hocking and The Long Goodbye describe their sound as ‘folk-tinted freak pop’, which sounds alright by me.

I saw your set at the Old Queen’s Head; I thought it was wonderful, you have a new found fan in me! How did you find the night? 
Thanks! It’s always a nice place to play – the gig was put on by a band we’re friends with so most people knew each other and were into similar music, which makes for a good show. I like the decor in there. Sometimes mid-song you’re faced with yourself in a mirror, which is disconcerting. 

For the uninitiated, can you describe your music? 
 Best description ever came from Jon, who composes music for films. He said it was like biting into a cream cake and finding a razor blade. We call it folk-tinted freak-pop. 

Your Myspace lists a truly expansive and diverse list of influences, and I’m especially intrigued by Expressionism, Edvard Munch, David Lynch, Ingmar Bergman. What is it about expressionism that appeals to you?
Ha, I wrote that a while ago, I haven’t thought about it in a while. I’m fascinated by dark, uncomfortable, macabre things. Expressionism seems to access that place in a person where anxiety and vulnerability meet with violent creativity. Those artists create weird worlds which express their individualism in a ferocious and inventive way, but they also capture elements of human experience that we can all recognise. It rips the scab off of life for you, and I like that. 

 You also mention that your EP is based on “love, anxiety, devastation and renewal”. Do you find writing and performing your songs to be a cathartic process, and has it helped you deal with emotional setbacks?
Writing is always cathartic for me, but the material is not directly about my life. It’s often about all the things I would like to say to people, but don’t have the guts to. So most of my songs are ‘to’ people, rather about them, but I like to hide that message inside a story. It’s a trixy thing to do, I get a kick out of it. If the person wants to find the message, they will.
Writing and performing do help you deal with other parts of your life, because they give you something bigger than yourself to think about. For me, song is bigger than anything.

You are – as yet – unsigned. Do you find it a struggle to do everything yourself (marketing, distribution etc) or do you relish the freedom of being able to navigate your own path? 
It’s been a huge joint effort between me, my band, and our various friends who’ve put together things like the cover design and the website. We’ve really put our heads down and really pushed hard on this release. It’s a hard learning curve, I feel like I’m being schooled and it is quite humbling, but I want to understand how the industry works, and how far we can get under our own steam. It’s going bloody well, we’re more than halfway to selling out our physical stock.
In terms of marketing, music fans are what really count – people who love music and want to support artists and spread the word are a PR force to be reckoned with, and that’s what’s helped me the most. 
     
Your interests outside of performing: this is when most people say something like “long walks, hanging out with friends”, but you say that you have learnt to brew beer and have written an opera?!  I’m not sure what I’m most impressed by…  First, could you give me some pointers on home brewing, and then could you tell me a little more about the opera that you have written?
The formula for a beer is thus: steep something (could be ginger, nettles, elderflower or grains) in hot water for a few hours. Strain. Add lots of sugar. Cool. Add beer yeast. Sterilise a large container  (like a  5l water bottle) pour it in, top with an airlock (at it’s easiest, this can be a balloon over the neck), and leave for about 10 days. Taste with interest. My current brew is quince wine. You can brew anything, but beware of coconut milk…the fat makes it explode. 

The opera is something me and Dan (violinist) worked on together. It’s a translation and adaptation of La Serva Padrona by Pergolesi, a comic operetta from the C18th. I’m writing the libretto (lyrics) and he’s doing the instumentals. It’s like a musical version of Fawlty Towers. We want to stage it, so we’re looking for a space we can use for free. 

You mentioned that you are originally from West Yorkshire.  Do you miss life up North? I lived in Cornwall as a child and deeply miss the open skies, the countryside, the friendliness of locals, the pace of life – but that could be just me!  –  how do you find being a transplanted Northerner in London?
More than anything, I miss being alone in the countryside. I used borrow a neighbour’s dog and walk for a few hours across fields, and not see anyone at all. I don’t think that the North is necessarily friendlier than the South, but people definitely show their emotions more in public – one person can be having a big moan to their friend on the bus, and other passengers will chip in. In London, many people have their Tube face on all the time. Pubs are friendlier in the countryside. Curry is hotter in Bradford than in Brick Lane. I love meeting other Northerners in London. I get all giddy, like a puppy at the park, and out come my northern vowels.     

What are your plans musically in the next year?  I hope to hear about more songs and more live dates!
I have a lot of studio time ahead of me, with about 15 songs which are ready to be demoed out an arranged. I’m lucky that some very talented people have offered their time and resources to work on songs, which I’m grateful for. When a good proportion of them are in the shape I want them, I’ll be looking to release through a label. It’s quite a flirtatious thing to try and arrange – I’ve had interest from several sources but until the songs are ready it’s difficult to talk in concrete terms. 
There will always be lots of live shows in London, I’ve been offered some gigs in California and New York, so I plan to go there next summer. But more than anything I want to get back to the North and play there. 

Where can we find out more, and get hold of your music?
http://laurahocking.bandcamp.com   – as the place to buy music
www.laurahocking.com    – my website
www.facebook.com/laurahockingmusic –  as the best place to network, find gig details and sign up for the mailing list
@laurahocking – my twitter cos I Mary Hampton and Nick Mulvey at Folie à Deux in Deptford.

Illustrations by Georgia Coote, you can find her work here, and here, and follow her on Twitter here.

Original photographs by Anika Mottershaw and Holly Falconer.

Categories ,acoustic, ,Alt:folk, ,Alternative, ,David Lynch, ,Deptford, ,Edvard Munch, ,Expressionism, ,Folie a Deux, ,Ingmar Bergman, ,interview, ,Laura Hocking, ,Laura Hocking and The Long Goodbye, ,live, ,mary hampton, ,music, ,Nick Mulvey, ,Old Queens Head

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Amelia’s Magazine | An interview with James Morgan, director of the video for Cucurucu by Nick Mulvey

Nick Mulvey by Kaja Szechowsko

NIck Mulvey by Kaja Szechowsko.

Nick Mulvey, former founding member of Portico Quartet, releases new single Cucurucu accompanied by a stunning video shot on Nihiwatu beach in Indonesia by National Geographic director James Morgan, filmed in March 2013. Nick says: “I felt this song needed a video with wide expanses. Space to wonder. I didn’t have to look too far for the right film maker – James is a friend of mine, and I’ve loved his work for National Geographic. I knew he’d understand what I was after and have something special in his vaults…” So we caught up with James Morgan to find out more, and see further examples of his beautiful photography.

Can you tell us a little about the locations in this video – how did you come across them and is there any interesting history behind any of the locations?
All the footage for this video was shot on the island of Sumba in Indonesia. I was there in March last year shooting a documentary about the practice of ritualised violence and local esoteric beliefs. You can see more about that here. The opening shot is actually of a shaman gathering sea worms at dawn from the ocean, the colour of the sea worms serves as an augur of the coming harvest. For Cucurucu we decided to focus just on the story of these two boys riding their horses at the beach. 

Sumba-Pasola-by James Morgan

Two young boys and their horses play in the ocean in Nihiwatu, Sumba.

Can you tell us a bit about the boys and their horses?
The two boys are called Laiya Kula and Honga Dedu, we met them in a village in eastern Sumba. I’ve worked in Indonesia on and off for a few years so have a reasonable grasp of the language, I was also working with a producer and frequent collaborator, Johnny Langenheim, who is based in Bali and speaks Indonesian fluently. The horses are what makes Sumba unique in Indonesia, as I understand it they’re a result of Sumba’s place on the old sandalwood trade routes to China and Arabia. Now they’re very much a part of the culture. On another day we were invited to the funeral of a wealthy local landowner where a huge number of pigs and buffalo were slaughtered and, in testament to the man’s status, a horse was also killed quite violently. It was hacked to death with machetes and ran around for a good few minutes, it’s entrails splashing out onto the crowd, before it finally died. I find things like that hard to watch but in a lot of ways its less haunting than getting our horses vacuum packed and passed off as beef lasagne. 

Sumba-Pasola-man chewing betel by James Morgan

Ratu Dangu Duka chewing betel before the Pasola in Sumba, Indonesia.

How did working with Nick come about and how did you come to work on this ‘Cucurucu’ track?
I’ve known Nick for a few years and always been a big fan of his music so I was very excited when an opportunity came up to collaborate. 

Sumba-Pasola-man in hut by James Morgan

Tradition dictates that Almarhum Keledepiku must throw the first spear in the Pasola, a responsibility that he has inherited from his ancestors.

Is this the first music video you’ve been a part of, and if so how did you find melding the images with the music?
Yes, this is the first music video I’ve done. The past few years I’ve been focused on long term investigative photojournalism stories looking at underreported environmental and human rights stories. But even with that work, I’ve always been trying to push the boundaries of multimedia, combining sound and visuals to create a more atmospheric form of journalism. Music videos are definitely something I’m keen to work more on. I’m planning this year to keep up the journalism but also to explore more experimental areas that allow me to create more richly textured and layered films. 

To see more photography and film by James Morgan visit: www.jamesmorgan.co.uk Cucurucu is released on 3rd March 2014 through Fiction Records.

Categories ,Almarhum Keledepiku, ,Cucurucu, ,director, ,Fiction Records, ,Honga Dedu, ,Indonesia, ,interview, ,James Morgan, ,Johnny Langenheim, ,Kaja Szechowsko, ,Laiya Kula, ,National Geographic, ,Nick Mulvey, ,Nihiwatu, ,Pasola, ,photographer, ,portico quartet, ,Ratu Dangu Duka, ,Sumba

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