For me, your new album felt like listening to somebody’s diary. And I guess it’s how you made it, collecting bits and pieces of memories, and bringing them together into a sound diary, right?
Yes, when I was making it, I was writing a book at the same time. So the book ties in with the album but then logistically it was not really working out for them to come out together, so I just made them separate projects. But a lot of source material inspired both.
What was this source material?
I was growing up in London, and I don’t really have that much connection to Asia culturally, and so I think I wanted to reconnect a little bit as a lot of people do at some stage while growing up with diaspora. I moved to Hong Kong for a year and a half and then went to Japan and stayed there for three months, and then I ended up in Bali. I was interested in Asian culture and music, and the guys from Gabber Modus Operandi invited me to come and play last year.
During all these trips, I was learning a lot about the local traditions and religion, rituals and things like that which are very embodied in Asian culture. They are still very superstitious, and we took this stuff very seriously. I think it was nice because in the UK everything is kind of one-dimensional in the sense that everything is as you see it, there is no mystery.
For me, your new album felt like listening to somebody’s diary. And I guess it’s how you made it, collecting bits and pieces of memories, and bringing them together into a sound diary, right?
Yes, when I was making it, I was writing a book at the same time. So the book ties in with the album but then logistically it was not really working out for them to come out together, so I just made them separate projects. But a lot of source material inspired both.
What was this source material?
I was growing up in London, and I don’t really have that much connection to Asia culturally, and so I think I wanted to reconnect a little bit as a lot of people do at some stage while growing up with diaspora. I moved to Hong Kong for a year and a half and then went to Japan and stayed there for three months, and then I ended up in Bali. I was interested in Asian culture and music, and the guys from Gabber Modus Operandi invited me to come and play last year.
During all these trips, I was learning a lot about the local traditions and religion, rituals and things like that which are very embodied in Asian culture. They are still very superstitious, and we took this stuff very seriously. I think it was nice because in the UK everything is kind of one-dimensional in the sense that everything is as you see it, there is no mystery.
Do you mean that people in the Eastern Cultures are more spiritual than in the Western World?
I think people don’t really believe in anything here. We have only small pockets of cultures that might be super Christian or like Jewish areas and communities, but there is nothing that takes over the whole country, right? And I think people who are seen as religious are actually seen as less intelligent, they are seen as “How can you believe?”
Obviously, it is something that is very old, and I don’t think religion is a good thing. Necessarily it causes a lot of wars. It causes a lot of issues. But as a cultural topic, I find it really interesting. When I was in Uni, I did law, but then in my final year, I could choose an interesting subject, so I did a philosophy of religion. I was learning theology, and it’s nice to be able to feel something that is outside of yourself. When I was away and going to different places, I was trying to pick up on that from all the different environments.
And Holy Palm, in this case, is also connected to beliefs? Is it like a pure giving hand?
Do you mean that people in the Eastern Cultures are more spiritual than in the Western World?
I think people don’t really believe in anything here. We have only small pockets of cultures that might be super Christian or like Jewish areas and communities, but there is nothing that takes over the whole country, right? And I think people who are seen as religious are actually seen as less intelligent, they are seen as “How can you believe?”
Obviously, it is something that is very old, and I don’t think religion is a good thing. Necessarily it causes a lot of wars. It causes a lot of issues. But as a cultural topic, I find it really interesting. When I was in Uni, I did law, but then in my final year, I could choose an interesting subject, so I did a philosophy of religion. I was learning theology, and it’s nice to be able to feel something that is outside of yourself. When I was away and going to different places, I was trying to pick up on that from all the different environments.
And Holy Palm, in this case, is also connected to beliefs? Is it like a pure giving hand?
I guess so. I think the idea of “palm” is nice because it can mean the palm and the hand which can relate to palmistry. It also means something that feels very exotic as a plant which is very lush and very old.
I guess so. I think the idea of “palm” is nice because it can mean the palm and the hand which can relate to palmistry. It also means something that feels very exotic as a plant which is very lush and very old.
And the veins on your hand are like the veins on the leaf. There are so many things, so many connotations. Also, I became very interested in words and etymology and how they fit together. So I guess there are slight references to my name, my birth name is Flora which relates to plants.
The topic of flora, Earth and environment was also explored in your text for the recent issue of for zweikommasieben called “Into the Gorge.” Maybe you can tell me more about it?
Yeah, quite a long time ago, almost ten years ago I went to the Architecture Foundation in London where Sam Griffin did a piece, and it was based around this Olduvai theory. It was held on Blue Monday, which is statistically called the most depressing day of the year — February 16. He kind of harnessed this idea of using a frequency that is supposed to trigger dopamine. It is used in some temples and old caves that apparently just inherit resonant frequency. He exploited the acoustics of the gallery space via a sound composition that combines the resonant frequencies of the room itself with an arrangement built around the pleasure-inducing frequency of 111hz. It was of a very low frequency, very bassy and rumbling so you can not really hear it, but you can feel it.
I don’t even remember why it ties into Olduvai theory, but I looked it up and then discovered that it is this old economic, mathematical theory that Richard C. Duncan came up with. The ’80s deposited that industrial civilisation will have a lifespan of less than 100 years due to overpopulation, economic burnout, and the depletion of natural resources. It was written in the ’80s, and it’s very proof-wrong, but in a way, it’s still very accurate of how we are fucked already.
I thought it was interesting how you found a connection between these theories and a piece for a music magazine.
Well, I guess the connection was that it was all inspired by this sound artist, that work, that exhibition and also interlays in between different parts or stages of the essay. I referred to different musical terminology about how sound waves, all the science of sound can be a metaphor for these things happening in the world as a wider picture.
Coming back to Holy Palm. It is your first full-length album, although previously you've done so much work researching, producing, and curating music. It must be a big step for you as an artist.
Yeah, of course. A lot of people who work in creative fields probably question themselves, right? I wasn’t classically trained, and I never studied music, or went to Uni for it. I tried instruments as a kid but never took it very far and serious.
And the veins on your hand are like the veins on the leaf. There are so many things, so many connotations. Also, I became very interested in words and etymology and how they fit together. So I guess there are slight references to my name, my birth name is Flora which relates to plants.
The topic of flora, Earth and environment was also explored in your text for the recent issue of for zweikommasieben called “Into the Gorge.” Maybe you can tell me more about it?
Yeah, quite a long time ago, almost ten years ago I went to the Architecture Foundation in London where Sam Griffin did a piece, and it was based around this Olduvai theory. It was held on Blue Monday, which is statistically called the most depressing day of the year — February 16. He kind of harnessed this idea of using a frequency that is supposed to trigger dopamine. It is used in some temples and old caves that apparently just inherit resonant frequency. He exploited the acoustics of the gallery space via a sound composition that combines the resonant frequencies of the room itself with an arrangement built around the pleasure-inducing frequency of 111hz. It was of a very low frequency, very bassy and rumbling so you can not really hear it, but you can feel it.
I don’t even remember why it ties into Olduvai theory, but I looked it up and then discovered that it is this old economic, mathematical theory that Richard C. Duncan came up with. The ’80s deposited that industrial civilisation will have a lifespan of less than 100 years due to overpopulation, economic burnout, and the depletion of natural resources. It was written in the ’80s, and it’s very proof-wrong, but in a way, it’s still very accurate of how we are fucked already.
I thought it was interesting how you found a connection between these theories and a piece for a music magazine.
Well, I guess the connection was that it was all inspired by this sound artist, that work, that exhibition and also interlays in between different parts or stages of the essay. I referred to different musical terminology about how sound waves, all the science of sound can be a metaphor for these things happening in the world as a wider picture.
Coming back to Holy Palm. It is your first full-length album, although previously you've done so much work researching, producing, and curating music. It must be a big step for you as an artist.
Yeah, of course. A lot of people who work in creative fields probably question themselves, right? I wasn’t classically trained, and I never studied music, or went to Uni for it. I tried instruments as a kid but never took it very far and serious.
I was thinking: “Am I doing it right?” I don’t feel as a composer, and I don’t feel any of these things. I don’t feel like a musician. That’s why it feels crazy to me that one of my favourite labels put out my music.
I was thinking: “Am I doing it right?” I don’t feel as a composer, and I don’t feel any of these things. I don’t feel like a musician. That’s why it feels crazy to me that one of my favourite labels put out my music.
And having it on Modern Love, was it a decision or a coincidence?
It was a decision. I mean, I followed them, and they followed me, and I really like what they do. It’s very specific. They have Demdike Stare and Andy Stott — people they work with, they are all friends, and it’s all just for life, it’s all ongoing. They do all their projects together. For me, as a newcomer, to be on this label… I still can not believe in it and be like “Yeah, this is something that they really wanted to put out.” It felt really amazing.
Last year was an amazing year in terms of what I felt I could do with music. I was playing shows, I was travelling a lot, and it was a crazy year. I had a full-time job at the same time too, which I lost due to coronavirus. In the last two years, I was also really depressed. It was ongoing; it just came in waves and the last year was a terrible time. So obviously I think a lot of that comes through in a record. It’s quite a dark record, I guess. I don’t want to call it like that, but I think it’s just my mood.
And having it on Modern Love, was it a decision or a coincidence?
It was a decision. I mean, I followed them, and they followed me, and I really like what they do. It’s very specific. They have Demdike Stare and Andy Stott — people they work with, they are all friends, and it’s all just for life, it’s all ongoing. They do all their projects together. For me, as a newcomer, to be on this label… I still can not believe in it and be like “Yeah, this is something that they really wanted to put out.” It felt really amazing.
Last year was an amazing year in terms of what I felt I could do with music. I was playing shows, I was travelling a lot, and it was a crazy year. I had a full-time job at the same time too, which I lost due to coronavirus. In the last two years, I was also really depressed. It was ongoing; it just came in waves and the last year was a terrible time. So obviously I think a lot of that comes through in a record. It’s quite a dark record, I guess. I don’t want to call it like that, but I think it’s just my mood.
Did it feel like putting Holy Palm out was a bit of a healing process as well?
No, I didn't. I think it’s interesting because a lot of people feel like this about their records. Like when they talk about it in a way that it’s like catharsis because you have this whole thing and then it comes out, and you bring it all out. For me, it’s not really about that because it was all happening in years. It’s all separate kinds of things that are all put down together. I guess I feel very vulnerable right now with being out. Initially, it feels weird. I think I am really happy just because I never really thought that I would be able to put out music. So I am grateful that I can.
And what about the book, I read you were releasing it with PAN?
Yeah, the book is already done. Primary Information will publish it. They are based in NY. James Hoff runs it, and he also releases on PAN, which will be the collaboration between all of us. We’ve got some really interesting graphic designers who are working on the project so it will be really nice.
Is it a diaristic book? Is it kind of a diary the way the album is as well — the memories, some reflections?
I try to explore the links between reality and unreality and what that means, so it’s like memories, then memories of memories and false memories, stories and fake mythologies. It merges all these layered topics, and I guess they all seem based around things like spirituality to mental illness even, psychology. I have some very personal stories, also traumatic experiences that were released right in the book.
That’s cool because music can be much more abstract in this way. And the book is a big statement. It’s a big confession.
Yeah, it is going to be very personal. Again I feel weird with it being written down, but I think it’s good to do that.
Were you also writing it when you were travelling or after you came back?
Both. But some of the things are really from my whole life. I’ve always collected and written down some things. I just thought I wouldn’t do anything with them.
And if not a lockdown, I guess you would be presenting this new album a lot here and there. How do you feel about releasing an album at such time?
Did it feel like putting Holy Palm out was a bit of a healing process as well?
No, I didn't. I think it’s interesting because a lot of people feel like this about their records. Like when they talk about it in a way that it’s like catharsis because you have this whole thing and then it comes out, and you bring it all out. For me, it’s not really about that because it was all happening in years. It’s all separate kinds of things that are all put down together. I guess I feel very vulnerable right now with being out. Initially, it feels weird. I think I am really happy just because I never really thought that I would be able to put out music. So I am grateful that I can.
And what about the book, I read you were releasing it with PAN?
Yeah, the book is already done. Primary Information will publish it. They are based in NY. James Hoff runs it, and he also releases on PAN, which will be the collaboration between all of us. We’ve got some really interesting graphic designers who are working on the project so it will be really nice.
Is it a diaristic book? Is it kind of a diary the way the album is as well — the memories, some reflections?
I try to explore the links between reality and unreality and what that means, so it’s like memories, then memories of memories and false memories, stories and fake mythologies. It merges all these layered topics, and I guess they all seem based around things like spirituality to mental illness even, psychology. I have some very personal stories, also traumatic experiences that were released right in the book.
That’s cool because music can be much more abstract in this way. And the book is a big statement. It’s a big confession.
Yeah, it is going to be very personal. Again I feel weird with it being written down, but I think it’s good to do that.
Were you also writing it when you were travelling or after you came back?
Both. But some of the things are really from my whole life. I’ve always collected and written down some things. I just thought I wouldn’t do anything with them.
And if not a lockdown, I guess you would be presenting this new album a lot here and there. How do you feel about releasing an album at such time?
I really don’t mind. Last year I played so many shows that were fun but also I don’t really like when musicians have this circle: when they have to release something, and they play some gigs and then release something else and play gigs based on that. I think it could be more fluid. I think there is more stuff to worry about than to play gigs.
I really don’t mind. Last year I played so many shows that were fun but also I don’t really like when musicians have this circle: when they have to release something, and they play some gigs and then release something else and play gigs based on that. I think it could be more fluid. I think there is more stuff to worry about than to play gigs.
What are your projects apart from working on the book?
Obviously, this whole year has been super weird, and I guess at the beginning of lockdown, I was not really able to work on music, I felt shocked. It took me a very long time to adapt and understand what is happening. I’ve been trying different things like making clothes, working on art, pottery and things like that. Also, I am working on a couple of collaborations at the moment. They are all my friends, and they all make quite different music. But I guess there is also a crossover with what I am trying to do or what I would like to do.
What are your projects apart from working on the book?
Obviously, this whole year has been super weird, and I guess at the beginning of lockdown, I was not really able to work on music, I felt shocked. It took me a very long time to adapt and understand what is happening. I’ve been trying different things like making clothes, working on art, pottery and things like that. Also, I am working on a couple of collaborations at the moment. They are all my friends, and they all make quite different music. But I guess there is also a crossover with what I am trying to do or what I would like to do.