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Part 1

Name: Claudia Kane
Nationality: British
Occupation: Musician
Current Release: Holy Mountain on Def Pressé
Recommendations: ‘Big Magic’ by Elizabeth Gilbert. I've read it and listened to the audiobook a couple of times and It has healed me in those moments I feel too lost in my head to create fully and put myself out there, so I highly recommend it. / ‘Where Should We Begin?’ by Esther Perel is a podcast series. Esther Perel is a relationship psychologist and the way she explores human connection is absolutely art.

If you enjoyed this interview with Claudia Kane, visit claudiakanemusic.com to find out where to find her online.

When did you start writing/producing music - and what or who were your early passions and influences? What was it about music and/or sound that drew you to it?

I first started making music about 12 years ago. I had some understanding of piano and basic music theory from doing a few lessons when I was 11 or so, but started teaching myself different chord progressions on the guitar and fumbled my way around the song writing process.

I was really drawn to the singer/songwriter vibe of artists like Suzanne Vega and Joni Mitchell and was fascinated by their unique lyrical identity. I was also influenced by the alt/grunge rock vibe of bands like Nirvana and Placebo and loved their dark and playful approach to song writing and melodies. Another side of me was also really drawn to the ethereal electronic vibe of artists such as Massive Attack and Bjork and this inspired me to start producing music.

I've been obsessed with music for as long as I can remember, it's so therapeutic and just magical. Some songs when you hear them carry such a nostalgia that you feel like you’ve just time travelled to a place in your memory and some songs make you feel like you’ve escaped into an unexplored dimension, and I love that.

For most artists, originality is preceded by a phase of learning and, often, emulating others. What was this like for you: How would you describe your own development as an artist and the transition towards your own voice?

Absolutely, I remember developing my voice by singing over my favourite artists. I also remember from a super young age- probably around 6 years old, I would record myself in my bedroom singing into my cassette recorder. I learned a lot by listening back and trying again. I recently moved house and found some of these tapes I’d recorded and decorated with childlike stickers which was quite funny.

When it comes to my approach as an adult and an artist, that curiosity is still there and I love to learn and develop my craft. My output is now less centred on emulating others and more focused on exploration and expression.

How do you feel your sense of identity influences your creativity?

A lot of my identity is in my music, myself as a queer person, a Londoner and also queer London culture. All of this spills into my music and a lot of my creativity comes from movies, documentaries, nature, past experiences and imaginary ideas.

What were your main creative challenges in the beginning and how have they changed over time?

I would say one of my biggest creative challenges has been my mental health. Specifically, my hyper critical internal dialogue. However, over time I’ve developed better ways of coping with this. In terms of the creative process, I see song writing like a jigsaw. I am constantly trying different things, shifting ideas around and trying to make things work together until I finish something. If it didn't come easy, I used to panic and be very self-punishing in my head. Now I can accept and trust that I will finish and piece it together eventually. I’m basically less horrible to myself when I create now!

As creative goals and technical abilities change, so does the need for different tools of expression, be it instruments, software tools or recording equipment. Can you describe this path for you, starting from your first studio/first instrument? What motivated some of the choices you made in terms of instruments/tools/equipment over the years?

I mentioned the cassette recorder earlier, so from that to using tools like Logic Pro, Maschine MK3, a Korg Minilogue, Soundtoys effects plug-ins and an Audio Technica microphone have been a game changer.

Have there been technologies or instruments which have profoundly changed or even questioned the way you make music?

I used to spend a lot of time learning instruments, but once I started producing music I found other ways to make sound. With a midi keyboard and a DAW you have a world of sound at your fingertips, and that's so exciting. 

Collaborations can take on many forms. What role do they play in your approach and what are your preferred ways of engaging with other creatives through, for example, file sharing, jamming or just talking about ideas?

Collaboration is so important. I also love to make music alone of course, it's my escape and what I like to do for fun. But to do it all the time like this can feel lonely and repetitive. New ideas, connection and inspiration come with collaboration and that’s a great thing about working in music. Another great thing about collaboration is it stops perfectionism. If left to my own devices I have the tendency to mull over something for weeks and months and often things stay hidden in a dusty hard drive. Having Bastien as my collaborator on Grandamme has meant that we’ve actually finished an album because you have someone else there supporting and guiding the process and holding you accountable which really drives things forward.


 
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