Ep33: Liela Moss (The Duke Spirit) on artistic evolution – dropping the ego and practising for inner peace

Ep33: Liela Moss (The Duke Spirit) on artistic evolution – dropping the ego and practising for inner peace

Podcast

Greetings, dear listener, and welcome to my conversation with Liela Moss, recorded in February 2021. Keep scrolling down for links to everything we discussed in this episode and go pre-order Liela’s “Who The Power” (Reformed) remix album as soon as you’ve had a listen.

Press play below or click to listen / subscribe on your favourite podcast platform.

[Content warning: as always, some friendly swearing.]


In this conversation, we discuss:

  • learning to give space to other aspects of life as a touring musician
  • evolving as an artist – letting go of the ego-driven side of being on stage while still being in love with singing and words
  • the life-changing power of meditation – Liela’s experience of silent Vipassana retreats and how to bring the benefits of meditation into everyday life *and* music making
  • releasing an album during COVID-19 – the reasons for going ahead
  • blushing all day long – the day Liela got to sing with Nick Cave

Explore Liela’s work:





About Liela Moss

First known for her work as vocalist with the Duke Spirit, Liela Moss’s solo albums “My Name Is Safe In Your Mouth” (2018) and “Who The Power” (2020), recorded with producer and partner Toby Butler, mark great leaps forward for one of alt-rock’s most magnetic voices.

Over 14 years, Moss’s work with the Duke Spirit (not gone, just on pause) ranged from brawling riff-rock to the more exploratory Sky Is Mine (2017). Other projects have included synth-rock recordings with Butler under the name Roman Remains; elsewhere, Moss has leant her sublime voice to studio and live collaborations with UNKLE, Nick Cave, Giorgio Moroder and Lost Horizons, the project formed by former Dif Juz drummer Richie Thomas and Bella Union’s Simon Raymonde, who produced three Duke Spirit albums.


This podcast is 100% powered by my Correspondent’s Club. Thanks to every single member for your support!

New to my musical world?

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Why I won’t be playing in-person gigs in 2021

Why I won’t be playing in-person gigs in 2021

Letterbox Mindfulness Music News Process

For everyone who’s been asking me whether I’m going to be touring in 2021 – here are my thoughts on the matter.

We’re all missing live concerts, artists are floundering and the live music industry is running on hope fumes, but I believe there’s an ethical decision to make here on a personal level. We are part of something much bigger than ourselves, and we have to do what we can to protect every member of our community.

Please watch the video and let me know where your head’s at on all this. Respectful discussion is always very welcome in the comments.

<


Thanks for visiting my website!

New to my musical world?

+ Get two free songs music immediately by joining my mailing list.

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+ New episodes of my music podcast “Attention Engineer” are released every Wednesday – visit this page to find out more and subscribe via your favourite podcast platform.

+ You can also follow me around the web, on YouTubeTwitterInstagram and Facebook.

Have a lovely day xo

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Ep32: Mike Batt on 50 years of writing songs, and the need for anti-gravitational brandy sauce

Ep32: Mike Batt on 50 years of writing songs, and the need for anti-gravitational brandy sauce

Podcast

Welcome to my conversation with Mike Batt, recorded on 12th February 2021. Visit Mike’s website for his blog, artwork and an exhaustive list of his exciting writing credits.

Press play below or click to listen / subscribe on your favourite podcast platform. Scroll down for links and videos.

[Content warning: some friendly swears.]


In this conversation, we discuss:

  • how a teenage Cat Stevens inspired a slightly younger teenage Mike Batt to write songs
  • blagging versus reaching – using projects to teach yourself how to do the thing you’ve been hired to do
  • savvy negotiating – how refusing a one-off payment to write for The Wombles while broke led to great things
  • what it feels like to bet hundreds of thousands of pounds on an artist through buying TV advertising
  • writing for other people – how songwriting can be like acting
  • why someone needs to invent anti-gravitational brandy sauce

Explore Mike’s work:





About Mike Batt

Mike Batt is an English singer-songwriter, musician, arranger, record producer, director, conductor and former Deputy Chairman of the British Phonographic Industry. Having achieved substantial international success as a solo artist, he is particularly known in the UK for creating The Wombles pop act, writing many hits including the chart-topping “Bright Eyes” and discovering Katie Melua.

The man behind pop hits for Cliff Richard, David Essex and Alvin Stardust, collaborations with XTC, Vanessa Mae and the London Philharmonic Orchestra and the conception and co-creation of all-female string quartet Bond, Mike set up his Dramatico record label in 2002. Working with Carla Bruni, Marianne Faithfull, Caro Emerald, Gurrumul, and Sarah Blasko, he released Katie Melua’s first six albums (and wrote / co-wrote / produced the first three).

He has also conducted many of the world’s great orchestras, including the London Symphony, Royal Philharmonic, London Philharmonic, Sydney Symphony and Stuttgart Philharmonic in both classical and pop recordings and performances.

Visit Mike’s website for more.


This podcast is 100% powered by my Correspondent’s Club. Thanks to every single member for your support!

New to my musical world?

+ Get two free songs music immediately by joining my mailing list.

+ I send a thoughtful email every week – join The Correspondent’s Club on a free or paid tier to receive it.

+ New episodes of my music podcast “Attention Engineer” are released every Wednesday – visit this page to find out more and subscribe via your favourite podcast platform.

+ You can also follow me around the web, on YouTube, Twitter, Instagram and Facebook.

Have a lovely day xo

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Ep31: Liz Stokes (The Beths) on establishing creative rules for songwriting, and why she always takes a cricket bat on tour

Ep31: Liz Stokes (The Beths) on establishing creative rules for songwriting, and why she always takes a cricket bat on tour

Podcast

Welcome to my conversation with Liz Stokes, recorded on 8th December 2020. The Beths’ latest album “Jump Rope Gazers” is out now – visit their website for more.

Press play below or click to listen / subscribe on your favourite podcast platform. Scroll down for links and videos.

[Content warning: some friendly swears.]

In this conversation, we discuss:

  • the value of establishing creative rules for songwriting and making videos
  • touring New Zealand during the pandemic, and Beths’ bassist Ben’s secret breakfast blog
  • the success – and shelf life – of an indie band
  • coping mechanisms for happier touring – why The Beths always take a cricket bat on the road
  • the ever-expanding skillset of the modern musician

Explore Liz’s work:




About The Beths

The Beths hail from the vibrant and deeply collaborative music community of Auckland, New Zealand. Their blend of propulsive, sing-along choruses, four-part vocal arrangements, and wry, introspective lyrics has earned them fans around the world, as well as opening slots for indie rock titans like The Breeders, Pixies, Weezer, and Death Cab for Cutie.

The Beths’ 2018 debut album ‘Future Me Hates Me’ drew acclaim from Rolling Stone, Pitchfork, NPR, Stereogum, the A.V. Club and a host of other publications, many of whom listed Future Me Hates Me among their favourite LPs of 2018. The album also made the shortlist for New Zealand’s 2018 Taite Music Prize, and Stokes has twice been nominated for the Silver Scroll Award, New Zealand’s most prestigious songwriting honour. In 2019, The Beths were nominated for five Vodafone New Zealand Music Awards, winning Best Group and Best Alternative Artist.

After 18 months of touring, The Beths regrouped to write and record their second album, ‘Jump Rope Gazers’, a sparkling collection of songs that deepens and expands the bright talent they showed on their early releases. Bonds between the band members only grew after spending so much time on the road together, and their camaraderie shows on their new work.

‘Jump Rope Gazers’ is out now via Carpark Records.

Visit The Beths’ website for more.


This podcast is 100% powered by my Correspondent’s Club. Thanks to every single member for your support!

New to my musical world?

+ Get two free songs music immediately by joining my mailing list.

+ I send a thoughtful email every week – join The Correspondent’s Club on a free or paid tier to receive it.

+ New episodes of my music podcast “Attention Engineer” are released every Wednesday – visit this page to find out more and subscribe via your favourite podcast platform.

+ You can also follow me around the web, on YouTube, Twitter, Instagram and Facebook.

Have a lovely day xo

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My song is in a film!

My song is in a film!

Creativity Letterbox Music News Process

Most songwriters dream of one day having their song in a film soundtrack, and I’m fizzing with delight that “Dear Heart” appears in 21st century rom-com Modern Persuasion, directed by Alex Appel and Jonathan Lisecki.

Rent and stream the film online via YouTube, Google Play or Amazon Video.

Starring Alicia Witt, Bebe Neuwirth, Shane McRae, Liza Lapira and Daniela Pineda and released by Samuel Goldwyn Films, this is the real deal, and is available to stream in the UK as of earlier this week.

“Dear Heart” was released as part of my 2018 album “Brace For Impact”, and I am now making this song available on a pay what you want/can basis on Bandcamp.


CLICK HERE for your copy, and you can stream/buy the whole album here on limited edition vinyl, CD or digital download.

Another version of “Dear Heart” appears on my 2019 song collection “And Peace”, created to mark the end of the She Makes War project after ten years of releasing albums and touring.

About the song: when I’m writing music, I keep lists of my ideas – potential song names or concepts. One day while travelling I recorded a voice memo into my phone, saying “write a song to my own heart, apologising for what I’ve done”. And so I did! I loved the idea that the phrase “dear heart” could sound like I was addressing a person, while the whole time I’m actually talking to an essential body part – it’s really down to the listener to make their own meaning from my words. It was a particularly enjoyable song to perform live, because I got to show my gratitude to the audience at the end with the final lyrics, “thank you”. Thank YOU.

About the film: “Modern Persuasion” is a modern telling of Jane Austen’s “Persuasion.” Wren Cosgrove is a happy, single, and self-confessed workaholic who, after rising to the top of the corporate ladder, finds herself coming home every night to her cat. When her firm is hired by Owen Jasper, “the man who got away,” long-lost feelings are stirred, giving Wren a second chance at true love.

Click here for more and scroll down for the lyrics.


“Dear Heart” by Laura Kidd

Vena cava, cardiac, hollow vein
Powering my dreams with sweet sustain
Delicate muscle you’re not built to hate
Your quiet biology I appreciate

Dear heart I was wrong for all the things I put you through
Greasy fingermarks stain
You’ve been neglected, been abused
But I will always treasure you

Atrioventricular be true
Should’ve never let the world break you
One day you’ll slow down and so will I
At least I have time to apologise

Dear heart I was wrong for all the things I put you through
Greasy fingermarks stain
You’ve been neglected, been abused
But I will always treasure you

Dear heart I was wrong for all the things I put you through
Greasy fingermarks stain
You’ve been neglected, been abused
But I will always treasure you
For as long as I get to
Til my finger are turning blue
I will always care for you

Thank you

THANK YOU for visiting my website! I’m Laura Kidd, a music producer, songwriter and podcaster based in Bristol, UK. It’s great to meet you.

+ Get FREE music immediately by joining The Correspondent’s Club (free and paid tiers available).

+ I send a thoughtful weekly email every week – choose the Freewheeler tier or upwards to receive it.

+ New episodes of my music podcast “Attention Engineer”are released every Wednesday – visit this page to find out more and subscribe via your favourite podcast platform.

+ You can also follow me around the web, on YouTubeTwitterInstagram and Facebook.

Have a lovely day xo

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Ep30: Rebecca Lucy Taylor (Self Esteem / Slow Club) on being an auteur, and how work’s more fun than fun

Ep30: Rebecca Lucy Taylor (Self Esteem / Slow Club) on being an auteur, and how work’s more fun than fun

Podcast

Thanks for visiting! Welcome to my conversation with Rebecca Lucy Taylor, recorded on 9th December 2020.

Press play below or click to listen / subscribe on your favourite podcast platform. Scroll down for links and videos.

[Content warning: some friendly swears.]

In this conversation, we discuss:

  • how becoming a solo artist and making exactly the work she wanted drastically changed Rebecca’s mental health
  • how dancing brought RLT back to her body, bridging the gap between Slow Club and Self Esteem and bringing her joy
  • becoming a badge entrepreneur – how designing badges and fulfulling her own merch during lockdown has helped Rebecca feel useful (despite having the handwriting of a little naughty boy”!)
  • the pros and cons of relentless touring, and how that changes as you grow older and wiser
  • leaving no surface unstatemented – how RLT is making up for lost time after years of not being able to say what she meant

Explore Rebecca’s work:




About Rebecca Lucy Taylor

Rebecca Lucy Taylor is a true auteur – a musician, vocalist, songwriter and dancer with an all-encompassing vision that she channels into her solo project Self Esteem.

After releasing four critically acclaimed albums and touring the world with previous band, Slow Club, Rebecca released her debut solo album “Compliments Please” in 2019 and was nominated for best breakthrough act at the Q awards that year.

Visit Self Esteem’s website for more, and follow RLT on Twitter and Instagram.



This podcast is 100% powered by my Correspondent’s Club. Thanks to every single member for your support!

New to my musical world?

+ Get two free songs music immediately by joining my mailing list.

+ I send a thoughtful email every week – join The Correspondent’s Club on a free or paid tier to receive it.

+ New episodes of my music podcast “Attention Engineer” are released every Wednesday – visit this page to find out more and subscribe via your favourite podcast platform.

+ You can also follow me around the web, on YouTube, Twitter, Instagram and Facebook.

Have a lovely day xo

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Ep29: David Ford on his mission to be the best artist he can be

Ep29: David Ford on his mission to be the best artist he can be

Podcast

Hi there and thanks for visiting! Welcome to my conversation with David Ford, recorded on 2nd December 2020.

Press play below or click to listen / subscribe on your favourite podcast platform. Scroll down for links and videos.

[Content warning: some friendly swears.]

In this conversation, we discuss:

  • David’s brush with the music industry (Easyworld and solo) – how he survived a breakdown to create a thriving career as a lone wolf figure
  • why pumping “content” into the world isn’t beneficial for popular music and song as an art form
  • how “every hour you spend trying to be a better marketing person – that’s an hour you didn’t spend bettering your art and your craft”
  • why we shouldn’t judge artists on the quality of their accountancy – working another job doesn’t make the music any less meaningful
  • songs without choruses – David breaks down “State Of The Union” and I accept a songwriting challenge!

Explore David’s work:




About David Ford

We live in interesting times.
Even before the global pandemic, this was already a challenging age for the independent musical artist. The business appears to have attained a permanent state of flux and is widely characterised as some kind of monster, chewing up and spitting out the naively pure of heart.

And yet David Ford is finally happy.
For the first time in twenty years, there is nobody trying to make him famous.

Ford’s journey through the many worlds of the modern music industry has not always been an easy one to navigate. A succession of record labels seduced by his talents have in turn, attempted to sell him as a pop star, a protest singer, an indie hipster, a balladeer and a bluesman.

In reality he might be all of these things.
And none of the above.
It’s complicated.

As well as playing sold-out headline shows on both sides of the Atlantic, he has supported artists such as Elvis Costello & Allen Toussaint, Ray LaMontagne, Aimee Mann, Sara Bareilles, Gomez, Aqualung, Richard Ashcroft, Suzanne Vega, Augustana, Ingrid Michaelson and Jakob Dylan.

Ford’s masterful songwriting, powerful live performances and utter distaste for self-promotion have helped cultivate a passionate, devoted fan base that exists something like a secret society.

You are very welcome to join.
Just don’t go around shouting about it.

Visit David’s website for more.



This podcast is 100% powered by my Correspondent’s Club. Thanks to every single member for your support!

New to my musical world?

+ Get two free songs music immediately by joining my mailing list.

+ I send a thoughtful email every week – join The Correspondent’s Club on a free or paid tier to receive it.

+ New episodes of my music podcast “Attention Engineer” are released every Wednesday – visit this page to find out more and subscribe via your favourite podcast platform.

+ You can also follow me around the web, on YouTube, Twitter, Instagram and Facebook.

Have a lovely day xo

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Power to the people

Power to the people

Letterbox Music News Process

At the end of last week, I was invited to write a piece sharing an artist’s perspective on a harsh new scheme to charge musicians to perform their own work during live-streams, the “small online live concert licence”.

I used this opportunity to try and put into words the magic that’s created between a performer and their audience and how precious that relationship is, and my article was published on Access All Areas website earlier today.

Great news – just hours later, PRS (the organisation who collects royalties on musical works in the UK) have made a U-turn. Power to the people.


In this time of international crisis, it’s been interesting to see how organisations choose to operate. Non-famous musicians are generally paid unfairly for our work, and there have always been vultures circling, but it was a low blow when the government glibly told us to “retrain” last year. Now PRS, without troubling themselves to consult members, are imposing harsh new measures to tithe us for the exploitation of our own work via their new “small online live concert licence”.

I think it’s important to remember what we’re dealing with here. My job as an artist, songwriter and producer is to pluck ideas from thin air, sculpting soundscapes from my imagination and wrapping stories tightly inside, forging a master key which has the potential to unlock the emotions of complete strangers. It’s a bonkers thing to do, and very hard to put into words, but its indefinability is part of its beauty. Nowhere is this magic more potent than in the atmosphere of a live performance, where musicians and music fans collide to create a beautiful, unique community for one night only.

I’ve always been keen to transcend the limits of the £50 support slot to connect with people further afield, so alongside regular touring I started live-streaming shows in 2013. I knew I had fans around the world who I’d never be able to play for otherwise, not to mention people with kids, irregular shift patterns, disabilities, financial burdens, physical safety concerns and any number of other issues that would prevent us from spending time together in the same room.

It wasn’t easy – the technology was clunky and confusing and things went wrong a lot. But it was worth it. For me, being an artist is about helping. A live performance is a gift I can give to someone who finds my work emotionally resonant, as well as something that benefits me. We’re all searching for moments where we feel our work is meaningful, a little boost onwards to write the next song, the next album, the next hopeful email. It’s almost nothing to do with money, though of course we also, quite reasonably, hope to be paid for our art.

When the pandemic hit last spring, streaming technology had developed to such a point that it was relatively easy for musicians to jump online and start giving of themselves to people who needed solace and connection. It was beautiful to see this generosity taking place, and to read that audience members valued this so highly.

The past 10 months have been hard on everyone. The loss of life has been devastating, the sacrifices made by keyworkers humbling, the toll on our mental health impossible to gauge. The live events industry is on its knees, artists like myself are receiving minimal or no government support, and we’re all dealing with issues around isolation, depression, existential fear and anxiety yet somehow – somehow, some artists have worked to maintain and nurture the precious connections between ourselves and our fans, this vital bridge that reminds us all that we’re not alone, that gives us hope for brighter days.

Artists have always been great at adapting and innovating – but now, at a time when many of us have lost our incomes, we’re being punished for it from the most unlikely places. 


I respect copyright – hey, I still harbour hopes the songs I send out into the world will one day race home brandishing a meaningful paycheque – but justify to me the Kafka-esque scenario where not only am I the song’s creator, master rights owner and performer but the show’s venue, promoter, lighting/sound/visual technician and publicist. Before my gig even takes place, I have to pay a fixed fee – more than double what it would cost if my gig was taking place in a venue – to an external body who will supposedly pay it back to me, as the composer, in the future (minus their cut, of course). Is this the Orwellian future we were warned about?

PRS need to remember they don’t deal in pounds and pence, numbers on a spreadsheet, projected sales and ticket prices. They deal in people – those who delve deep to create the magic, and those who sustain it with open hearts and financial generosity. Whatever needs to be done to protect this relationship must be done, or we face a far darker future than the one we’re currently living through.


Congratulations and thanks to all the organisations who lobbied for this ridiculous rule to be overturned – The FAC, Musicians Union, Music Venue Trust and more.

Now we can all get back to the business of trying to stay afloat during a global pandemic.

We’re “Exotic Monsters” indeed…


THANK YOU for visiting my website! I’m Laura Kidd, a music producer, songwriter and podcaster based in Bristol, UK. It’s great to meet you.

+ Get FREE music immediately by joining The Correspondent’s Club (free and paid tiers available).

+ I send a thoughtful weekly email every week – choose the Freewheeler tier or upwards to receive it.

+ New episodes of my music podcast “Attention Engineer”are released every Wednesday – visit this page to find out more and subscribe via your favourite podcast platform.

+ You can also follow me around the web, on YouTubeTwitterInstagram and Facebook.

Have a lovely day xo

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Ep28: Kat Robichaud on surviving The Voice USA to forge an independent music career

Ep28: Kat Robichaud on surviving The Voice USA to forge an independent music career

Podcast

Happy new podcast to you – my first of 2021! Welcome to my conversation with Kat Robichaud, recorded on 7th December 2020.

Press play below or click to listen / subscribe on your favourite podcast platform. Scroll down for links and videos.

[Content warning: some friendly swears.]

In this conversation, we discuss:

  • what it’s like to do well on the biggest TV talent show going, and how Kat built an independent career afterwards
  • how failure and setbacks bring a whole new world of possibility
  • the mental health impact of losing the validation of a live audience during the pandemic
  • how some sage advice and support from Amanda Palmer and Neil Gaiman helped set Kat on her journey towards creating Misfit Cabaret
  • what to do when a famous artist manager says you’re “not leading lady pretty”
  • the importance of our patrons and why we love them so much

SPEAKING OF WHICH, massive thanks to Nick Xylas for sponsoring this episode via The Correspondent’s Club – powering the making of new music and podcasts since May 2020. Thanks, Nick!


Explore Kat’s work:




About Kat Robichaud

After more than a decade of touring up and down the east coast, Kat Robichaud sang her way to the top 10 on Season 5 of NBC’s The Voice in 2016. She then released her first solo album, “Kat Robichaud and the Darling Misfits”.

Following up the momentum and critical acclaim of her album, Robichaud launched Misfit Cabaret with partner Jordan Nathan – a dazzling musical variety show performed in San Francisco, Seattle, and LA, along with Kat’s second solo album “Misfit Cabaret”. Each night features an ensemble cast of musicians, drag darlings, burlesque bombshells, aerialists and puppets. Each event is a different theme, ranging anywhere from sci fi to horror to nautical to circus, so don’t miss a night!

For more information, visit www.katrobichaud.com and krmisfitcabaret.com


This podcast is 100% powered by my Correspondent’s Club. Thanks to every single member for your support!

New to my musical world?

+ Get two free songs music immediately by joining my mailing list.

+ I send a thoughtful email every week – join The Correspondent’s Club on a free or paid tier to receive it.

+ New episodes of my music podcast “Attention Engineer” are released every Wednesday – visit this page to find out more and subscribe via your favourite podcast platform.

+ You can also follow me around the web, on YouTube, Twitter, Instagram and Facebook.

Have a lovely day xo

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Exotic Monsters (22/1/21)

Exotic Monsters (22/1/21)

Creativity Homepage Feature Letterbox Music News Releases Singles

Release date: 22nd January 2021
Label: My Big Sister Recordings


GET THE SONG

+ Click to download pay what you want/can from Bandcamp.
+ Get “Exotic Monsters” plus all previous Penfriend singles when you join The Correspondent’s Club (free and paid tiers available).
+ Type “penfriend exotic monsters” into your digital music platform of choice.


ABOUT THE VIDEO

“We’re more connected than ever, yet we’re becoming more polarised. The pandemic promised a coming together of communities yet, as the third UK lockdown grinds grimly on, the people in my area of Bristol have battened down the proverbial hatches. It’s easy to feel like we live on a different planet from our fellow humans sometimes, so with this video I wanted to bring the artwork for the single to life, to suggest that perhaps the monsters we perceive to be all around us are more similar to us than different.

I spent 20 hours constructing 3D paper masks, set up a green screen in my living room and used up two of my daily exercise sessions to create this oddball trip into my imagination. Enjoy!”


ABOUT THE SONG

Penfriend, aka music producer, songwriter and multi-disciplinary artist Laura Kidd, presents “Exotic Monsters“.

Sparked by a throwaway phrase from Margaret Atwood’s “The Handmaid’s Tale”, “Exotic Monsters” is a laundry list of asynchronous human needs and desires; a reflection of our increasingly confused, disconnected and polarised lives. A timely reminder of the practice of cultivating gratitude through meditation, the song is an attempt to examine our internalised inconsistencies; the “facts” we pile up on our own backs throughout lives bombarded by airbrushed images and ads for the unattainable baubles we’re informed are essential for true happiness.

Shackled to our phones by big tech companies monetising and eroding our attention spans, feeling increasingly as though we live on a different planet to those we disagree with, chasing likes on social media while forgetting to look after our brains and our hearts…where will this all end? Some days it’s hard to believe late MP Jo Cox’s poignant words, that “we are far more united and have far more in common with each other than things that divide us”.

Addressing this sense of disconnection and depersonalisation, “Exotic Monsters” evokes the menace of “Enjoy The Silence”-era Depeche Mode with a nod to the 80s- Madonna hero worship of Sky Ferreira’s “Everything Is Embarrassing” and the hypnotic synth pop of Sylvan Esso.

To quote Björk, “I’m no fucking Buddhist, but this is enlightenment”.

Fun fact: “Exotic Monsters” features several Creative Commons drum samples created by the European Space Agency, recorded at their European Space Research and Technology Centre in the Netherlands. Using sounds from space on a song about feeling disconnected from life on earth just felt wildly appropriate…

CREDITS

Written, produced, performed and recorded by Laura Kidd at The Launchpad, Bristol. Mixed by Dan Austin. Mastered by Katie Tavini. Artwork by Alex Tillbrook, concept by LK.

ESTEC drum samples pk3, pk4, pk6 and pk11 credit: Peter Kirn/CDM/ESA CC BY-SA. Licensed under a Creative Commons Attribution-ShareAlike 4.0 International License.

LYRICS 

I try sollipsistic recreation
I crave love without abbreviation
I need time to kiss this cup of coffee
I keep letters from the one who loved me
I will take all the dreams that Hollywood promised me
I want it now

We’re exotic monsters, dead from the waist down How can I be clear?
Gratitude’s the first sign of waking
I won’t go back

Keep a kiss for me
Cos we all fall down under an international sky
Fighting to believe it’ll be all right
I’m on an extrasolar high

I seek narcissistic decoration
I crave soil, warmth, ventilation
I’d like to focus on my silent fiction
I need to kick this dopamine addiction
I dream of being someone’s happy memory I want it all

We’re exotic monsters, dead from the waist down
How can I be clear?
Gratitude’s the first sign of waking
Please don’t keep me here

Keep a kiss for me
Cos we all fall down under an international sky
Fighting to believe it’ll be all right
I’m on an extrasolar high

Keep a kiss for me
Cos we all fall down under an international sky
Fighting to believe it’ll be all right
I’m on an extrasolar high

Thanks for visiting my website!

New to my musical world?

+ Get two free songs music immediately by joining my mailing list.

+ I send a thoughtful email every week – join The Correspondent’s Club on a free or paid tier to receive it.

+ New episodes of my music podcast “Attention Engineer” are released every Wednesday – visit this page to find out more and subscribe via your favourite podcast platform.

+ You can also follow me around the web, on YouTubeTwitterInstagram and Facebook.

Have a lovely day xo

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