“I wanted to be good but it hurt my fingers,” she recalls. That love-hate relationship goes back to another pivotal moment as a seven-year-old, attempting to grapple with the instrument for the first time. “I have this love-hate relationship with it, but the familiarity of that sound is something that can’t leave me.” ![]() “I love reinventing the way I play guitar,” she says. She describes it as a bridge between techno, ambient and avant garde her album is also a deconstructed guitar record. “My music hasn’t transformed to easy listening,” she says. I feel like I can offer him confidence to do things his own way – that gives my work purpose.”ĭespite living remotely with no street lights or shops for miles, Void hasn’t changed tone. “He inspires me and I understand myself more by watching him grow. Navigating a new solo career while being a single parent has been a rewarding learning curve. “I miss the speed of the city but it was more important to give my son a place of ease,” she says. She speaks it clearer than ever on her excellent debut solo album Bucked Up Space, much of which was made in the Norfolk countryside – where she moved with her now ex-partner, Charlatans frontman Tim Burgess, and their child – trading a mice-infested London warehouse for a more serene creative environment. All the shows and collaborations are a point of entry to working out what my own musical language is.” “Off-stage I am methodical to a degree I would call boring! Taking chances on stage and jumping into situations that aren’t familiar helps push my ideas forward – it’s the only time I can let go and stop the worry.” Void describes her career as “everything in reverse. ![]() “Becoming self-aware fogs everything,” she continues. ![]() Performing live in an improvisational way – be it solo, or with Factory Floor, Carter Tutti Void (with Throbbing Gristle’s Chris & Cosey) or her duo with the late Peter Rehberg, NPVR – has been crucial to shedding this feeling of being hyper-conscious.
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