PopMatters interview (2014)

Helen Marnie might have made her name as the singer for the internationally acclaimed Ladytron, but in June 2013 she released a solo album, Crystal World, through Pledge Music. The album confounded expectation and quickly cultivated a passionate and devoted following, with many (including The VPME and Polari) giving it flawless reviews.

In contrast to her work in Ladytron work it's an album in which nature constantly pulses and throbs. In it Marnie undertakes a set of startlingly emotional journeys, drawing what some have described as "a map of the heart"—quite an achievement for such a pristine electro record.

I caught up with Helen to try and dig a little deeper into the record, in a conversation that took in everything from the Piscean gift for swimming to her striking choice of outfit for the video to "The Hunter".

In previous interviews you've talked about the state of transition you were in when you wrote the Crystal World. Did writing the album help to deal with that transition at all?

I think so, yes. In fact, I think writing the album helped me deal with quite a lot of things. It kind of sorted my head out a little and gave me focus and freedom to express myself. I guess I had a lot of ideas going round in my head at the time, and a lot of baggage too. It was the perfect release to write an album for myself.

You've mentioned in the past how the sea is a "particularly dominant and reoccurring" theme on the record. I wondered how the sea connected to this sense of transition for you?

When I think of the sea, I think of my childhood. I spent a lot of time by water, exploring and having fun. One side of my family hails from the east coast of Scotland, so that is the sea I am generally referring to. I relate to it, it was a big part of my life. I sometimes feel enclosed by cities, and so the sea is the getaway in my head. There was quite a lot on the horizon when I was writing, one thing being I was going to relocate back to Scotland, so it felt like anything was possible. I am a Pisces, I am a good swimmer, and when I write by water or the sea it feels like home.

Crystal World was greeted with very positive press. I was struck by how the record stretched the boundaries of where I expected it to go, emotionally. Is that just how it evolved?

It was an emotional time for me, and I knew that would be released into the record. It actually made me feel better knowing I had put it somewhere. That the emotion had a home once I let go. When I listen back it will always take me to a specific time, with vivid images and feelings.

In the Pledge promotional video for "Crystal World" you situate yourself very much amongst Reykjavik's scenery, and I wondered if there might have been a decision to reflect the natural environment more for that album?

I was in Reykjavik to record and I wanted to create a promo for the Pledge which was beautiful and also reflected where I was. It was natural for me to use Reykjavik landscapes and landmarks. I must admit though, this album has no connection with Reykjavik other than it was recorded there. All the writing was done before going to Iceland, bar half a song. Scotland is very much the country behind this album.

The video for "The Hunter" sees a real blend of the natural (the forest) with the synthetic (taking the form of a colourful catsuit). I wondered if this juxtaposition was part of making a certain statement?

I was doing quite a lot of running in "The Hunter" video, and so the catsuit was great for that. Not only did it look and feel amazing, but it also looked foreign to the setting, which I guess was deliberate. The designer, Rebecca Torres, made it especially for me so I am eternally grateful. I've always had a bit of a catsuit fetish. I feel good in them. I'm not really into exposing too much flesh, so this one was perfect for me. It was also really important for me to inject some colour into the video and what I was wearing. By doing a solo album I felt liberated, and I wanted that to come across in "The Hunter" video.

Which artists inspired the Crystal World? I thought I might have detected a touch of Kate Bush?

I'm never sure who inspires me when I write. Only later, when someone says it sounds like something or someone else, am I surprised. I'll take Kate Bush though. If it sounds like Kate Bush then it's a winner.

You use the synthesizer in much of your work. But what is it about the synthesizer that keeps drawing you to it?

I started out playing classical piano, and was introduced to synthesizers when Ladytron formed. The keyboard is what comes naturally to me, and synthesizers are able to create a lot of warmth and depth and dirt, so are extremely versatile. With Crystal World I wanted real piano on some of the tracks, I knew that from the beginning. On "Submariner" it is quite prevalent, along with "Gold".

There is a long British tradition of synthesizer music, from artists like David Bowie to The Human League. I wondered how much you consider yourself as part of a British tradition of synthpop music?

We were influenced by a lot of different music, not solely synthpop, but our sound was definitely electronic with the synth taking centre stage. In Liverpool at the time, we were quite different in terms of the music we were making, and having two female lead vocalists was also a change to the mainly male-fronted indie bands.

Do you have any future plans with Ladytron?

Right now we are all pursuing our own projects, however we plan to start getting songs together for a new Ladytron album later in the year...

6 March 2014

Source

Herald Scotland interview (2013)

That's how it starts. A wail and then a synth wash starts beneath it, martial and, yes, a little bit Knight Ridery, rising to the front of the mix as the voice is pushed back. Then the drums kick in and the vocals jump front and centre. What is this? This is pop. Or Helen Marnie's version of the word anyway.

It's also how The Hunter, the opening track on her new solo album Crystal World begins, a first step outside the electronic arms of Liverpool quartet Ladytron, the band she's been a member of throughout the 21st century. And an attempt, she says, to push herself into being "more pop, more pop than Ladytron".

"I would say I am the more pop part of Ladytron, so that was in my head", she tells me over coffee in a Glasgow hotel. "I wanted to write choruses. I'd never worked by hooks and choruses and I wanted to do that".

Marnie has been ringing the changes of late. Towards the end of last year she moved back to Scotland after more than a decade in London (before that she was in Liverpool, where she met the rest of the band). "It was pulling at my heart to come back to Scotland. I got married but he's a southerner and I had to drag him up here".

And before that, and with Ladytron on extended furlough, she had recorded Crystal World, a silvery dream machine of an album on which she sounds a little like Chvrches' Lauren Mayberry's big sister and calls herself by her surname only. "On this I just felt freer to do whatever I wanted. I'm definitely quite open on the record. I think the things I wanted to express are there in the lyrics and the music".

The result is an album with a sci-fi sheen. The cover too. How hard was it to get into those trousers Helen? "A friend of mine in Glasgow, Rebecca Torres, she made these catsuits especially for me. So I owe her big time. I did need help getting into it but the only part I needed help with was getting the leg over my foot. The rest is quite stretchy. It must be my big toes or something".

She looks at the cover lying in front of us. "I think that looks pop. It's quite glossy but also I wanted it to be quite feminine and girly. I'm like a woman who's free". It speaks to the music. "Yes, but without being too clinical".

Crystal World was funded originally by Pledge and is now getting a release on the newly revived Les Disques du Crepuscule label ("Someone said to me the other day 'that was so cool in the eighties' and I was like 'really, I've never heard of it'".)

She's still amazed at the response to her Pledge campaign to help fund the making of her album. It helped that Ladytron's decade as indie electronicists gave her some recognition. "That definitely helped and the reaction was great. It kind of took me offguard. I set a target and we reached the target within a few days, though I have to say the target was quite small.

"I can't say what it was but I have to say it wasn't enough. I think I made over 200% of my target. But it still wasn't quite enough".

That's the pragmatist in her speaking. The dreamer is surprised that anyone would be interested in the first place. "I was quite shocked. I was thinking 'you're going to pay this amount of money for my old bikini? Really'".

Helen Marnie's pop story is the story of an uncool kid who loved Kylie and ABBA and Michael Jackson ("I used to write him letters"), who listened to her brother's Metallica records and studied piano at the Royal Academy of Music and Drama (as was). She dropped out of university in Glasgow before going on to study music in Liverpool where she met the rest of Ladytron. The band named themselves after a Roxy Music track and former Roxy member Brian Eno has been effusive in his praises.

But with her bandmate Mira Aroyo having a baby, Daniel Hunt over in Brazil and Reuben Wu currently living in Chicago the band have been taking their first real break this last year. But it's a pause not an ending. "I think hopefully we'll make a record next year", Marnie says.

In the meantime she has her own record to promote. "I would like to do some live gigs but how to do it, I need to work that out".

This is the start then, not an ending.

Source

WARP Magazine interview (2013)

If something characterizes the musical industry in Great Britain it's its diversity. We can find cases of global success, bands like those that fill stadiums and are supported by the great international record companies. On the other hand, there's also the artists who make their way by the road of independence, focusing the majority of their efforts in making their music known and playing in as many places as they're able to.

In some place between these two points, interestingly, we have Helen Marnie, better known as the composer and vocalist of the electronic band Ladytron, who at the end of 2012 decided it was time to take advantage of the recess of her main project and dedicate herself to creating her first solo album.

Without the support of a record company to reach her goal, the artist decided to reach out to crowd funding, so popular nowadays, specifically, the website PledgeMusic, a way in which fans support the music and obtain directly from the creators.

The result is called Crystal World (2013) produced by her bandmate Daniel Hunt and completely recorded in the studio of Bardi Johannsson (Bang Gang), in Reikjavik, Iceland, which transports us to a very intimate and personal landscape of electronic and pop sounds, with certain airs of organic nostalgia, something that the singer never allowed us to listen on Ladytron.

WARP Magazine had a chat with Marnie, who from Glasgow, Scotland, exclusively shared the experience behind the creation, recording and release of her solo debut.

How did you find out that you wanted to do a solo record?

It was an idea that had been going around in my head since some time ago, something I had always wanted to do. Obviously, I had commitments with Ladytron, so it was a matter of finding the time to do it. That's why, as soon as we had a break from touring, I figured out it was the right time. I told myself... It's now or never!

What made you go all the way to Iceland to record?

Bardi Johannsson, the co-producer of the album, has his own studio in Iceland so it made sense to record there. It was very exciting to do it in a new place for me.

At what point in time did you realize you were going to have to go crowd funding to make this album?

It was when I first went to Reikjavik. Crowd funding got my attention last summer when I was writing the album. I had seen what artists could accomplish. I had heard extraordinary stories, like Amanda Palmer's, and in light that at the time I didn't have any financial backing, I decided it could be the way to go.

Was there a point in the campaign that you thought there was no way you could raise enough money to make the album?

Of course, even during the process of mixing and mastering, I was afraid something was going to happen and the album wouldn't come out. It wasn't until I pressed the button for "upload" on the campaign on PledgeMusic, that I took a deep breath and I felt relieved. When you don't have a record company behind you, all the weight falls on your shoulders and things that would normally be taken care of, now are your responsibility. Sometimes it's very stressful... when something goes wrong, it meant more delays for the campaign and I found it very difficult to explain to the members. However, I tried to maintain a positive attitude all the time, to not lose motivation. The best thing of doing a campaign like this was the support, it was like having this great channel behind you, where everyone wants for you to do well. It was great, especially when other things stressed you out.

Is it hard to give out the packages you promised during the campaign?

It has been very difficult to organize, but nothing I couldn't handle. Up to right now, I have given most of what I promised, although the 12 inch vinyls have still not gone out. I think the most difficult thing has been to go to the post office and have to deal with these long lines behind me. Have to deal with people looking at me ugly 'cause they have to wait, but I'm used to it already. I can even look at them ugly as well, if it's necessary.

In your experience, what are the pros and cons of getting out a record this way?

The pros: The fact that you have a platform that allows you to reach a very wide audience and that you can personalize the campaign as much as you want. To interact with the participants was comforting and they always were positive, which I'm very grateful for, they had a lot of faith in me and that helped me to do the same with them, to treat them almost like friends.

In the cons... on the other hand, I found that the people from Pledge take a good portion of the funding, which they don't give you until you fulfill your promises which can cause a lot of problems, because things have to be paid for and you don't have the money to do it. Another thing is that they ask you to establish a monetary goal before you start the campaign, however, when you have a delay or another problem, obviously it affects the amount of money you need to finish the record.

How was it to compose a complete album without the collaboration of a band?

I enjoyed the process. I wrote the majority of the songs in a period of 6 months, in my guest room in London. And, well, to write a solo album was very different than writing for Ladytron, not so much in the technical side of it, but in how you deal with it mentally. I suppose I felt more comfortable writing about more personal issues. I was a lot more free to say exactly what I wanted. Musically, I already knew what direction I wanted to take.

How was Daniel as a producer instead of a band member?

It wasn't very different, however, it was good to have him as a producer, he was someone who helped me to develop my ideas and take them a little more out there... like having a pair of extra hands. It was great working with him as well as Bardi.

While you were writing the record, did you consciously decide to get away from Ladytron' sound?

Let's say I saw the situation like a double edged sword. I basically did the record I wanted. The result is an album that, musically and lyrically, I don't think it sounds like Ladytron. On the other hand, my voice will always sound like Ladytron, there's no way to avoid it and there's some people who have trouble separating it.

Do you think that in Crystal World we will find more personal lyrics that you have written until now?

Definitely. It would have been really weird to make a solo record that wasn't so personal. I am me on this record. I loved having the freedom to take the lyrics where I wanted and I have received a bunch of messages from people who feel they can really relate, some have made me cry.

What is your perspective of the musical industry in the United Kingdom? Do you think there's a healthy environment for indie artists?

I think the musical scene in the United Kingdom is, right now, particularly vibrant. If you live in Scotland, like me, you will see a lot of bands that are doing well. Glasgow is really very well fortified musically. There's a ton of places in the city where bands play every night. I just hope that these artists choose to stay in the city instead of going to London, like it usually happens.

The Double Negative interview (2013)

Years spent in the bosom of a band means a foray into solo material can often go either way. We caught up with Ladytron's Helen Marnie to talk about her first solo record, Crystal World…

What inspired the album?

I was inspired to write the album because I felt like the timing was spot on and it was a chance to just go for it. I have to be in the right frame of mind to sit down and write, I need to have direction. It's generally just a feeling that comes over me and I know it's time.

When I started working on my solo songs I really felt like I had a lot I needed to get off my chest. I was very productive over a short period. Over those few months a lot happened to inspire me and there was also change on the horizon. That really was the inspiration – looking forward into the unknown.

It was Pledge-funded. First of all, what was that like and do you think you'd prefer to go down a more traditional route in future?

Pledge definitely has its pros and cons. It's a great platform to get music out there, especially without any label assistance. The fun part is probably the interaction with the pledgers. It's like you've got a big family or support network behind you. However, the pledge model is not without fault. I think there needs to be some fine tuning.

The % cut is big, targets are set at the beginning which can be problematic as budgets often change along the way for various reasons. Pledge felt a little like a ticking clock, which I did find a bit stressful at times. In future, if I am lucky enough to make another solo album, I would prefer not to use such a platform though I am not ruling it out of course.

The industry is changing so fast right now. What pledge has taught me is that it doesn't hurt to interact with people. That's something I would do more of, even if I wasn't to release a future album via crowdfunding.

Were you concerned with going solo having been involved with Ladytron for so long?

I was aware of the comparisons that would be made, and that I wouldn't be able to please everyone, but in the end I just thought 'fuck it'. I've won in my eyes by just releasing a record. It's a pretty great feeling.

Was the process of working alone very different, and do you have a taste for it now?

Yes, I think I do have a taste for it. I can be a bit of a control freak in certain situations, and so writing for myself felt great. Being in a band and writing as a band is fun, but just making my own decisions on the record has been amazing. The process wasn't so different to writing for Ladytron. I began solitary and then the production [by Ladytron's Daniel Hunt] really helped take it to the next stage.

What's the audience for Crystal World?

You tell me. My aim was for a more pop record than Ladytron perhaps would've created. I think I've accomplished that. Saying that though, I still think Ladytron fans will get it. I also hoped to branch out a bit. Pull in a different crowd. Time will tell.

You've been attracting some favourable reviews – was it a relief or more like vindication?

I am happy with my record, I guess that is all that matters. It's nice to get a good review, it really is. But, there will always be people that want to knock you down. They will never be satisfied. They can't appreciate what you're trying to do, or the journey that you've been on. So, I just have to get on with it and keep believing.

Source

Been There - Done That interview (2013)

You recorded the main parts of your album in Iceland. But you surely have relocated in the meantime, right?

In fact I was in Iceland only for about a month, in August last year. Then I went back there for about a week in December to record another track. I was living in London until about September, but I am back in Glasgow now. Apparently I am at home in Glasgow.

But the thing about Iceland seems to be that you thought the atmosphere there may fit in with the mood you wanted for that album. Or what was it like?

I have been there before, but very briefly, with Ladytron, when we did a festival there quite a few years ago. And yes, I thought the mood of the record would fit in quite well with the surroundings of Iceland. But everything except for one or two tracks was written at home, in the UK. So the influence Iceland had on the album is quite limited, almost neglectable. The influences were drawn beforehand. Iceland was more a serene, a relaxing place where I could record the album. The fact that producer Barði Jóhannsson has his studio there, that was the most important part.

Jóhannsson shares the credits of the producer with your bandmate from Ladytron, Daniel Hunt. But both weren't there from the start, when you knew that you would be doing this solo album. In how far was and is it important for you, that Crystal World doesn't sound too much like an album by Ladytron?

I think that right from the beginning I knew that I would be working with Daniel. Of course I would always be connected with what I am doing with Ladytron, simply because of my voice and regardless of the music. But even though I knew I was working with Daniel, I knew that my songs were strong enough and different enough from what I was doing previously. Partly the structure of the songs is totally different and much more pop. Bringing Barði in as well surely helped the album being different, too. Also I did have a few songs before I knew that I would be doing this album, but then within eight or nine months I literally sat down to write songs exclusively for what would become the album. I think this is why Crystal World flows quite well.

Was this also a chance for you to let other musical influences come through than usually, except for being more pop?

I think it's quite hard to label and pinpoint certain influences. And I know that some people think that "pop" is some kind of dirty word. But I really wanted it all a bit more traditional in its structure and things like that. I wanted to work on hooks and choruses. When I sit down to write, I have to do it at the right time. That's more what my songwriting is about than about certain influences. I have an idea in my head and at the same time I feel what the song should be like. And it's not like "Now I want it to sound like ABBA. And the next one will be like Fleetwood Mac!" I appreciate their records and they surely influence me subconsciously, but you can't pinpoint that – and I have also been listening to a lot of contemporary acts from Glasgow as well.

I don't know how many breaks there were in the career of Ladytron, but now that the band is taking a break, was it never a question for you to do something different than recording a solo album? Are you that involved in making music?

I think this album is the one I was more involved in than I have ever been. Ladytron consists of four people, whereas there may be only twelve songs on the final album. So I may write five songs, but only two will make it. Also the last gig by Ladytron was probably in December 2011, so I did have quite some time off. And during the next months I also wouldn't be writing every day, you know. (laughs) I feel like I had quite a break.

I can hear that I need not fear that you are a total workaholic concerning music.

No, I just thought like the timing was right. Everyone was taking a step back, taking time off from touring, doing their own thing. Even when I was writing the songs I wasn't really thinking of making a solo album. It was still a daydream in my head then.

The album was first released via Pledge Music, which means that people paid beforehand and that you had to do lots of promotion even before its release. I have heard from people like Chris Corner of IAMX, who used pledge as well, that it can be difficult to make the process of recording an album public – and to ask for money from people before they have listened to a single full track. What was that like for you?

I don't think I really realized what I was taking on. I thought it was a good platform that would raise the money to put out the album. But apparently it is also very time consuming and it is also a very personal affair. I was quite happy to interact with people, but I also felt quite a bit of pressure. Because I was still working on the record, nothing was mixed, and I didn't have any songs I could let people listen to. So I gave them about a minute of an instrumental part, which was easy to do. Then I gave them a snippet from "The Hunter". So there was always this pressure like: What would the people expect? A Ladytron-like sounding record? Or a dance album?

There have also been deliberately interactive albums via web, like Einstürzende Neubauten did it, where the fans directly influenced if not determined what a song would be like. This is one way to deal with expectations, to directly involve the fans. But you are also letting go of your own handwriting then. Was it difficult not to give in too much to the pledgers' expectations and wishes?

I just tried to keep calm and do what I had to do. I concentrated on making clear to the pledgers what was happening, keep them updated, keep it all positive. They had a right to know what stage I was at. And there were a lot of delays. They had paid a lot for the album and other things accompanying it, so I tried to keep them on the level, to keep them happy. (chuckles)

Have you decided yet if you are also going to tour?

I can see that. Quite a lot of people ask me that. (laughs) I would really be into touring, but... (laughs again) But I would have to live up to a lot of expectations, also my own. I would need to find a band, to work it all out technically, etc. So: Yes, I would like to, but I am unsure yet.

It is known that you used to DJ a few years ago. What's up with that now?

I don't think I had much of a DJ career! I shied away from DJing for a while. At first it was fun, but then I think I had a bad experience. But in fact I just DJed with Mira from Ladytron again, in Moscow. The gig before that was last summer in Poland. I hope I will be getting more confident with that again. When I am acting live on stage I am quite confident with that. But when it comes to DJing I am getting nervous. I guess it's because of the expectations of the people about what I am going to play. I guess that's kind of strange, because I shouldn't be nervous!

This surely has to do with the size of the venues and that you have become much better known than in the beginning.

Yes, in the beginning it was more of a party thing, where I more or less played the records I liked. And then I forgot about it for a while and concentrated on live things. Now I can't just go there and play my top tunes anymore. Like in Moscow, where we play as Ladytron-DJs, and this is a really huge festival.

So you don't DJ at smaller venues under a different moniker or at private parties? Don't you miss this?

Well, I haven't done that for a long time. Probably because things went into the opposite direction, with bigger venues and festivals, things like that. The things you mentioned used to come up some time ago, and they were fun. But as things move on and get bigger you simply get bigger events. That's not always the case, but that's where we are right now. And when you are playing bigger events, you also get a bigger fee, probably – which is good for the band. But I'd be quite open about playing in a little bar in Glasgow and I probably will do in the future, after what I will be doing now with Crystal World.

Apart from one's own output as an artist it is great to simply share what one likes with other people, isn't it?

Yes. It's true. When I am writing music I try not to listen to other music. But DJing of course is totally different, because you get such a lot of stuff and you always think about what you want to play to the people.

I rarely talk about the lyrics of an album. But I think that there is a different perspective on your solo album. "Message" is another dirty word to some people, but is what you want to tell people about life and society presented differently now?

The general idea is more about sentiment and emotions and being quite forward. For example "Sugarland" has a clear message, though. Then some people may listen to certain songs and think that they mean this and that. But they don't. You know? People may think a song is about a relationship breakdown – but it's not! So it's all up to the listeners, but there is also lots of "hidden messages", maybe even less hidden than on albums by Ladytron. (laughs) This is a solo album and it is quite important that people can see me in this.

But if people think "Well, this is a break-up song", but then it's not that easy because you are not simply putting out a diary...

Right. Though... You see: They are not break-up songs!

Yes.

(Laughter)

Source

The VPME interview (2013)

Firstly congratulations on Crystal World, which, without sounding ridiculously effusive, it is a truly spectacular album... So to the questions – rather than ask why you chose to release it via Pledge, I'd be far more interested to find out how you enjoyed the process - updating fans and interacting, getting instant feedback etc. Did it feel rather less like a solitary process knowing you had a fan base out there right behind you, following each stage of the creative process?

I actually really enjoyed the contact that Pledge gave me with people. I've always been quite into meeting fans, seeing what they're about, what they're into, and Pledge gave me this instantly. It was like a huge support network of friends spurring me on when things weren't quite going to plan. I felt really bad to have to keep announcing delays. I mean, if a record was released in the usual way this would not be an issue, but I did feel pressure. However, I'd say 99.9% of the pledgers were totally cool and just kept giving me messages of encouragement. For this, I am grateful.

Following on from that question, you say you felt pressure... was that because as a solo project it's all basically down to you and not a collective effort?

I felt great pressure, but more so because I got Pledge involved. Having people buy my album, along with some very pricey exclusives, without them knowing what the album would sound like scared the hell out of me. They put their trust in me, having only heard one little instrumental snippet. The day I uploaded the album to Pledge was a huge relief. It's like I didn't have to worry any more.

Was the writing process hugely different from working on Ladytron songs. Was it difficult without having a group of people to bounce ideas off?

I'd say it wasn't that much different to the Ladytron process – songs usually start in a solitary way and then may be passed on to someone else. The only difference is that I was working away on my own in my spare bedroom in London and would complete the song-writing alone. I had a pretty clear idea in my mind of the type of songs I wanted to write, the kind of structure I wanted. I knew I wanted it to be more Pop. The majority of the songs were written over the course of about 6-8 months and I feel like it was a time of great change for me personally.

When did you actually start writing the songs for Crystal World? I mean had you been working on them for a while with a view to a possible solo project at some hazy future point, or was it the Ladytron hiatus that gave you the time and space to start seriously writing?

I'd say 8 out of the 10 songs were written specifically for a solo record. The others were a little older but I knew I wanted them used for something. I guess after December 2011, I really started to write a lot, until I went to Iceland in August 2012. So that 7 month period was quite productive for me. 9 songs were taken to Iceland and completed. I then wrote the final track 'Gold' at home in Glasgow late last year, flew for one last time to Reykjavik, and recorded it there in December 2012. Having time away from touring really gave me the incentive to write.

You'd said you'd wanted your solo album to be more 'pop' than Ladytron. However, how would you define pop, do you mean 'pop' in the sense of it not quite being as heavy perhaps as Ladytron- more melody driven?

No, I think more traditional in a song-writing sense, with choruses really taking centre stage. Pop can be dark. Some of the best pop is. If people don't think Crystal World is dark then I think there must be something wrong with them. I also think Crystal World is perhaps more accessible to a wider audience. I've had feedback from friends, family, fans, of all different ages and backgrounds and they all seem to get it. Of course, whether it reaches a wider audience remains to be seen. I'm just proud to have it out there.

The album's production is perfectly judged, the songs sound beautifully polished but are given space to breathe. How did Danny get involved, where you a little worried that having someone from Ladytron would get a sort of, "Ah so it's Ladytron but without the other two" reaction? Saying that I'd imagine it was very important to have somebody on board who you have total trust in?

Danny's production really helped bring the album to life. He was really into me doing the solo thing and wanted to be a part of it. I was aware I would probably be judged for the Ladytron connection but I felt like my songs were strong enough to stand-alone. I am one quarter of Ladytron and I wasn't looking to make an album completely veering away from what we do, however, I think I've made an album that is subtly different, perhaps a little softer around the edges. People can say what they will. I will never please everyone. But I am more than happy with the result.

The album seems to have a number of recurring topics, with the sea being dominant. In literature, the water/the ocean are often used to symbolise change, the ebb and flow of life and of rebirth, new beginnings. Are these kinds of themes you were exploring when referencing the sea?

Definitely, it was a great period of change for me. I felt positive and excited at the prospect of new things on the horizon. I reference the sea quite a lot for other reasons also though, particularly on Submariner. I can't even begin to tell you how much this song means to me. That was another thing with this album. I felt like it was vital for people to hear and feel the real me in it. I wanted it to be personal. For people to listen and relate to what I was saying, or just realise the emotion.

The album photoshoot/publicity shots – again there's the water theme… you in a swimming pool initially in traditional swimming attire. Then in a swimming pool which is empty looking very rock n roll. Where did the photo shoot take place and what's the idea behind the imagery?

Well, the Pledge press photo was taken a few years ago by a friend called Amy K. Walker. She wanted to enter a photography competition and asked me to take part. It was shot in this strange, absolutely freezing, pool in the courtyard of her studio flat in Brixton. The album imagery was shot by another friend Lisa Devine, assisted by Mack Photography, in Govanhill Baths in Glasgow. I'm very into keeping things as local as I can and supporting the area around me and I'd been interested in using this as a possible location for a shoot. We got so much good stuff in there. I think the cover really epitomises the pop aspect of the record and that's exactly what I wanted, it also really works in relation to the title 'Crystal World'. It's stark, glacial, clean, and pretty.

Have you considered performing the album live, I'm sure we could sort something out here in Liverpool, Ladytron's spiritual home?

I have considered it and would love to do live gigs, but that would be the next challenge and at the moment, I'm not quite sure where to start! Right now, I have a huge pledge campaign to fulfil and that it my main objective. Again, I am thankful to pledgers for their patience!

Talking of homes, you've recently moved back to Glasgow after a number of years in Hackney- Was it something you'd always planned to do at some stage, was the pull of the homeland too much to resist. Are you up with the music scene in Glasgow?

My heart has always been in Scotland. Always. I did my time in London, around 13 years, and it was great, but I always knew I would move back to the motherland. Right now Glasgow seems to be bursting at the seams with great music. I'm trying to take more of it in.

I read somewhere that you'd said you were a bit of a technophobe. This may come as something of a shock to fans of Ladytron, who probably imagine all band members travel in futuristic "hover-cars" and live in the sort of high-tech hideaways that make the Bat-cave look like an early Neolithic hut. Can it be true, you really aren't surrounded by state of the art gadgets.

It is true; I am not a huge tech head or gadget fan. Sorry. I get by. I grew up with a piano, and later adapted to a synth. That pretty much says it all.

Finally, "do you believe in love or rock n' roll"

I believe in rock n roll love.

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TYCI interview (2013)

Last month, we played our interview with Helen Marnie of Ladytron fame on TYCI radio. Here is a transcript of the interview.

So, Helen. You're back in Glasgow.

I moved back about October last year. I'm still settling is since it was so busy over Christmas. I'd been in London for about 12 years, then I decided to move back home. It's definitely very different to London. In London, everything is on your doorstep and really accessible, whereas in Glasgow you need to hunt for things a little bit more, but I love Glasgow. The people are great and I'm slowly starting to fit back in. It just takes time.

You're working on your first solo album just now. Where are you at with that?

I'm kind of behind where I should be. I'm a bit pissed off since I thought I'd be further along by now. I'm actually doing a Pledge Music campaign to raise funds and get the record out there as it's obviously a very expensive process, but I hope people aren't too upset when they hear they'll have to wait a little bit longer.

Good things come to those who wait...

Hopefully so. I just want it to be as good as it can be, and I hope everyone understands that.

How did you go about making the record?

I recorded the demos all myself but I'm a bit of a technophobe so can only take things so far. I then got a couple of producers involved, one from Ladytron and one based in Iceland, and I went out there to record it.

Tell us a bit about the album.

It's quite broad but plays on the themes of 'the elements', implied and used in ways throughout the album. I would say it's quite pop – way more so than Ladytron, but I wanted it like that. I feel like I'm often the most pop element in Ladytron. As for titles, I'm not sure how much you're meant to give away...

Some people tell you nothing, so don't feel forced. We're not that kind of outfit...

No, it's OK! There's a song called Submariner, which is very personal and emotional to me. Hearts on Fire is another exclusive too.

You heard it here first. TYCI, making waves. Going back to the start of your career, how did you get into music in the first place?

I wasn't that cool when I was younger. I didn't listen to what you would class as cool stuff like My Bloody Valentine or house music. I was a bit too young for that at the time and good into that stuff later. I started playing the piano when I was about eight – classically trained – and then I was always into music and drama at school. I had a short stint at Glasgow uni when I was 17. I got into uni to do music but when I went for the interview, I decided I wouldn't do music, I would do something else. I'm not telling you what I ended up doing but I didn't last there, so I took about six months off and then decided music was what I wanted to do. I went to Liverpool University where I studied popular music and that's where I met the rest of Ladytron towards the end of my degree.

Before we did this interview, so many people got in touch to say how much they still rate Ladytron.

It's great. It's kind of surprising to me sometimes how many people have heard of us! We did really well in some places, but they never really got us as much in the UK. In a way, it's nice to have that kind of anonymity back home because I don't think I could handle it otherwise. I mean, there have been a few occasions – I got offered free cake in Starbucks once about ten years ago – but I think we have the best of both worlds.

Will Ladytron be back at any point?

Yes, definitely. That was a worry for the rest of the band when I decided to do the solo album – that people would think we're splitting up, so I've tried to stress all along the way that we're still together. We're just taking a year out to do things. We're all moving around – I've moved here, one guy is in America, one guys has moved to Brazil, so we're just using that time to take a step back before making a new album.

You were saying your new stuff is very pop. Is it still electro-based?

I wanted it to be electronic, yes. Having been in Ladytron for so long, it's just natural for me to want to do that but I think it possibly has more of a folk edge. It's got a softer, more gentle edge than what I've done with Ladytron. There's 'real' instruments and piano as well, as well as synths.

How do you go about writing?

I have got a little set up at home and I just have a MIDI keyboard and a basic vocal setup. That's how it all starts – I'll write a complete demo at home that gets so far and if I think it's good, I'll work on it in the studio to make it into something more official.

Have you always written for your own projects, or have you written for other people as well?

There's been a couple of things but I'm not sure if they ever saw the light of day... I've had a couple of things come past me that just haven't been right. I would be open to writing for other people – maybe I've grown a bit in confidence by doing my own thing and I'm completely in control which feels good.

I went back to Iceland in November and I was working on a song with my co-producer and we were working on a song together from scratch which was something completely new for me. Even with Ladytron, one person will write at home and then throw it to someone else to put a melody down or do some instrumentals. I was really shit scared about this – I didn't know what to expect but in the end, he's such a cool guy, that made me really relaxed so we were just bouncing stuff off each other which was new and I quite enjoyed that.

How do you feel about the rise in popularity of new female-fronted electro acts like Grimes and Austra?

I think it's great. I'm all for more girls doing it. When we first started doing it, there wasn't very many girls on the scene, especially in electronic acts. When Ladytron first started out, it was mostly indie guitar bands in Liverpool so we were quite unusual in that we were electronic, as well as having two girls fronting it which was very unusual at the time.

Do you think that the music industry is a bit of a boy's club?

I'm not sure that's so true now. Yes, the majority of bands are boys and fronted by guys but behind the scenes, there's a lot of women writing for people, and a lot of the bigger acts like Christina Aguilera and Katy Perry are women who have a lot of influence. Occasionally yeah, you'll meet an arsehole, but generally if people think you're making good music, they want to be a part of that. I've never had any problems in the industry just because of the fact that I am a girl.

That's good news. What advice would you give to people wanting to progress in the music industry?

It's hard because at the moment it's quite saturated. I'm always quite embarrassed when I meet new people and they ask me what I do and I say, "I'm in a band". I feel like the must be rolling their eyes – or maybe it's me who's rolling my eyes, because it seems like everyone is in a band now. Nowadays, it's all so accessible that you can do it yourself. If you've got a laptop and some software, then you should be able to produce something to a standard where it can be heard by other people in demo form.

When Ladytron first started, we didn't go down the conventional route. We didn't do any gigs at all. We made all the music and then got airplay on Steve Lamacq and John Peel and that's how we got noticed. I'm not sure if that's how it would happen now but I always felt like a lot of bands just gigged constantly in pubs but weren't getting any exposure outside of that. You need to send your music to people who are in a position to play it. Gigging obviously gets you into a position, once you have been noticed, to have all your stuff together and play it but it doesn't necessarily get you out there, so I would approach things like radio and get a manager.

And what are your plans for the year – finishing the album? Playing some shows?

Yes – we'll get the album finished soon (although not as soon as it should be!). I'm not sure what will happen. Will people like it? And if they do like it, will I have to play gigs? It'll be good but I'll be scared...

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The Electricity Club interview (2013)

One of the key players in the renaissance of electronic music during the last decade or so have been Ladytron. The quartet's dark flavoured, synthesized fusion has gained a loyal, enthusiastic audience with headline shows all the world as well as a prestigious support slot with Nine Inch Nails and invitations to open for Depeche Mode being an indicator of their cult popularity. Their five albums have varied from the classic synthpop of '604' (2001), the edgier sonics of 'Light & Magic' (2002) and the great bleep forward of 'Witching Hour' (2005) to the rockier overtones of 'Velocifero' (2008) and the dreamy soundscapes of 'Gravity the Seducer' (2011). Brian Eno, one-time member of Roxy Music whose track 'Ladytron' the band are named after, said they were "the best of English pop music". However, although the group originally based themselves in founder members Danny Hunt and Reuben Wu's home city of Liverpool, the multi-cultural make-up of Ladytron has been a key ingredient in their artistic success; Reuben Wu is of Chinese parentage, Mira Aroyo hails from Sofia while Helen Marnie is from Glasgow.

With Ladytron currently in hiatus, main vocalist Helen Marnie has taken a busman's holiday and recorded a solo album "with more of a pop element and pristine vocals". The end result will be released under the moniker of Marnie via Pledge Music, an online Direct-to-Fan / Fan-funded music platform that facilitates musicians to reach out to their fanbase and financially contribute to upcoming recordings or other musical projects in return for the music itself, exclusive updates and exclusive merchandise offers. It's an innovative approach that is very much in keeping with the forward thinking ethos of Ladytron. With the almost complete project still very much under wraps but scheduled to be unleashed in the Spring of 2013, Helen Marnie kindly chatted to The Electricity Club about what may in store with her debut offering and how she thinks crowdfunding is the way forward for musicians...

The Ladytron '00-10' compilation nicely documented the band's career to date. What have been your own career highlights?

It's such a long time, there's been quite a few. Playing the Sydney Opera House was one of them. I'm a massive fan of Australia and being asked to play there by Brian Eno was pretty cool. Doing Coachella both times was amazing, coming from the UK and going over there playing to a crowd that big... you feel like you're relatively unknown so it's quite special.

Going to China in 2005 was another, we were taken out there by The British Council and we did five gigs there in Shenzhen, Chongqing and Shanghai. Before going out there, I was a bit hesitant because no-one was going to know us, they couldn't even get the album out there. But Shenzhen, it was right next to Hong Kong. So playing there, it was really great and absolutely packed as people had travelled over from Hong Kong where Ladytron probably went down quite well. Overall, that tour was quite an eye opener, I'd never been to China and it was educational.

How do you look back on the last Ladytron album 'Gravity the Seducer' as it seemed to get a mixed reaction from fans?

Well, I think there was, but then there always is! *laughs*

I love it and we were all happy with it. I think that album and 'Witching Hour' are my favourites. But there are always fans that want another '604' or 'Light & Magic'. We weren't really happy to stay that way and after you've done ten years of touring, it kind of changes you and the kind of record you want to make, so you want to keep doing things differently. I think as well, there's a lot of Mira fans who want something in Bulgarian and if you don't deliver, they get a bit... disappointed! If Mira wants to sing in English, she'll sing in English! It's her choice! *laughs*

You can never please everyone... so as long as we're happy, that's cool.

The approach to the vocals on 'Ambulances' was quite different to what you had done before. What inspired that?

I don't know, I wrote that song so it's quite personal to me but it just comes naturally. I guess it is a bit different as it's quite high; it's falsetto-ish which I guess is unusual for Ladytron. It's what came and felt right for the track and I think it's quite an emotional song so maybe it's sung that way as well.

When did a solo album become a realistic project for you to undertake and what motivated you? What's its title?

The album doesn't have a title yet. I played around with the idea for a couple of years and joked about it for while. I had a handful of songs and when Ladytron had some time off last year, I began to believe it could be a reality. I thought if I have the opportunity, I'm just going to go for it. So I started writing as much as I could. The album is produced by Danny from the band but I was very aware that I didn't want it to be a Ladytron record... obviously I'm one quarter of Ladytron but I wanted it to be something different. I don't think it would sound like a Ladytron record with just me because we've all got different ideas of what we want and different elements from everybody go into the band. So there's another producer Bardi Johannsson who has worked with Keren Ann, he has his own band Bang Gang and he's working with AIR right now. He's from Iceland so the opportunity came to go out there and record at his home studio.

You mentioned Danny Hunt being involved but bearing in mind what you said about wanting it different from Ladytron, had you considered to making this album Tron free?

Looking back now, maybe I should have done it that way but the opportunity arose and Danny wanted to do it. I wasn't quite sure how I would do it with anyone else really at the time. It just felt right.

The instrumental soundtracking the launch video is very dreamy and appropriately serene... how has the Icelandic environment been to work in and did the landscapes inspire you?

The record was written before I went out there but I've been to Iceland before... it's kind of a strange place! *laughs*

Reykjavik is pretty cool but tiny. It's very relaxing and the people are nice, it's very fresh and there's a lot of creative people there. Working with Bardi was cool because he's like an Icelandic rock star so knows absolutely everyone there. So if we wanted a drummer in, he could arrange that or someone on strings. But the reality is, we were working quite long days so it was limited how much light I saw but the experience overall was pretty good.

What approaches have you been taking that are different from Ladytron?

I guess having to write on my own, and a whole album as well. The approach is not so much different because in Ladytron, one person writes and you either take it into the studio and develop it, or someone else adds something. That's was pretty much the same thing. I had the songs as far as I could take them and they were developed more fully in Iceland. They've changed quite substantially with instrumentation and things like that.

You've described this album as 'an electronic pop album' and cited ABBA as an influence; this sounds quite intriguing as Reuben once described Ladytron as "ABBA Noir" while Danny said "I'm suspicious of people who don't like ABBA – it's like not liking music!"... who have been the other influences?

ABBA is kind of a flippant inspiration; probably I was more referring to the album being song based; melodies and things like that. The stuff I've written is electronic but I find it difficult to pin point really what genre it's in... that's probably not a bad thing. It's definitely more pop than Ladytron, and I wanted it to be like that, and more song based. It's not a dance album so if people are expecting that, they're going to be disappointed. But there are elements of that in there. It's quite dramatic... when I'm writing, I tend not to listen to that much of the stuff that's going on around now. I find it a bit distracting because you never know what will slip into your head and then you've written something and think "oh this is amazing" and then you realise a little bit of it's from somewhere else. So I'm quite enjoying now actually listening to loads of stuff after the process has finished. *laughs*

It's weird, when I sit down to write, it's like a specific time and something's happened... I feel like I need to get it out and it'll start from there. It's an emotional process and that's probably when I get most writing done.

What instruments have you been using? Are you still using the faithful Korg Delta or the Cordovox? Or have you gone virtual or organic as it were?

There's a Delta in there, there is a Moog and Vocoder but they're subliminal. You wouldn't necessarily know they're there. There's piano across the album and some autoharp but there's lots of synths and organs. It's all virtual to start with and we'll add more or take away what was on the demo and replace it with a real synth. That's generally how it happens.

Can you describe some of the songs you've been working on?

There is a song called 'Submariner', it's about a person but also influenced by the environment and the sea obviously. And...yeah, that's all I'll give you right now! *laughs*

Pledge Music is a novel idea for raising an independent budget for the album, how does this work for you as an artist?

Basically, if I hadn't had done the pledge, I wouldn't have been able to do this album. I couldn't really see a label taking it up, especially when the demos weren't quite in the right state for them to hear. I don't think it would have happened without Pledge. I know a lot of people are saying "hasn't she got her own money, why can't she make it herself?" But the reality is, it costs a hell of a lot of money to make an album with a producer and a studio so Pledge Music made it viable. I think as well, the people who have pledged are quite excited by it and feel like they're a part of it...well, they are because they contributed to making it. I'm glad I've gone down this route so far, it's not over yet but I'm happy with how it's gone. I think it's been a success. I just hope that the people who have actually paid good money aren't disappointed with what they get because they haven't heard any of it yet apart from a tiny little bit of a song! *laughs*

It's an interesting this "less is more" approach because you can give too much away on the internet these days, it's nice to have a bit of mystery...

Yes, but I do feel the pressure of possibly letting them down a little bit. I think they've got to be open minded to do it in the first place because they don't know what to expect. They can't expect something sounding like Ladytron because it's me! But I think that crowdfunding is going to explode, it's already a huge thing but it's just going to go a lot further because where are artists making money these days? And how can they? Bands and artists have to do things themselves now so this is a good way for them to do it.

I noticed IAMX is doing his next album via Pledge Music...

There a lot of people doing it, they're making a lot of money though *laughs*

One of the things you get with Pledge Music is the sale of artefacts and memorabilia. I see you had takers for your shoes and your bikini...

A MAN!!! *laughs*

What? For the bikini or the shoes??

Yeah...both of them!! *laughs*

Was there much interest in your Mini-Cooper?

NO!! Not at all! I kinda put it on there for a laugh... no-one is seriously going to buy it but if someone wants to do, then they can have it y'know! I really love my Mini, I'm going to keep it and it's garaged. But I have a dog now and I can't fit my dog on my knees so it's not really ideal! But it's a good car! I thought it would be a fun thing for the pledge. *laughs*

The moniker Marnie is obviously from your surname but are you a fan of the Hitchcock film?

Oh yes, definitely but we came first... a lot of people call me Marnie anyway so it feels close to me and I didn't feel comfortable using my full name so I thought I'd do it that way.

Is Marnie intended to be a studio-bound project or will you go out live?

The way I'm approaching it is one step at a time. The album is not finished yet, it needs to be mixed and mastered. Then we have to fulfil all the pledges. So once it's out and anyone likes it and they want me to do some things, I will consider it. I'm very open to things but I'm realistic as well. I want to see how things go but I think it would be really exciting... I would be scared shitless doing something live on my own I think, but I would be really excited!

Have you heard the new Glaswegian electronic act Chvrches?

Oh yes, I love them. I think they're going to be huge. I think they're great, they're really crunchy, they've got good melodies, rests and stuff going on. The singer, she's got a unique voice and it works well with the music that they're making.

What else have you been listening to?

I got into Grimes, the vocals of Ren Harvieu and Bat For Lashes but then, I've always liked her. I don't necessarily listen to electronic stuff all the time and some of it, I'm kinda "Hmmmm"! I think it's great that electronic music is on a high at right now but it's so saturated as well. Everyone's going "it's great" cos it's electronic and I'm like "I'm not so sure" so... but there's lots of good stuff.

What's next for Ladytron?

Ladytron are still all together. It's just a period of time to think really. Mira's busy with her family, Danny's just recently moved to Brazil, I think Reuben's moving to the US and I've just moved back up to Glasgow... so it's a period of change.

We need some time just to get ourselves together but we'll be writing over the next few months to get the songs together for another album which could be out this year, but we'll just see how it goes really. We do plan to do another album which we will all be working for when the time is right.

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Under the Radar interview (2012)

Top 10 Albums of 2012

1. Lana Del Rey: Born to Die — I don't care where she's come from, if it's for real, it's a game, or all for show. This girl is super talented and has created an album of huge hits. No easy feat.
2. Bat For Lashes: The Haunted Man — I've loved Bat For Lashes from day one. She is consistently good. Her dulcet tones helped lull me to sleep in my bunk on the tour bus over a two-month period.
3. Grimes: Visions — Her videos are cool. It's obvious she does what she wants. Her songs are serene electronica. Soothing, yet they make me want to dance at the same time.
4. Friends: Manifest! — "I'm His Girl" is one of those tracks that is just an instant classic. I was lucky enough to see these guys play in London in February.
5. Emeli Sande: Our Version of Events — She hails from Scotland, so one bonus point there. She also has one of the best voices I have ever heard. The kind of voice that makes you cry because you will never be able to emulate such great heights. "Heaven" is a great, great track.
6. Beach House: Bloom — I'd never listened to Beach House before this alburn. It feels good.
7. Miaoux Miaoux: Light of the North — I've recently moved back to Glasgow from London so wanted to immerse myself in the music scene up here. I'm all about flying the flag. 8. The M Machine: Metropolis Pt. 1 - I discovered this album when I was looking for tunes to spin for a DJ gig in Poland this sumrner. It's not what I would usually listen to, but everything has a place. Love the dirtiness of "Immigrants." Love, love, love it.
9. Tame Impala: Lonerism
10. Churches — OK, so they haven't officially got an album out yet, but perhaps they will have by the time this is print. I've loved their songs "Lies" and "Mother." Again, hailing frorn Glasgow. I think these two guys and a girl are going to go far. They're so fresh.

What was the highlight of 2012 for either you personally or for the band?

I think I will remember 2012 as the year I wrote and recorded my debut solo album, launched a Pledge campaign to support it, and fulfilled the target within about two days. It's amazing what people power can do.

What was the low point of 2012 for you?

The low point of 2012 for me was losing my granddad. He was so cool. I miss him.

Tell us about your first kiss.

I had my first kiss when I was about 12. I wore a brace. Not cool.

Did you watch this year's Olympics? What was your favorite event and which event would you be best at?

I lived in Hackney until a couple of months ago so was lucky to have the Olympics right on my doorstep. It was such a great time. Everyone was on a high. London had never been such a happy, friendly place! One of my favorite events is the swimming and I actually went to some of the heats. Being a bit of a water baby, I like to think I'd be good at the freestyle.

What is your least favorite sound? What is your favorite?

I hate the sound of a knife on a plate. It makes me angry when someone eats too hard! I was walking my dog the other week in the Glasgow sunshine, kicking through the autumn leaves. It made me smile.

What do you think about the use of drone attacks in the war on terror?

Drone attacks are this generally unreported elephant in the room. I'm sure if more people were aware they were happening and knew the destruction they created then there would be outrage. It's like blanket killing. Maybe a target will be hit, maybe not, maybe just innocent civilians. Imagine if this was happening in The West. World War III would break out. People are people—it doesn't matter where they come from.

In 2012, what was the best movie you saw, book you read, comic book you read, video game you play and/or TV show you watched?

I've been really hooked on Homeland over the last year. It keeps me gripped. I haven't liked Claire Danes this much since My So Called Life.



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