It’s been an incredibly long time since I last wrote a full proper journal entry, which is kind of unusual, but there we go. Last thing I wrote was introducing The Borderlands, last June. Since then I’ve started up another new project, Enofa, and in the process accidentally consigned The Borderlands to almost-non-existent side-project. There’ll probably be a few compilation tracks, and there’s a tape with an early demo version of Melkur coming along, but otherwise that’s yer lot I think.
As Enofa I released two albums at the end of last year. Arboretum was released on Time Released Sound in two beautiful hand-made packages (both sold out now), and featured on a few end-of-year lists (including A Closer Listen’s top 10 ambient albums feature), which was absolutely wonderful. It also received airplay on BBC Radio 3’s Late Junction programme. It sold out very quickly and I’m just really overwhelmed by the positive response the album received. It was swiftly followed by a self-released album, Melkur, which is much darker, generally a sound collage piece which I’d spent ages working on (initially as The Borderlands), and I wanted to just sort of get out there. It’s a free / pay-what-you-want download on the Enofa Bandcamp, and CDrs are available too.
I’m really happy with both of the albums, and they feel almost like a creative rejuvenation, in that both came totally naturally without any real worries about style or approach or anything: just instinct. My best music has always come from instinct, and that definitely benefitted both of those. Since I finished Melkur last September I’ve been dabbling with various sounds and styles and working on new bits, but nothing solid is ready to go yet. I’m quite enjoying taking a bit of time to just work at my own pace, as for the past few years I’ve always seemed to have multiple projects on the go. I’m currently working through arranging and organising my sample library, which mostly involves renaming and sorting through a few thousand files and putting them into folders so I have everything in places, and finding new sounds. I’ve actually discovered a huge load of samples, noises, even whole unfinished tracks from the past that I had no idea I even had (as well as a few things I don’t recognise at all and can’t even guarantee are by me). I think I’m most comfortable working with audio and collaging – it’s how I started making music, with tapes, and collaging and arranging is always my favourite aspect of working on an album – so after a few years of jamming around with synths and hardware, largely to much anxiety, it’s actually really nice to be able to get back to working in a way that suits me. The past few years have largely been dominated by enjoying making music but not being happy with the final thing, or making music I like but hating the process, so returning to a way that covers both ends for me is a really positive move. I just need to ensure I’m able to still explore new ideas and approaches within this area. Either way, having a neatly organised sample library will enable me to spend more time on creating and less time on looking for sounds while I should be arranging them.
Health-wise, I feel like I’m close to full recovery from the mental health problems I’ve been suffering with for the past nine years. I have a job interview next week – the first job I’ve applied for in six years and straight to interview stage! – and am looking to move to Birmingham this year. Exploring the city in recent times has revealed a lot more interesting stuff going on than I knew was there, so hopefully that should be a good move.
Recently I’ve been listening to a lot of guitar-based stuff for the first time in years. The Manics, James, Wolf Alice, Idlewild, and the new Desperate Journalist album. One of these days I’ll properly get to work on the third Curse of Kevin Carter album. And otherwise, FSOL and a bunch of beautiful ECM albums. As usual.
enofa 