![]() ![]() In ‘Glitch The System’, I think I had the Peak too hot or something. But a lot of the time I leave that stuff in. “There's a couple of songs where I've pressed a couple of wrong notes. Mistakes can creep in, but this is part of the fun. She will set up a synth-pedal chain and jam on it for a few minutes, capturing the output in Live. Clips like these give an insight into how hardware fits into her process. James’s latest granular plaything is the Tasty Chips GR-1 granular synthesizer, which she has enjoyed roadtesting on tracks by Kelela and Ice Spice. This makes sense: her music’s fidgety beats and swarm-like atmospheres often seem constructed from snippets of familiar sounds. Granular delays and loopers have a particular place in her heart. I just like seeing what happens, and then not necessarily being able to replicate it.” I still don't really know how to use a lot of the. “It's definitely been fun being outside of the box for the first time. In the studio, she enjoys combining them with wilder tools to access unexpected sonic worlds. ![]() So I can play the record at whatever pace, and experiment with it live.”īoth of these synths will likely come on the road with her. “I'm excited to play in the Autumn because I'm not really doing any club shows. Instead, she’s focusing on other performance spaces. Sometimes I'm playing songs 10, 15 BPM faster to fit the space.” Most songs on my albums, I can't really play in the club because it doesn't fit. Everything is faster now, and there’s no time to even have an introspective moment. I’m finding it a little harder to navigate through club spaces. These days, she finds clubs aren’t always the best context for her music - particularly as average tempos and energy levels have increased. James emerged from the UK club scene, and her glitchy live performances sat comfortably alongside cutting-edge DJ sets. This reflects a wider shift in her music. Her music’s sharp edges have been smoothed down a little, and the poignant introspection of her synths tends to get the upper hand over her agitated rhythms. These dreamy presences help make Gentle Confrontation the softest album James has released under her own name. The result is an album that’s closer to James’s vision than anything she’s made yet. It’s also more personal, with stark autobiographical tracks like ’2003’ - named for the year that James’s father passed away - and a palette of influences drawn from her teenage years. Gentle Confrontation is her most refined record, the result of a careful process of revision and refinement. The fruitful patch continues with James’s latest album under her own name. Her creativity has taken diverging paths, forking off into side aliases (the ambient Whatever The Weather) and unusual projects (the Julius Eastman tribute album Building Something Beautiful For Me). She spins up fidgety IDM and dreamy synthscapes, toys with influences as diverse as drill and Midwest emo, and enlists a cast of collaborators to create smart electronic pop songs. The London producer has released three albums in the past two years, and their contents rarely sit still. ![]() Perhaps this is why she’s been so active lately. With an album I like to dedicate a few months to writing it and then move on. Loraine James gets restless when she makes music.
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