On this week’s show, I was delighted to have the opportunity to chat to one of Ireland’s great emerging singer – songwriters. Lydia Ford is a Berlin based, Mayo native who has just released her new single entitled ‘A Year’.
During our conversation, we chat about moving countries in a pandemic, using same sex pronouns in songwriting and much more.
Here’s what was on the menu on this week’s episode of The London Ear.
1.We Cut Corners: Moon Landing
2. Sinead O’Brien: Most Modern Painting
3. Pure Grand: Such A Fright
4. Orla Gartland: Pretending
5. New Dad: Blue
6. Elkae: Signal
7. Lydia Ford: Overrated
8. Chat with Lydia Ford
9. Lydia Ford: A Year
10. St Bishop: Dreaming
11. Future Fears: Obvious
Listen on Demand to The London Ear
Thanks for listening, The London Ear broadcast on DAB radio, Saorview, nationwide in Ireland and outside Ireland you can listen online. You can listen to the show again on the RTÉ player including all previous episodes. The show is broadcast every Saturday at 1300.
In times such as these, it’s great to be able to sit back and chill, to take your mind off things and Irish in London musician, Hypnotyst makes the type of music which is perfect for that.
He’s a relative newcomer to London and moved to study music in London’s new music centre, Tileyard. We caught up to chat about his music, how where he has lived has influenced his music, adding your spiritual life to music and living a sustainable life in London.
Hello Hypnotyst! Who are you? Where are you and how are you?
Hello Nessy my good friend! I am well and you? I am currently in my home studio working on some new music! How is your handsome kitty Norman?
Norman is good, thank you, spoiled rotten! Anyway, on with the questions!
You’ve been doing online shows, just because you’re an electronic artist, doesn’t mean this is going to be a DJ set. What can we expect from a ‘Live’ Hypnotyst experience?
Normally I prefer to perform live rather than a DJ set, as I do love to sing and play instruments while performing. I find it very fulfilling and inspiring to do a live performance rather than a DJ set. Although I have enjoyed doing DJ sets in the past. My live performances are usually just done by myself. I sing, play synths and trigger all kinds of drum patterns and effect sound which are present in my music. I often feel like I need a spare hand to cope with the demands of my production.
You recently won a bursary which consisted of some Yamaha gear.. how did you manage that?
I was very fortunate to be chosen by Yamaha to work in partnership with any artistic brand, in addition to promoting both my music and their brand together. This is such a fantastic opportunity as Yamaha is one of the leading brands within the music industry globally. I was very pleased to receive this great honour and recognition of all the hard work I have done within the music industry. In conversation with Yamaha, they stated “we kept coming back to your music, it had a certain appeal we are seeking from artists”, which was lovely to hear. I do make a huge amount of electronic synthesised music and Yamaha have made some ground breaking synths over the years, so I feel this collaboration is perfectly harmonious. I look forward to using this bursary equipment in my new music and productions.
I was awarded the following equipment:
HS7 Studio Monitors
HPH MT8 Studio Headphone
Reface DX Synth
Reface CS Synth
One of the great things about Tileyard is that is seems to have opened you and your music up to lots of collaboration with other artists. Are these collaborations going to be released at any point?
Yes indeed, I have always been a great fan of collaboration with artists, singers, songwriters and top liners. Moving to London and then studying in Tileyard has really opened all kinds of doors for collaboration, and working together with some extremely talented and lovely people. My music and indeed other collaborations have been warmly received here in the UK, and indeed I am planning several exciting releases in the works over the next few months. I have so many at this point, my audience will be hearing excellent music for years to come!
You’re Irish, and were living in Cardiff before moving to London. Have the places you’ve lived influenced your work?
I certainly think that these locations have influenced my sound and artistic vision. When I was living on the peaceful beaches of Garretstown in Ireland the amazing ocean scenery would inspire me to compose very summery, watery sounding music, which heavily contributed to the spacey watery sound of my debut EP “Lose Control”. Upon moving to Cardiff I noticed a similar way of life to Ireland, which lead to the next stage of my artistic development. However this location did not last long in my journey and then a move to London happened. I moved to London to really focus on my music and give it the best opportunities I could, which I am thankful has lead to being in the amazing community that is Tileyard. I have never had my music heard by so many influential people, and the feedback so far has been great. Of course there is always work to be done in the never ending quest for perfection!
Upon moving to London I really started to soak up the city atmosphere and the influential electronic sounds of all the great UK artists that I love and admire (such as Gorgon City and Disclosure). My new sound is now like a combination of Ireland, Wales and London: still channeling the watery beaches of Ireland, but with via the Welsh mythology and the futuristic electronics of London. I very much look forward to sharing my new music with the world, and of course when it is ready I shall contact you first!
Your music always seems to be upbeat and kinda meditative, how do manage to strike a balance with that?
In general, I am quite a spiritual and balanced person (as much as one can be!), and it is my artistic vision to incorporate all aspects of my spiritual life into my music. I started composing my music for HYPNOTYST with the intentions of healing anyone who listens to the music. All of my music is tuned to specific keys which heal mental, emotional and physical imbalances within the body and mind of anyone who listens to the music. I was very happy when we first spoke and you instantly understood this vision, as I could see it was working! In these crazy times it has been a bit difficult to remain constantly positive, and of course music has been a great help to get me thought these tough times. I often get messages on Instagram from fans saying that they have used my songs as a kind of meditation and it has helped them in some way. The best example is my song Let It Go. I composed this for myself and others who need to let the older aspects of themselves go and become the best most excellent version of ones self. I find this song in particular has struck a chord in the hearts of many of my fans for this reason, it is very uplifting and healing, indeed it is like a celebration of focusing on a new journey in life.
You’ve previously been a guest on The London Ear and we chatted about your ethos, of being conscious of the the world around you. Is this more than living a green life, being as sustainable as possible? Is it possible to do that, from your point of view, in a city like London?
I do find it quite challenging in the world in general to stand up and be the conscious human we should all strive to be. My hope is that through my music many fans will understand this world view and slowing think about expanding their hearts and minds, as well as having compassion for both themselves and others. I am viewed by many as a “big hippy” as I believe that connection, love and respect for all our fellow humans and species on earth is important to our evolution as a whole consciousness. London presents both a huge amount of opportunities and a huge amount of challenges, in this regard. I try to make the best possible choices to lead my to ultimate happiness, and so far my experience of London has been quite amazing. I have met a huge amount of spiritual people in vast spiritual communities which did not exist in Ireland, and of course an ocean of musical connections! My plan is to continue to grow this network and connect with as many people who would benefit from the healing I offer within my music.
From following you on social media, I know you’re pretty much always making music anyway. Has lockdown been a help or hindrance to your creative process?
Indeed I am a self proclaimed studio junkie, and if I had my choice I would be in the studio 7 days a week, working on music being inspired, and collaborating with my super talented artist friends. In Tileyard there is a running joke that my name should be painted in the door of Studio 5 has I spend most of my life in there at the moment (well certainly before lockdown began!). Unfortunately lockdown has not served me well in this regard. It has been a bit disheartening to not be able to attend studio daily and meet the people I work and collaborate with. As a musician, songwriter and producer, we need to be around others and interact with them in a studio environment. There is absolutely no substitute for being in studio in real person. Zoom writing sessions, which are the current new craze, are not as exciting, as the moment or vibe is often lost in translation over the internet. I have however been mixing and producing my own tracks during this time, so they are closer to completion and unleashing upon the world! I hope we return to normal as soon as we can I very much look forward to being in the studio all the time again!
Music is not only a creative outlet for you, it’s your work. What plans, although they may change now, are you working towards?
A yes, music is my reason for life! I always say this to everyone. Music has been the most constant aspect of my life and I have spent so many years working so hard on it, as I am sure you know, a lot of this industry survives on hard work! I have enjoyed it immensely being employed in a job that I love to do, creating art for other to enjoy and experience. My current goals are to release this enormous backlog of music in my archives and get back touring when we are allowed to. Yamaha have several stages around the UK and they said I would be a featured artist on these stages as soon as gigs are allowed to start again, and I am very excited about this opportunity. Since attending Tileyard other songwriting opportunities have entered my work arena. We constantly write songs to brief for artists, labels, advertising agencies and film makers. These areas of work have expanded my horizons in regards to sustaining a career within the music industry, which is very important to my personal growth as a human.
What has lockdown taught you about yourself?
This lockdown has been very challenging in many ways. I think the best thing I have learned is my ability to pick myself up and just keep going on! I have faced many human adversities in my life, like most of the planet, and in order to live the successful life I desire I must go out there and create it into existence. I have to focus on this and remember this whenever I have dark days during these unprecedented times. Lockdown has also taught me that having a large amount of free time does not help me finishing my music! I need to be in the studio for that creative inspiration and vibe to bring songs to completion. I do feel much better at the moment, and will continue to strive towards my new few releases.
The new normal is something that people are both embracing and scared of. What are you most looking forward to doing when we have a bit more freedom?
One of the first things will be to have a nice cup of coffee at my favourite coffee shop. You never realise how much for granted we take these things! Many of my fans will know that I am a serious devotee to the art of coffee and how it contributes to my music. And of course seeing my friends is high on the list, but most importantly I will be the most delighted to return to my natural habitat in Tileyard Studio 5! As an avid gig goer I also highly anticipate the return of being able to watch live music again. You can find me front and centre when it’s all back to normal!
Send us a lockdown selfie?
My new studio assistant has been featuring in my stories on Instagram recently. His name is Drew (the giraffe!). He says hello too!
Finally where can we find you online?
Where’s the best place to check out your music?
These days I am all over the internet, all social media platforms and all streaming platforms. I will include the top destinations below:
There are times when we find ourselves getting to know new people at different points of our lives. Adam Wedd was one of the first musicians I got to know, initially through work, after I moved to London.
Looking at the six years years or so since then, I’ve been amazed and totally impressed with how much his songwriting, musicianship and performance has grown.
Despite being stuck in the middle of a pandemic, Adam decided to release two new singles ‘Who We Are’ and ‘Madman’. It’s time I introduced you all to this talented Englishman.
Hello Adam Wedd, where are you and how the hell are you?
Hey, I’m writing this from the Chiswick based studio I work at, I’ve got a little bit of cabin fever, but generally I’m ok! Thanks for asking!
If Smash Hits were to describe you in a paragraph, what would it be?
My comedian friend Pete Bazely calls me the following… An old Bob Dylan / a Young Ed Sheeran. or the illegitimate love child of Gordon Ramsey makes Pop Folk storytelling music.
Most people decide to release one single at a time. You’ve released two. Madman and Who We Are. What was the reasoning behind that?
Well, the main reason was because I was meant to be playing live shows in Europe and the USA which all got cancelled . This twinned with the fact I have so many unreleased tunes I’m sitting on, we thought we may as we try and connect with people digitally via streaming and also give people some new songs to enjoy alongside all the classics during lockdown.
The other reason is that the 2 songs we released are so incredibly different from each other. One is a pop reggae indie tune about how all of humanity , despite our differences actually need each other and Madman is a grime, trap pop tune that tells of an jealous ex lover trying to win back your new partner – like I said – they’re a little different sounding! ha!
You’ve been working with Blacksmith on these, it’s a much different style to your music from a couple of years ago. It was much more singer songwriter style. How did the evolution come around?
I’ve always loved collaborating with people from all genres, it’s usually for fun and behind closed doors but Blacksmith and I worked together or writing a few songs for pitches for record labels whilst we were in Sweden and we hit it off then , so for the last year we thought, why not – let’s put something out together! It’s been a combination of Tileyard & Metropolis studios, I was writing on the road the whole time I was on my USA tour and also Blacksmiths home studio set up.
I’ve seen some of your live shows and ‘Who We Are’ always seems to be a huge collaboration with other musicians and vocalists and a fantastic party tune. Is collaboration part of you as a musician and artist?
Humanity done well is collaboration right? So I feel it’s the same with most songs. Not all songs. But most. I know that as a person I have so many blind spots, so I always love finding people who are better than me and working with them.
You did a Masters in Tileyard in songwriting last year. How much has that changed how you approach your work?
It completed turned my working style upside down. I’ve always enjoyed being a writer and seen music in an airy fairy romantic sort of way. Writing and working with people at Tileyard completely challenged my work ethos and writing method. I got the chance to work with so many great people. As a musician, so often you are working on your own – the great thing about rare places like Tileyard are that it’s ultimately a community. We all work better together.
What’s more of a long term goal for you – writing and performing your songs yourself or potentially having other people record your music?
I’ve done lots of writing for others, I’m really proud of a song called ‘Karma’ by We Architects feat Tana, check it out on the YouTube or Spotify, I’m proud to have been involved in writing that one.
Writing songs for myself or with other people , it’s all trying to tell a story and make sense of all our life experiences. Long term goal for me is I’d LOVE to put out an album of my songs and I’ve got a few other cheeky goals up my sleeve too 😛
You’ve been pretty prolific releasing singles over the past year or so. Is this leading to an album or a collection of sorts?
Hopefully there should be an EP at some point. I’ll put out an album someday, its such a big statement, y’know? and it’s expensive too! ha I’m just focussing on making enough money to buy bread and milk right now 🙂
You’ve been releasing music for a few years now. What advice would you give your younger self?
Always keep writing, work with as many writers as possible, it helps you hone your on style and craft. Also , that the best songs come from life, not from chasing chart hits! ha! That I believe one will eventually follow the other. We all look for genuine authenticity , I think it’s the same with hit songs and records.
The Covid-19 pandemic has obviously changed a lot of things for musicians and artists, what new routines have you embraced?
I try and run everyday, I’ve been working a bit , so been good to do that and run to the studio and back. Sometimes I stop to smell flowers. Yoga is something I try and do ( Youtube with Adrienne) keeps me flexible and zen.
We’ve been gardening in our house which has been super fun and super creative ‘cos we don’t have a garden! So we’ve made our roof into something from Day of the Triffids! Also great for the soul! Been making soup. Been watching far too much Netflix and oh yeh, writing songs most days and working out which songs should go to who and if I’m keeping them on which ep 🙂
After lockdown, what venue are you looking forward to playing?
Shepherds Bush Empire / Wembley Stadium. In that order, probably with a 1000 shows in between.
You’re based in London, tell us about three new London artists that we should embrace?
I’ll tell you mine if you tell me yours? Ok, I’ve recently starting thinking my house mate is super cute (oops, I’ve said too much ?)
What skills have you picked up during the lockdown?
We’ve been gardening in our house which has been super fun and super creative ‘cos we don’t have a garden! So we’ve made our roof into something from Day of the Triffids! Also great for the soul! Been making soup. Been watching far too much Netflix and oh yeh, writing songs most days and working out which songs should go to who and if I’m keeping them on which ep 🙂
David Turpin is an enigmatic character. The softly spoken musician and screenwriter has been releasing music since 2008, under his own moniker and as The Late David Turpin following a near death experience.
Four albums into his career, Turpin has released ‘Offerings (2008-2020)’, a collection of his favourite tracks from across his catalogue. The collection is only available for streaming and purchase for one day only, May 1 2020 on Bandcamp.
I socially distanced while catching up with Turpin for a bit of a natter.
Hello David, how are you today?
I’m okay, thanks. With one exception, I haven’t spoken to another person face-to-face in six weeks, which has been a trip.
You seem to have turned into the most prolific releaser of Irish music in 2020.
So far you’ve released 2 singles (including ‘Burn Everything’ with drag artiste, Veda), 2 previously unreleased tracks including a cover of Bette Midler’s ‘The Rose’, one instrumental album and now.. a ‘Greatest Hits’. What was the catalyst behind these?
I’ve released a lot of material over the years, and I also have a lot of unreleased material. I don’t like to look back at or listen to my own music, but being locked down on my own for the past six weeks, I’ve braved a backward glance and found that there were things I was actually proud of and wanted to share. ‘Greatest Hits’ is pushing it, though! I would diplomatically call it a ‘Retrospective Collection’. Perhaps somewhere in the infinite universe they were hits.
Before even listening to the album ‘Offerings’, I can see from the titles that you seem to be influenced by the Greek and Roman classics and by the animal world. How do you join these together to be a happy partnership?
That’s a very interesting observation, and I’m flattered you have made it. One of the texts that’s had a lot of influence on me is Ovid’s Metamorphoses, which is a compendium of classical myths related to transformation, often into animals. I think I’ve always been attracted to the idea of transforming into something else, perhaps because I’ve never felt at home in my self.
Most artists will always prefer their latest work as it’s what they currently have a more emotional attachment to. How did you choose the tracks for the compilation?
By memory at first, as I really don’t like listening to myself. In a way it was liberating never having had any ‘hit singles’ – if such a thing even exists any more – because I was free to choose the songs I liked. I haven’t always got it right, by a long chalk, but I think these 13 songs are ones where I got pretty close.
‘Offerings’ is only available to purchase for one day. Will we be able to stream it in the future or is it really a one day deal?
I kind of like the idea of it being there for one day and then gone. Part of looking back is recognising one’s own impermanence, so in a way it makes sense that it doesn’t hang around.
How do you describe your evolution or growth as an artist? We can all change a lot in 12 years.
I think, for a lot of people, getting older is seen as a process of loss. But those parts of us that we think we lose – our ability to ‘play’ and to ‘daydream’, for instance – don’t disappear, they just migrate to other places. I’ve tried to keep in touch with them by remaining curious. That’s why, as time has gone on, I’ve worked more and more with other people, and other vocalists.
If you could write to your 12 year younger self, about to release your first album, what advice would you give.
I’m not sure that I’m in a position to advise anybody, least of all myself. I might tell him not to listen to creepy middle-aged men, including the one claiming to be a future him.
You have worked with an amazing array of musicians and singers on your records. If you could write up a wish list, who would like to collaborate with?
For me, it’s less about particular individuals I’d like to work with, and more about kinds of ‘otherness’ I would like to be in contact with. I’d like to work more with vocals in non-English languages, for instance. I would also like to be able to work more with older singers. We don’t often hear the voices of the ‘aged’, aside from a few canonical figures, and it’s a shame because we are losing out on a great deal, sonically, texturally and thematically, by privileging the ‘young’ voice over all others.
I hear that ‘The Lodgers’, the film you wrote and scored is also getting a soundtrack release? It’s not often artists get to meld their two different disciplines like that.
Yes, it’s getting a digital release via a UK label called Burning Witches, and there’ll be a vinyl release to follow. The bulk of that score was by Stephen Shannon and Kevin Murphy, and I just kind of floated in and out. It’s hard with a film because the writer is the first one on, and the music team are the last ones off. So if you do both, you’re with it for a very long time. Being honest, I probably wouldn’t do it again.
How do you separate screen writing and making music. Are they different types of artistic cravings?
They’re different animals entirely. I am mainly working on film projects at the moment, and I do find myself longing, at times, for the freedom of doing music. Film can be a lot more circumscribed. But when you manage to navigate within that and still preserve what you wanted to say, it can be incredibly satisfying.
What three films would you recommend we watch this weekend?
Maybe the most useful thing to do is to recommend things that are easy to access. I know a lot of people have recently subscribed to Disney Plus, so I would recommend the original and best, Snow White and the Seven Dwarfs, which was the first film I ever saw, and which continues to be somewhere in the roots of everything I do. If you’re using Netflix, I would recommend another classic, Blue Velvet. I think it’s one of the best American films of the 1980s, and time hasn’t dimmed its power: it’s still as scary, as sexy, and as strangely humane as ever. For people using Amazon Prime, one of the hidden gems there is a 2006 stop-motion animated feature by Christiane Cegavske called Blood Tea and Red String. I watched it late one night and was mesmerised by its power.
What are you working on (musically or filmically) right now?
At the moment, I’m working on a lot of film projects. I’m also beginning to develop my first feature to direct, which is something I’ve needed to do for a while. It’s a long road, of course, but I’m making a start.
Have you any new film material or music releases planned for the rest of the year?
Well, the Covid-19 crisis has changed a lot of plans in the film industry. The last feature I wrote, The Winter Lake, will be coming out soon, but it’s hard to say any more until we know how the situation develops. I’m looking forward to people seeing the film. It’s a mystery starring Emma Mackey, who I think is a very interesting actress.
What have you learned about yourself during lockdown?
I remain a mystery to myself. But I think lockdown has simple lessons to teach us all: Try to be considerate of others even when they aren’t there to remind you; try to be more comfortable in your own company; and if you need to have a wank, go for it.
Finally, can you make banana bread?
Any cooking involving bananas unnerves me. I remember once a man coming into my school to talk about first aid, and he told my class that – within the column of bone – the spinal cord itself has the same consistency and fragility as a banana. So now I can’t eat bananas without shuddering.
Send us a lockdown selfie?
I daren’t, but I shall.
EDIT May 4 2020: Since May 1 has passed, David has actually made the track ‘Pony Tears’ available as a Name Your Price track on Bandcamp
