Jane Weaver is set to return with her brand-new album, Love In Constant Spectacle, which is out on April 5 via Fire Records. Produced by John Parish - arguably best known for his production work with PJ Harvey, folk-proggers This Is The Kit and singer-songwriter Aldous Harding the fulllength release also marks the first time that she's worked with a producer outside of her immediate creative circle.
"I've always wanted to work with John," admits Weaver, "but I got in touch with him accidentally saying, 'I want to do a new album and get outside of Manchester and what's Bristol like to work in? I'd jump at the chance to work with you. And he said, 'Well, actually, I've got a bit of a gap between now and when I start working with PJ Harvey. So that's what we did.
It was sort of like, 'Right, let's do this thing!' It was like flying by the seat of your pants. So that's what happened." Weaver says that the decision to work with Parish was largely based on her desire to move into new sonic territories that might not have otherwise been explored, as well as wanting to surrender some of the creative input and judgments to more informed and objective ears.
"I wanted somebody else to make some of the decisions," she reveals, "because when you're producing something in the studio, you're essentially making all the decisions; maybe not all the technical ones, but certainly all the way things sound from beginning to end and how it sounds when you deliver it. It was really good having a different person saying, 'I actually think it would sound better if it was like this."" She continues, "For the title track, I didn't like the bass line and said we need to do something on the synth, and then he actually played something on the ARP, and I was like, 'Oh, my God! That sounds much better. It sounds how it should!' It's things like that when you're trying to get somewhere and somebody else needs to make an experienced decision." Weaver also claims that Parish's decision to record Love In Constant Spectacle for two weeks at the celebrated Rockfield Studios near Monmouth in the Wye Valley before moving to Br...
"I've always wanted to work with John," admits Weaver, "but I got in touch with him accidentally saying, 'I want to do a new album and get outside of Manchester and what's Bristol like to work in? I'd jump at the chance to work with you. And he said, 'Well, actually, I've got a bit of a gap between now and when I start working with PJ Harvey. So that's what we did.
It was sort of like, 'Right, let's do this thing!' It was like flying by the seat of your pants. So that's what happened." Weaver says that the decision to work with Parish was largely based on her desire to move into new sonic territories that might not have otherwise been explored, as well as wanting to surrender some of the creative input and judgments to more informed and objective ears.
"I wanted somebody else to make some of the decisions," she reveals, "because when you're producing something in the studio, you're essentially making all the decisions; maybe not all the technical ones, but certainly all the way things sound from beginning to end and how it sounds when you deliver it. It was really good having a different person saying, 'I actually think it would sound better if it was like this."" She continues, "For the title track, I didn't like the bass line and said we need to do something on the synth, and then he actually played something on the ARP, and I was like, 'Oh, my God! That sounds much better. It sounds how it should!' It's things like that when you're trying to get somewhere and somebody else needs to make an experienced decision." Weaver also claims that Parish's decision to record Love In Constant Spectacle for two weeks at the celebrated Rockfield Studios near Monmouth in the Wye Valley before moving to Br...
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Prog (Digital) - 1 Issue, Issue 147