Talkbox: 12 Questions For Jamie Lidell
The English multi-instrumentalist / producer / vocalist Jamie Lidell may have first come to prominence in 2000, but pop flavors from every decade since the 1960s co-exist smoothly in his music: The organic sweetness of Motown and Stax, the funky grooves and open spirit of the ’70s, an ’80s-appropriate love of synths and Prince, a very ’90s eclecticism, and 21st-century production are all elements of his signature aesthetic.
Although his journey has included many high-profile collaborations (including Feist, Gonzalez, Mocky, Simian Mobile Disco, the Lo Fidelity Allstars, Grizzly Bear, and Beck), Lidell is best known in some circles for his dazzling solo sets, where he conjures full-bodied tracks from his nine releases while improvising, remixing, and looping his soulful vocals. That symbiotic relationship with technology is one of the many through-lines of “Hanging Out with Audiophiles,” a podcast that introduces listeners to Lidell’s music-related interests while showcasing his gorgeous sound design and natural conversational skills. Below, the 47-year-old Nashville resident talks about the secret of good collaboration, gear he craves, what he’s learned from his wide-ranging list of guests, and the two EarthQuaker Devicces pedals he loves most.
Q1: In a world ruled by streaming audio and AirPods, how do you define “audiophile”?
JL: No offense to those who are into it, but my definition of audiophile is not about $10,000 cables for a turntable that’s on a block of Italian marble with three-phase power. Those guys are frequently just buying into a lot of snake oil, in my opinion. That’s not the deep love I’m talking about. At that point, AirPods are just fine. If you feel the music, it’s working, headphones or stadiums!
Q2: What inspired “Hanging Out with Audiophiles?”
JL: Well, I have to thank my wife Lindsey Rome. She knows better than anyone how I like to ramble! I loved to make mix tapes and radio shows as a kid, so maybe it’s just a natural progression. When I was 16, I played a live radio broadcast to a hospital in the UK. I finished the whole thing, full of nervous energy, and at the end of the show, it became clear that the transmitter had been off the entire time!
Q3: Hilarious! As you make your way to the 100th episode, what overarching themes come to mind?
JL: Find yourself. Know yourself. Don’t second-guess yourself. Use what you have. Less is often more. You know, any number of these kinds of things!
Q4: Production-wise, how do you balance the super freaky and the sweetly accessible?
JL: Well, I just look in the mirror. Lol! I mean it is me, to be honest. I actually think this podcast is the most honest representation of who I am as a musician and armchair philosopher.
Q5: What inspired you to choose the “one-man band” approach instead of prioritizing more conventional multi-human partnerships?
JL: I’ve played solo a lot, but I’ve also been in loads of bands. I like it both ways. I must admit I have the upmost respect for people who formed bands back in the day and have been able to keep the fire burning. Hanging Out with Audiophiles is a solo effort, though. I could really do with help at this point, as each show is about 20-30 hours of my time.
Q6: How do you incorporate tools like the Disaster Transport SR and the Palisades into your workflow?
JL: Well, my fave is Disaster Transport SR! What a pedal that is. I actually came to find out about it from the incredible musician Nick Hakim. I really wanted to know how he was getting those wobbly guitars! As for Palisades, I think distortion, in all its wildly different forms, is the most interesting of all effects; it’s great to have so many colors to play with—and to be able to access it all so easily. It feels like I can switch off my brain and just turn knobs until I feel it. After all my years of training, I basically want to get back to a beginner’s mind. Palisades helps a lot!
Q7: Your studio is filled with collectible objects of desire. Are there still rare or impossible-to-find pieces of gear you’d love to own?
JL: The Elka Drummer One and the Ursa Major Stargate 323 Digital Reverberator. I mean, you can find them, but WOW! They are so expensive!
Q8: What advice would you have for a musician struggling to develop an organic relationship to performance and production technology?
JL: Some people are not destined to perform. Some musicians like extreme quantization and for everything to feel robotic. Some like it swinging. Some like the Yamaha DX7, some only acoustic sound. I think it’s fairly simple: Decide what you love and forget [doing] what’s current in order to fit in. It’s relaxing, actually. The process truly is about knowing yourself. The rest falls into place as a byproduct of passion.
Q9: You’ve worked with many artists and guested on dozens of albums. What’s the secret to good collaboration?
JL: It’s interesting because some musical relationships I’ve had have been very competitive, sometimes in an uncomfortable way. Sometimes, the match between me and an artist in a co-write situation can be pretty poor, in fact: I may not see eye to eye with them at all, and I may not feel respected at all. And yet sometimes the music made from an unlikely pairing can be more exciting than the comfortable and entertaining hangs that go on between friends. It’s a tricky one. Clearly, it seems like the key is to keep it varied. Too much comfort zone, and you don’t move on; too much antagonism, and you get jaded.
Q10: Do you have strong opinions about “old-school” vs. “contemporary” music production and aesthetics?
JL: I like the idea that true creation has to come from a place of real soul-searching. Obviously, that’s quite a lofty goal, and people’s ambitions for their music vary wildly, but I think the results [of soul-searching] can often unleash unknown music. That’s been the case for me in my career, certainly. When I made Jim in 2008, my primary intention was to make it a distilled and more popular side of myself. It was the work of a persona, essentially. I was trying on an outfit, as it were. Some things always feel like a good fit, others feel very forced. It’s tricky to generalize, though. Good music is good, good music, as the Zen masters might say.
Q11: Watching you play all your synths at once made me wonder if you've ever scored a film. Does that interest you?
JL: It really does. If you’re reading this and fancy having me work on your film, hit me up!
Q12: It’s been five years since you released Building a Beginning. When’s the next Jamie Lidell album?
JL: No idea, to be honest. I want it to be something totally different, so I’m not going to rush it.
E.E. Bradman is a word nerd and music journalist, Grammy-nominated bass fanatic, stage/studio/touring musician, and musical midwife for childbirth and the dying. Currently based in the Bay Area, he designs sonic environments for theater, film, animation, audiobooks, and radio plays. Stop by and say hi at eltonsounds.com!