new album

 

Katey Brooks is a singer/songwriter and producer who has traveled the world recording in plush studios to bedroom studios, as well as writing on an abandoned Finnish island, in the Welsh wilderness, and on the West Bank. But her musical journey has been paved with personal tragedy and triumphs that have made her the strong, non-conformist songwriter she is today.

When plans for her album ‘We the People” was lost to ‘industry perils’, the London-based singer wasn’t defeated for long. She came back feeling defiant and grateful. She got back up and recorded the album herself, naming it ‘Revolute’ because it felt strong and determined. Just like ‘Revolute’, so is Katey. She faces her fears and perceived limitations in whatever she does by ignoring them when she sees the possibilities.

She has come through a lot of personal heartaches and victories that have shaped her songwriting. Beginning with being raised in a cult for many years and finding her love of music at a very young age, as well as the deaths of her mother and her best friend. These experiences would infuse her songwriting with melancholy and introspection that would ultimately help listeners to connect to her music. Moreover, during a period of recovering from an illness, Katey met Patrick Duff (of Strangelove) in a songwriting group. As a result, her belief that pursuing music full time wasn’t a real possibility would be reversed after receiving Duff’s encouragement and the groups’ feedback.

Katey embraces learning curves and her own limitations to move forward whether she’s wearing a lot of hats in the recording studio or learning to play a range of instruments. Furthermore, Katey decided to be very honest in her songwriting and sing directly to the women she has loved. It has been a gradual process but one that started 6 years ago when she moved back to London and culminated with her writing “We the People” after a relationship breakup.

Currently, she is working on a new album as well as a new project under a different name. Katey is also on tour beginning in the US in September, Germany in October and Italy in November, with plans for Australia coming soon.

I recently interviewed Katey via email about her new album, her production process, the advantages of producing her own music, traveling the world writing and recording, and much more.

Congratulations on your new album, Revolute. What is the concept or theme? What is the meaning of the title?

Thank you! I wouldn’t say there’s a concept as such, more just that I wanted the songs to take the listener on a little emotive journey. The title has a lot of meaning for me. After losing ‘We the People’ (the album some of these songs were originally going to be on) to ‘industry perils’ I went through a period of mental defeat – I didn’t want to do this anymore. When I eventually got back up I felt defiant and grateful for my long-awaited autonomy, and the word Revolute just seemed to spring out at me. It felt strong and determined. I’m glad I chose it.

What do you want listeners to come away with after hearing the album?

I would love to hear that they felt moved and that the record took them through a range of different emotions, from the euphoric ones to the painful ones, and through that into release and jot. That’s what a good album does to me. I’ll be stoked to know Revolute has done that for someone.

Explain your production process.

I mean, it’s chaotic, to be honest! I do things backward (or so I’ve been told) I start by laying down the instrument/part that facilitated the writing of the song, so the guitar or piano. We record that to a click because it makes it so much easier to repair mistakes that way, and for the other instruments to record over. Then I sing over the top. I then add backing vocals (again unusual I’m told) but it makes sense in my head and then I layer instruments over the top. Depending on whether they’re live or electronic, the drums often come last.

Big up my recording engineer and mixer Paul Quinn, he works so much magic.

How has your UK tour been so far? Any favorite moments you’d like to share?

I’ve played some wonderful shows of late. I think a memorable one would have to be my album launch show in Bristol. The venue (Redgrave Theatre) was stunning, and it’s always really special to play to your hometown crowd.

You produced Revolute but also several of your other records. What advantages are there to producing your own music? Any disadvantages? Is there a learning curve?

To get to the end feels like the most magical achievement. The disadvantages are my own limitations, of which I still have many. I have a lot to learn. That and you can’t always be objective. Oh, and you have to wear several different hats which can be exhausting! On balance I love it though. For me, it even rivals songwriting in terms of enjoyment. There’s a massive learning curve, and I’m on it. I want to work with some really great producers and learn from them. That’s on the list.

In what ways does your music help people to connect?

I had to ask a close friend to answer this question for me because I don’t think it’s for me to say. She said this — It gives people a sense of intimacy with themselves. It creates a poetic space for them to connect to their own sweet vulnerability. It’s soft. It’s poetic. It makes the listener feel like you’re speaking just to them, and that if they’re going through something, you’re there for them. You feel alive with a kaleidoscope of emotions of what it is to be human, in a safe space, without judgment or shame. It’s therapy for the soul.

What was the defining moment that made you decide to be completely honest in your songwriting and sing directly about the women you have loved and not “just men or the mysterious you”?

I think it was a gradual process that crept up on me. Six years ago I moved back to London – a change that almost immediately put me more at ease with myself as an individual. In London, you feel like it’s totally okay to be exactly who you are, without judgment. I soon met someone and fell deeply in love, and although she was much younger than me and had never been with a woman, she seemed completely comfortable and at ease about openly being with a woman. It suddenly dawned on me that perhaps this was something beautiful and to be celebrated, and not something to be ashamed of. I felt my fear and shame begin to slip away, and the ability to be open gradually took over. When we broke up I was so emotional that not using the female pronoun when I wrote almost felt like a betrayal – to myself, to her, and to what we shared. I haven’t looked back since that first song (We The People) and I’m grateful for that. It’s been liberating.

Growing up in a cult and experiencing the deaths of your mother and also your best friend clearly had a direct effect on your songwriting. If your life had taken a different course, what direction do you think your songwriting would have taken?

Wow. That’s a tough one. I’m not sure I can answer that because I might be a completely different person and therefore not even a songwriter. Who knows. I think though, knowing how I’ve felt since I was a very little girl, and having the parents that I did, I was bound to be musical, and I was bound to write. I remember being inspired by music from the tender age of eighteen months, so I think it was always on the cards. Perhaps my writing would be a little less introspective and melancholic 😉 So hard to say.

When you were convalescing from an illness, you joined a songwriters group led by your friend Patrick Duff (of Strangelove) and it was during this time you became convinced you had to do music full time. What was it or who that convinced you?

That was such an amazing time. One of the best years of my life. That group was so special, so inclusive and supportive. Patrick was a major influence. After months coming to the group week in and week out, bringing my new creations, and receiving feedback and affirmation, it suddenly dawned on me that I could do it. Before then I had seen it as an impossibility, which surprises me as I’m such an idealist and an optimist.

Patrick encouraged me to put on a gig, and he put me in touch with the Bristol Folk House. Every step of the way, if I had a freak out about it, Patrick would encourage me, he’d say “Feel the fear and do it anyway. Trust.” I did, and it worked out. I’ve been doing this ever since.

Why did you turn down an offer to study at the Brit School? How do you think your musical journey would have developed if you had accepted the offer?

Honestly, I was scared. I was sixteen and I wasn’t ready. I didn’t want to leave my hometown, and I didn’t want to be amongst other people doing what I do. It intimidated me. It wasn’t until I realised I had to do this, that fear evaporated from my body.

You have traveled the world recording in “plush studios and living rooms with duvets taped to the windows,” as well as writing on an abandoned Finnish island, in the Welsh wilderness, and on the Occupied West Bank. Can you tell us more about those experiences, how you got to do them, and why?

Yeah, it has been a real trip so far. I can forget that sometimes. Finland was an island my piano player/mix engineer Paul Quinn used to go to every year. One year it was time to make what turned out to be the I Fought Lovers EP, and he invited me there to make it. It was magical. I wrote ‘State of Mine’ there, one of my favourite songs. The Welsh Wilderness I’m lucky enough to say is my family home. It’s such a peaceful place, and somewhere I’ve written and recorded many things including much of Revolute. The West Bank was out of this world. I’ve been desperate to go back ever since as it was one of the best weeks of my life. I was invited out by Amos Trust, a human rights org who was heavily involved with the festival for peace over there – Bethlehem Live. There were several of us British artists (Beth Rowley, Dizraeli, Kal Lavelle, Beatbox Hobbit) and we had a magical time meeting locals and playing music to them. I’d go back in a second.

What was it like to record with Bill Wyman of the Rolling Stones, Brian May of Queen, and Paloma Faith at Abbey Road for BBC Radio 2’s Children in Need single? How did you get the opportunity?

I mean in all honesty just like another day of recording (well apart from being in the most legendary studio of all time haha) But the only person out of that bunch that I remember meeting was Paloma Faith. I had been contacted by the Producer AD Chivers who asked me to be involved, and naturally, I obliged 😉 It was a very special day.

How does it make you feel to have famous fans such as singer Joss Stone and recording engineer Stuart Bruce who has recorded legendary artists from Steve Wonder to Elton John and Van Morrison?

Very honoured. I have enormous admiration and respect for both of them so it means a lot.

Why do you say it is “too much pressure” to call yourself a multi-instrumentalist?

Because I dabble, at present I’d say I’m a jack of many trades, master of none. Even vocals. I’ve still so much to learn, I feel like a baby.

It has been said that there are too few women producers in the music industry. As a producer yourself, do think this is true? Why or why not? How can more women become producers?

I’m not entirely convinced that it is. Maybe there are just as many but they’re just not getting as many opportunities or airtime, as is the case for women in other parts of this business, and in other industries. It’s hard to say as I don’t know the stats, but I do think either way we’re starting to see a shift, and I’m excited to witness things changing.

How can women artists be better supported in the indie music industry?

I think at the very least we can support one another relentlessly. We have to stick together in what is still in so many ways a male-dominated industry.

I see that going on around me, and I try to be part of it where I can too. It’s inspiring, there’s nothing like sisterhood.

What advice would you give women who are thinking about or actively pursuing a career in music?

Do it for the love of music, and keep your focus on that. When things get tough, that will be your solace, and it will keep you from disillusionment. You’ll always have the music, keep it close.

What other projects are you working on for the rest of the year?

I’m writing the next album! As well as starting a separate project with a totally different vibe, under a different name. I’m keen to make and share as much music as possible.

What are your tour plans beyond the current one in the UK?

There’s a lot of fun stuff coming up. The US in September, Germany, and Canada in October, and Italy in November. Australia is coming soon too. I can’t wait to go back there; it’s arguably my favourite place to tour.

Thank you, Katey, for the opportunity to interview you.

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You can stream ‘Revolute’ on Katey’s Spotify Artist Page.