Q&A with Beulah Garside

Voice Art is the first Audio Network release from Beulah Garside and Jon Kelly. The album is an intimate, beautiful and left field journey through art pop, led by Beulah's strange and intriguing vocals. We had a chat with her to find out more about her influences, creative process and the making of Voice Art.

We asked her the following:



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Q: How did you get involved with Audio Network?

We’d been writing production music for a while - enjoying the different areas of sound - when a fellow writer suggested contacting Audio Network...We were so happy that they were interested in hearing our work. The rest, as they say, is history!

Q: How did you approach the writing and recording of these tracks?

We actually wrote each track differently. Some came from an idea we had independently which we developed together in the studio; others came from playing the piano, throwing ideas around and seeing what arrived!

Q: For those who haven’t heard the album yet, how would you describe it?

I would say this album is 'different' - which is exactly what we hoped for.

We certainly have a distinctive style. We focus on using the voice as the main instrument. Any other instrumentation we might add is as minimal and as unusual as possible! In 'Battle Cry’, for example, alongside the voice there is only a heartbeat sample, a toy piano and a Tymp drum.

Q: If you could have your music feature in just one show or film what would it be?

I adore Ridley Scott, so anything he made would be a welcome home for me. Gladiator will always stand out as being one of the scores I heard and fell in love with straightaway - I got the train to Manchester the very next day and bought it! Also, Hans Zimmer is a God in mortal's clothing.

Q: Tell us about your new album, Voice Art.

This album definitely spans the scale - from upbeat, fun and quirky tracks like ‘Sixties Miami’ and ‘Cat Chi’ to epic, ethereal and cinematic pieces, like ‘Wall and Her’ and ‘Battle Cry.’

Q: Do you find writing production music different to writing commercial music?

I personally find it a lot more liberating. I think because each piece has to be instantly captivating, there is more scope to be creative.

Q: How did you first get into making music?

I have written music since I was eight years old. It wasn't a choice, it was simply the one thing that made me happiest.

Q: Who are your main musical influences?

My first influences were from films like The Wizard of Oz (Herbert Stothart, Harold Arlen, E.Y. Harburg) and Little Women (Adolph Deutsch). Then came my adoration for Audrey Hepburn and all films starring her.My favourite was Breakfast at Tiffany’s so Henry Mancini was certainly one of my first heroes.

Q: Finally, what have you got coming up next?

A few things, including more writing for Audio Network, of course. Also, we are working with Maggie Monteith, executive producer on Searching for Sugar Man. She has some exciting projects in the pipeline so we are looking forward to being involved in them.

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