A model of restless creativity and a vanguard in the industrial music scene, Chris Connelly has traversed the musical landscape and made some of the most honest and challenging music of the past 20 years. With the breaking news of his upcoming full-length collboration with former Ministry/Revolting Cocks conspirator Paul Barker as Bells Into Machines, Chris reached out via email and shared some of his thoughts on his creative process, collaborating with a wide variety of likeminded musicians, and his role as an artistic hyphenate.
Chris, I am intrigued by the
Bells Into Machines project – how did you reconnect professionally and
personally with Paul Barker? Was there a
sense of nostalgia working with someone with whom you have such a history?
Paul and I have never really fallen out of touch, though our
work together has been minimal over the last few decades, it’s mostly because
of not really living near each other, being busy with other things etc. Paul is family, so there is not much hoopla between
us about working together; that being said, this project is being done so far
over the internet, we have actually not talked to each other about it! As far
as nostalgia goes, I can safely say Paul and I are very ambivalent about that strange
emotion…
Your work exhibits a
wide-ranging creative restlessness – how do you find balance between your song-oriented
albums with more avant/emotional works like “Pentland Firth Howl” or
“Forgiveness and Exile”? Do songs
naturally group themselves into different albums or projects?
It’s a mixture of different things. I have a very finely
tuned barometer, if you like, inside me which intuitively pushes me towards a
certain path when I am writing. I think I am a very intuitive and physical
writer, and whatever comes out is what comes out. The 2 records you cite: firstly
“Pentland Firth” I have to admit was written during a period of intense
homesickness; I was glad I was able to turn it into a piece of music rather
than just moping around. “Forgiveness” is
one of 4 albums I did that were basically based on one long poem, at the time I
was more interested in words with accompanying sounds, rather than song. It was also the first truly political piece I
did. As far as balance goes, it’s never a question of balance; I don’t think as
an artist I feel personally that it brings a balance into my life - that stuff
comes from elsewhere. It still feels to me the same as when I was a kid with
blank paper and crayons - it’s always been there, sometimes I draw something I like,
sometimes I crumple it up and throw it away.
You have a long and
varied history of collaboration – what creative itch does working with others
scratch?
Not an itch, I am just genuinely interested in working with
different people. I think in my earlier
days there was a lot of hit and miss, but that’s just the learning process. Nowadays,
with nothing to prove, it’s a genuine pleasure for me, especially to write
words to someone else’s music. I like where the music might push my train of
thought. When I write my own songs, a
lot of the time the words and music are informing each other as I write, but
when I am sent a completely new piece of music, written by someone(s)else, it’s
a different approach.
The David Bowie
influence has been present in your solo work since the Wax Trax days. It seems only natural that something like
“Sons of the Silent Age” would be an extension of that. How do you approach a project like that, where
you are in essence paying tribute to someone else’s work?
Same way as you might approach a play if you are an actor,
or a symphony if you are an orchestra -
it gives me a lot of freedom. These
songs were not written by me, however, I am very intimate with them. It’s
actually been a real life saver in terms of me learning new disciplines. When I started doing it, I kind of had the
idea that it would be easy because I knew the songs so well, but it’s given me
new insights as to how brilliant of a songwriter Bowie is, and how good of a
singer! I have to do a lot of vocal exercises,
almost on a daily basis, along with stretching and physical exercises. The
other great thing is being part of a team - there are 9 of us, and I am a huge
fan of teamwork. We are all working together - no one needs to compete to have
their songs played!
“Ed Royal” was a
charming first novel, based I would presume upon your upbringing in
Scotland. Any plans to continue writing
fiction?
I started to write another book, then I had a second child,
then I just got very busy with music again and I kind of literally “lost the
plot”! I may do it again, I really
enjoyed doing it, but part of the reason I did it was to try a new discipline.
Having been used to songs and maybe long form poetry, I just wanted to see if I
could do it, and it was an eye opener. I
learned a lot.
You mention
having your second child…how has becoming a parent affected your artistic life?
Certainly it has affected this,
but if anything it has made me more aware and more prolific, much more aware of
time economy. I have to do most of my work very early in the day so I can join
the human race at breakfast time. As far as perspectives go, it has maybe
accentuated a humanitarian instinct in me that I feel had been dormant for many
years.
You have weathered
the rise and collapse of the “alternative” record industry and if anything you
have become increasingly prolific. To
what do you attribute your longevity? What
advice, if any, do you have for aspiring artists?
I think that’s a tough question. It’s so personal in a way; the creative “scene” if you will is populated
by people who are either creative or who are just dabbling. What I do is not a
chore or a struggle; and what I mean is what I DO, the writing part, that’s the
thing I have that is mine. Everything after that, the recording, releasing of
product etc, is just gravy. Nothing can teach you that…it’s like being born
with red hair or being double jointed or whatever; it comes with you, just be
yourself. I found I have been increasingly prolific but that’s because I think
I am “learning on the job”. The more I learn, the more I hone this skill I am
lucky enough to have - it’ll stay that way.
Look at Francis Bacon, painting away til he died in his 80s!
Your
“method” as an artist feels a lot like that which an actor goes through – is
acting something that you have considered as an artistic outlet?
I don’t know about acting. I feel like “Sons of the Silent
Age” is kind of a role, and the new album I am writing is very much little
fictions. The methods may be similar, but I think it's just hard focused work
that has to be done.
I imagine your songs
are like children – it’s tough to choose one above the others. But let’s say
you are asked to make a “Sophie’s Choice”; is there one that you are particular
proud to have written or one that is particularly special to you?
After writing, recording and releasing them, my music
wanders off into the sunset - that makes me sound like a terrible parent! But
seriously, I am only interested in what I am doing now. When a record is done, I forget about it and
move on. Don’t get me wrong, I am proud
of them, but they have no relation to my life. When I play gigs and have to learn
them, I get really grumpy…I hate relearning old songs, so the record I am writing
right now is my favourite!
On a personal note,
the “Shipwreck” album connected with me at a very important time in my life and
reflects upon mortality in a way that some of the best art does. Any recollections from that time that are
particularly salient or poignant for you today?
Thank you very much for that grand compliment!!! I was a very different person when I did
“Shipwreck” in many, many ways. So no,
that was 20 years ago. It was, I remember, not a good time in my life, and I am
glad something so creative came out of it.
And that band!!! What an amazing
band!
Besides the work with
Bells Into Machines, what else is in the offing for you?
Working on a new solo album with Matt Walker producing. He
is in “Sons of the Silent Age” with me, and has been in the Pumpkins, Filter
and played with Morrissey for years.
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