<<Howl>> is a 5 tracks Ep in some way surreal and melancholic. It's a really great record, especially if you're looking for something melodic but not obvious. Love.
0. name of the band
Lu Garfield
1. where are you from?
Sydney, AU/London, UK
2. what kind of instruments/equipment you use?
For composing rock music I mainly use my fender start which was the first instrument I ever really came to love. I’m far from prodigious at technical playing though, so lately my music has moved more towards the use of synthesisers and drum machines. Lately I use a korg poly 800, as well as a few toy keyboards. I also use a roland tr-707 rhythm composer, sometimes, however; I just compose music using software - logic pro in particular. When making rock music though I will use friends to help compose and write drum and bass parts.
3. what do you think about the music context nowadays and how you place yourself in? do you feel a part of any scene?
Here in Sydney I have a few friends making really cool and interesting music and art, playing/hosting house shows and art shows - engaging in what people would generally call a ‘scene,’ I think though in the age of the Internet a scene isn’t so much a physical thing and perhaps isn’t as easy to discern. In a lot of ways it feels far more dispersed and less intimate. On the other hand people from anywhere at anytime can discuss and connect with music irregardless of whatever barriers. I wouldn’t consider myself a part of a scene mostly because in the traditional sense of the word it seems an irrational and nostalgic way of thinking. I am grateful for the people around me that create and in turn motivate me to do the same but the brilliance of today is that anyone has the access to listen to or produce anything they like without any reverence to style, fashion, cliques or being part of a ‘scene’ per say.
4. which is your method of composition?
I don’t really have a particular approach - generally a melody will come into mind first and I will build from there. Sometimes I place great importance on lyrics, other times they will mean little to nothing or are a poor, pseudo intellectual form of satire. I think I’m funny - I think other people think I’m sad. I hate working for too long on any one song, if a project or track isn’t coming together organically and with ease I will happily scrap it or place it aside for a long period of time - I think for me to be constantly creating and finishing things is the overriding ‘rule’ in all creative processes.
5. how is your recording approach? do you use some particular record technique?
At present my input mic on my laptop is my best friend. I like to compose and record at the same time. I do one take tracks and any imperfections or parts I dislike I either change or build over using a new layer of vocals or instrumentation. I generally start with the percussion and am really interested in playing with the way sound is received, even simply panning audio left/right and making small changes as simple as that.
6. do you play live? how public react to your music?
I have played live several times and it has always been a strange experience to me. I love it, but I find it hard to discern how people are reacting - I’ve been told early gigs are almost always disastrous. Thus far mine mostly have been. Though I have a grand time playing and love the performativity of it all and have received kind words from strangers I think I am yet to gauge how people are receiving it.
7. Genesis P-Orridge said "Our records were documents of attitudes and experiences and observations by us and other determinedly individual outsiders. Fashion was an enemy, style irrelevant.". What do your records represent to you?
They are the tenuous fear in my head that says “It is time to wash your hands of this,” I don’t really care if anyone ever listens to a word I write, irregardless on I will write… It’s a method of restoration - the emptying of sodding, self-indulgent malaise or the inaccurate recreation of memories you fear you will forget.
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