Glåsbird - the story so far
Recently and following the launch of Driftworks, I was able to sit down with Harry Towell and discuss his artist persona, Glåsbird and what inspires him to create such beautiful music.
1. How did Glåsbird start? Was there a particular event or idea that initiated it, or was it more of a continuation of something that already existed?
It’s hard to recall the exact moment, but I remember it was 2018 the year my eldest daughter Isla was born. I was a new parent, and got curious with trying something new with my music production. My previous work as Spheruleus up until this point was based around acoustic instruments which I’d jam around with and record, also adding field recordings and other found sound. This had been my process for several years but in many ways it was time-consuming due to its experimental nature. There’d be lots of efforts that didn’t work out and given my change of circumstances I wanted to try out something new that might be more intuitive, that didn’t need a good hour to set up. I started experimenting with more ‘in the box’ ideas initially, with orchestral samples and a little electric guitar with effects pedals. This is how I approached the Grønland album and in truth, I wanted to be anonymous, in case the project didn’t work out for either the listener or me. The sound was much more cinematic and almost modern classical, which was new for me in terms of my work. But, it wasn’t new at all in terms of my musical taste, so I really enjoyed those early explorations. The success of my first album enabled me to buy my first MIDI keyboard which allowed for more experimentation in Svalvarð to see how I might develop my sound and that’s how the work progressed really. Each album supported a new approach, with new software and equipment, new learnings and new techniques.
2. Obviously landscape plays an important part in the DNA of Glåsbird. Is there anywhere in particular that resonates with you and for what reason?
I think geography in general has been a really important aspect for me and I’ve been fascinated by countries, culture and indeed, the world, since I was a kid. I’m not sure if living here amongst these flat, quiet landscapes has made me feel even more awe-struck by hills and mountains. Or perhaps it could be the weekends spent in fields on the farm with my dad, brother, grandad and uncles as we’d attend ploughing matches or harvest. Maybe it might have been trips to where my grandparents lived in Wales, close to snowdonia; I can remember close to their garden was an immensely steep, sloping hill that as a Lincolnshire kid, I found to be really imposing. It was practically vertical and I always wondered what could be seen from the summit. I think landscapes can take your breath away, make you feel small, but can also be beautiful too at the same time. I’d say despite this beauty, there can be this weird discomfort that I feel when I am faced with an impressive landscape. It’s a strangely fascinating experience that I’ve always felt drawn to. My work as Glåsbird has been an outlet for me to explore the world confronting some of the world’s most incredible landscapes, albeit remotely. I wanted to place myself in and amongst breathtaking scenery and amazing culture, yet do so from the comfort of my home.
In part, because my circumstances would never give me an opportunity to experience this first-hand. So I think in answer to the question, if I cast nostalgia aside, there isn’t a place in particular that I yearn for. Instead, I just loved exploring and learning about the world, interpreting these learnings into sound.
3. Do you see Glåsbird purely as a solo project or would you open it up to collaborations in the future?
I wouldn’t say never, especially since I am now no longer anonymous. I did a lot of collaborating in my early days and I guess I’ve not done as much lately due to not having much time. Sometimes collaborations can involve lots of back and forth, with some sessions not quite materialising into the planned output and even some work getting dropped. I feel often, there’s a lot of luck and patience required to strike just the right balance in a collaboration. You can never tell how someone else works simply by listening to their music and you find out once you get started. I’ve not had any negative experiences collaborating; I’ve actually really enjoyed working with the likes of Sven Laux, Guy Gelem, Ekca Liena and others over the years. But these days I guess I can’t afford to risk a collaboration taking more of my time than I can spare, and I worry I’d go a little quiet at times as I drop off to focus on other things. So working alone does allow me to be in control of decisions - but, at my own pace. That said, one can learn so much from collaborating and it’s a nice way to make friends too.
4. I love the apparent simplicity of Glåsbird’s music. I’m sure that’s an illusion in that it’s more complex that it first appears. Can you explain your creative process - what goes on in the Glåsbird studio?
It all tends to be driven by the theme of whatever it is I’m working on and so the approach and complexity can vary. Some of my albums have been really complex with many channels and layers in the mix. Others much simpler, restricted to just a few elements. I’d say my work is at its simplest when I’m working purely with MIDI. I’ll sit at my keyboard and play some notes with a sample library to start something off and once I hit a loop that I like, I’ll then develop it with lots of different sounds added, until I get a full composition. Then it becomes a case of tweaking, reducing or removing elements, trying things out. I’ll also create effects chains to add my own spin on the libraries I’m working with, and the overall track as an aesthetic I want to convey. Some of my more complex work is when l start to involve acoustic instruments, electric guitar or field recordings. I enjoy combining this approach of recording things with microphones with MIDI sounds, as it adds texture and makes it all feel more present. In my album ‘Pacifica’ I’d say I pushed my own boundaries much more, as I experimented with a range of percussion instruments I’d collected, including an Ocean Drum. This was a lot of fun and at times it got pretty complex!
5. Has your approach to Glåsbird changed since unmasking yourself?
I did try to separate my Glåsbird music from Spheruleus or under my own name, by having different approaches. There was some cross-over at times creeping in, particularly when I made Infinite Light where I used a mix of acoustic instruments and orchestral sounds. Now people know it’s me, I feel I can be more expansive with my Glåsbird work, as I’m not having to worry too much about sounding like me! I’d say that since concluding my A Sonic Expedition series, in which I was ‘visiting’ remote places, composing a fictitious soundtrack to share a message of what I’d learnt, I’ve found it harder to start new projects. That was until Glacial Drift of course, which was really inspiring and came together quickly! Hopefully in the future I’ll be able to get more personal with my Glåsbird work, although part of me prefers working with more expansive themes about places, science and more globally understood situations. Maybe that might be how I’ll separate Glåsbird works from my own, under my name… this interview may well have just helped me shape my artists strategy!
