"Life isn’t simply happy or sad, it’s a dynamic journey" : An interview with Ross Henry
- Imogen Hatcher
- Nov 4, 2016
- 4 min read
Ross Henry, bin Sydney's Inner West, is an all-in-one producer and artist making music from the sound of rain on a tin roof, the warmth of a fire on a cold day and the way a city looks right before dawn. To say that I was excited for this interview would be an understatement- Ross Henry's tracks have been standouts in the musical landscape since the release of his debut EP, The Forester's House. His work is a perfect combination of warm, soft vocals and ethereal electronic mixes that culminates in the perfect blend of indie and electronic that oh-so-few artists successfully achieve.
Imogen H: So to start off with, your music has a very atmospheric vibe to it that is quite fantastic, what do you imagine people doing as they listen to your music?
Ross Henry: Thanks. I’m not sure to be honest. I see my music as a bit of an intimate bubble. I’d like to think you can put the headphones on and sort of, escape into it. As if you’re letting the music colour your world for a few minutes. Someone told me on YouTube that they love listening to The Deep especially when biking in the morning. I think that’s a pretty good context for it.
IH: It’s been a bit over three months since The Deep came out, and it’s been by far your most popular piece of work. Do you think the popularity of your music changes how you perceive its quality?
RH: For others? I’m not sure. For me? Nope. I think the popularity of a track relies on many factors. My own personal reference for “quality” is whether I’m ready to release a track or not.
IH: On that note, how do you know when a song is finished?
RH: Usually the effect it has on me. If I’m unsure or frustrated it means there’s work to be done. If it feels good and I can get into it, we’re getting there. I just follow my taste really. It’s a bit elusive but I’ve become fairly good at knowing when I’m done just from experience.
IH: What was the production of your debut EP, The Forester’s House like?
RH: It was a really interesting time. Lots of experimentation. The Forester’s House is fundamentally about safe spaces, the production decisions often centered around that. I was exploring the letters of a WW1 poet called Wilfred Owen. The contrast between the cold, inhumane, alien landscapes of war and the warmth Owen often portrayed in his letters really struck me. I rolled dice to pick pages and lines to read, used sentences to govern rhymes and phrases. Instrumentation was always derived from anything around me in my “safe space”. Lots of real found sounds went into it.
IH: You describe yourself as a producer and artist for your music, what exactly does that entail?
RH: Being a producer as well as an artist means the process of recording and composing my songs are all entwined. Basically the songwriting, composition and production decisions often happen at the same time rather than in separate stages.
IH: What sparks the idea or concept for a new song?
RH: I have many ideas for songs. Some good some bad. Sometimes the “spark” can come from a wondering mind or a particular topic I’m interested in at that point. That doesn’t mean it’s going to become a track though. Sometimes an idea doesn’t have legs to survive the process. While others almost outlive the track.
IH: A lot of your songs feel very sad or melancholy in their sound, is that due to how you feel as you create them or something else?
RH: Hmm well “The Foresters House” dealt with a fairly dark subject to be honest. I’d say the mood of a track depends on the idea I’m playing with. I do enjoy playing with the sweet spots between emotions though. I’d say 12 letters or The Deep do that a bit. Obviously life isn’t simply happy or sad, it’s a dynamic journey. My upcoming material will probably reflect that a bit more.
IH: When you create, who inspires you most?
RH: I’m inspired by people who are always trying to learn and experiment while they develop their craft, taste and voice, whatever that might be. Brian Eno is a great example of someone who does that.
IH: Are there any artists you would like to collaborate with?
RH: Sure, I’m quite interested in collaborating with artists that span different fields to mine. Currently I’m working with Visual artist Vivienne Linsley and Composer/Artist Kieran Warner-Hunt (Patches) on an interactive multimedia project. It’s coming together really well.
IH: And finally, do you have any projects going on at the moment?
RH: I’ve always got a few tunes up my sleeve. Just ironing out the creases and sorting out videos at the moment. The tracks I’m working on have a particular thread/theme throughout, so to say it’s a extended coherent project makes sense.
You can find Ross' music here
Spotify
And find his social media here
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