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Interview: Adem 

Adem Ilhan is a man of many talents. Having cut his teeth in the teenage post-rock tour de force Fridge, which also launched the career of Kieran Hebden, he’s gone on to shape a gloriously wonky solo career.

While in Fridge, Adem got drawn into the burgeoning folktronica scene, which combined the best bits of pastoral folk with lo-fi studio witchcraft.

Wasting no time to embrace the music that was getting him all hot under the collar, he set up the Homefires festival in London and went on to curate a stage at the first Field Day.

His debut album Homesongs dropped in 2004 to a critical fanfare, while follow-up Love and Other Planets in 2006 cemented in his place at the forefront of homespun, heartfelt British songwriting.

Heaps of projects across music, art, theatre, film and television quickly ensued, leaving Adem little time for his solo work.

Then, earlier this year, after a 10-year solo hiatus, he dropped Seconds Are Acorns, a wide-eyed celebration of his spruced up production skills and omnipresent songwriting nous.

We caught up with him to learn more about its inception and creation, and hear his thoughts on the legacy of folktronica…

It’s been 10 years since your last record Love and Other Planets. What made you want to do another one?
 I never really stopped making records. I just got busy doing other things, really. Love and Other Planets came out in 2006, and I did the Takes covers album afterwards [in 2008]. Then I got busy with lots of other things – stuff was going out rather than coming in, so there was not enough left in my emotional bucket. I don’t think you have different pots for different jobs. At least not for me. Then, slowly but surely, I felt the itch and urge to do something of my own again.

How does your approach to your solo work differ from the commissions?
It’s very different and I’ve never examined the process because I’m too scared at what I’ll find out. I just let things happen. In interim years I’ve had lots of ups and downs, just as any human being does.

You’ve recently toured the new record – what was that like?
 I love live performance. I’ve been drawn to it ever since I was a lot younger and did a lot of theatre. The idea of communicating to a bunch of people is really important.

I think you can tell from the content of my lyrics that I want to communicate with people. Even the really intimate and personal tracks are universal personal things. They are the intimate things that happen to all human beings. It’s that idea of shared experience. Shared personal experience. That intrigues me and I love talking about it.

With that in mind, how do you sit down and decide what you want to write about?

A lot of my songs just happen subconsciously. There’s a lot of stewing that happens without me thinking about it. Then I’ll go in with the tools and start crafting and thinking about rhyming patterns and metre and how things fall and what the best word where, would be.

How do you think your songwriting and your sound has changed since your first record?
Well, I’ve done a lot more production. I think I might be a producer at heart, to be honest. Especially coming from Fridge – you can hear that that’s all about the production. Over the years I think that I’ve learned a lot. My judgment’s got a lot better. I’m much better at being technically right and I trust my instincts a lot more.

How has that translated on Second Are Acorns?
It’s a much broader record. There’s posher production, bigger drums and a feeling of largeness to it. Now my producer head, before I even started mixing and putting things to tape was already saying, ‘You know it’s going to be at the expense of some of the intimacy. You know that’s going to be at the expense of the creaky bits that make the other records really good’.

You’ve also written scores and theatre music. What’s it like to work to someone else’s vision?
Both through being a producer and writing scores I’ve learned how to manage people. You don’t realise how much of a huge part of the job it is. It’s all about understanding what people want and convincing them they want what’s right for the project rather than what they’ve been told by, you know, their mate.

What intrigued me when I started on all the soundtrack stuff; all the scoring, all the composition stuff, is how similar it felt to make. And there’s a really lovely sensation when I listen to a piece of music I made for some dancers – I’ll step back and see it happen. I get the same sensation as I would listening to my record. I see it as a very different discipline but in fact, it’s just music.

 

Originally published on M, the PRS for Music magazine for our 118,000 songwriter, composer and publisher members, plus the wider music industry.

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