Ailie Blunnie

Songwriter :: Singer :: Musician

‘West to the Evening Sun’ single // process (pt 2, video)

Posted by on Feb 12, 2017

Hiya, In the last post, I talked a bit about the song and the musical elements. I just wanted to add a quick note about the video. The video had a few incarnations: I originally recorded it very simply, with just clouds going across the sky in my garden in real time. I really like simple videos. But actually, that one ended up looking a bit too simple, even by my standards :-) So I decided to try out a different idea, and made a stop-motion one about a little cartoon girl who lost her balloon: I spent the whole Christmas making that one! ..but then I saw this cool thing on Wonders of the Universe (Brian Cox, BBC) – a wall of towers in Peru which was built as a giant sundial – and that made me think about the cloud idea again, but with some sort of sundial idea incorporated into it. I started looking up homemade sundial videos on YouTube and had all sorts of elaborate plans to construct one out the back. But I figured it would have to be vertical to work in the video ( skills are limited in these areas), so I decided it’d have to be the window and some whiteboard markers.* The main concern for me with the video was that it would just kind of float by as you watched it, and not take up too much of your attention, so that you could hear the layers and atmospherics in the song properly. I hope you like it, Ailie xx * Incidentally, whiteboard markers work great on windows! (but don’t tell any children) ** I should probably also add: as a sundial, it’s not exactly scientifically...

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‘West to the Evening Sun’ single // process (music)

Posted by on Feb 11, 2017

Hello! How are ya? It’s been a big week here with the release of ‘West to the Evening Sun’, the first single from my forthcoming album. Here it is: It’s about.. do you know when you’re a bit fed up and you just want to get in the car and drive away.. forever? I was feeling like that at the time. I wrote some of it in Dublin, and some of it in Sligo. It’s a bit different than previous releases for me, because it’s the first time I’ve had producers on board (Daragh Dukes, Eoin Coughlan). I’m very touched at the response it’s getting: some nice media attention and airplay, and my mammy really likes it.. :-) I never really understood the role of producers; I just thought they were people Michael Jackson had to tell him he was doing grand and keep singing away there.. but I can confidently say, they do more than that! At least in my experience. We started by listening to the bare song (just piano and vocals) and then I told them a bit about the emotional stuff behind it, and discussed a few reference tracks and ideas to give them a clearer picture of the sort of feel I wanted (e.g. folk, Irish, natural, chant-like, ancient, modern, a bit magical, ambient, expansive). After that, myself and Eoin recorded a basic track with piano, vocals, and bodhrán, and then we honed in on the individual instruments and sounds, and started experimenting and metaphorically throwing muck at the wall. We recorded everything a load of different ways – vocals were sung, spoken, whispered.. guitars were strummed, scuffed, e-bowed.. we were hitting ourselves all over for percussion (we must have looked insane) – all to try and get a good, tangible feel for how exactly the palette of sounds I had in my head for the song, was going to be created. The best way I can describe the atmosphere in that studio is like a great big steam engine, fueled by imagination, energy, a lot of suggestions, a load of opinions, mutual respect, a touch of magic, and a fair bit of feeling uncomfortable. It’s actually not that pleasant sometimes – even though it probably sounds kind of rock ‘n roll and all that’s missing is the cocaine.. After that then, the song was gradually crafted into the version you hear. Daragh, the producer/engineer, is brilliant. I’ll link his website below...

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