INTERVIEW WITH TOM MAGAZINE, APRIL 2011
"Acoustic Magic"
Byron Bay-based singer/songwriter Susanna Carman prides herself on her trademark sound - pared-back production, acoustic tone, vividly textured vocal arrangements and delicate instrumentation. This "tinkling of magical soundscapes" sets Circus Girl, her second album, due out April 2, apart from much of today’s digitalised and elaborately constructed music. Born and raised in New York and classically trained, Susanna relocated to Australia in the late 1990s and started writing her folk pop gems. Her debut album, Holy, based on a series of personal tragedies, garnered critical acclaim in 2008. Here she writes exclusively for TOM about her experiences recording the album.
"My main intention before walking into the studio was to enjoy the production process as much as possible. As an independent, self-managed artist, I know just how rigorous and manic the post-production, business side, of the journey can be. I wanted to allow myself the full experience of developing these songs in a way that was natural, relaxed and inspired. Working with Byron Bay-based producer Christian Pyle, whose credits include Jesse Younan, The Re-Mains and M Jack Bee, gave me that opportunity. Christian’s Goonengerry studio is surrounded by rolling hills, rainforest and native wildlife (in and out of the studio). I felt at home and completely relaxed in his space.
"It was clear from our first meeting that we shared a common vision for the record. We were both committed to the songs and what they needed was to be able to tell their story in the most organic and authentic way possible.
"Christian enabled me to trust myself and the songs. He kept encouraging me to listen to the story the songs were trying to tell, and to find simple ways of helping them fulfil their own potential without too much interference. This approach gave us a sense of space, and of finding creative ways to make the space feel bigger, rather than trying to "fill it up" all the time.
"I experimented a lot with vocal textures, as I feel strongly that my voice is my most natural and intimate instrument, with the potential to tell a story in a way that is both delicate and moving. Christian gave me lots of room to manoeuvre here, encouraging me to trust and develop my ideas. This was incredibly rewarding for me, particularly on tracks ‘Half Of You’ and ‘Treasure Chest’. The harmonies on these tracks bring the songs to life.
"Christian also has a unique way of combining simplicity with modernity. By drawing on a variety of soundscapes from unlikely sonic sources, he is able to add textures that are subtle yet moving. There are things in here that you won’t pick up the first time round. That’s really important to me; an album that grows and develops with each listen. It’s what I look for in acoustic music, what makes music mysterious and magical. It’s the whole reason why I got into making music in the first place.
"Having special guests in the studio also strengthened the spirit of the experience. Helping out with backing vocals on the Appalachian inspired ‘Noah’s Ark’ and the heartfelt version of the Elizabeth Cotten blues classic ‘Babe It Ain’t No Lie’ is fellow singer-songwriter, touring collaborator and dear friend, Sara Tindley. Slide guitar contributions on the title track ‘Circus Girl’ come from folk blues artist, Jez Mead. And between us, Christian and I play all the other instruments including guitars, strings, keyboards and percussion.
"Making this album was everything I wanted it to be: fun, fulfilling, collaborative and rewarding. Who could ask for more than that?"
