Feature: The New Citizen Kane Decodes ‘The Tales of Morpheus’
What was the creative process like for this particular album?
So... I found myself suffering from anxiety earlier in 2024, probably for some time already but I hadn't recognized it or acknowledged it, that is until I had a panic attack one day last summer, and that kind of shook me. It had been 8yrs since my last release and 8 years that I was absent from the music industry completely actually, focusing on a more "stable" and sensible career path, and while I did write a few songs in this period, Endless Summer for example, it's almost as if I had subconsciously turned off the taps, but roll on 2024 and after the panick attack, taking some time to understand what these feelings were and why it was happening to me now - I realised that I needed the creative outlet as a way to work through it, and it had always been the way that I dealt with any stress, overwhelming events, romantic woes in my life, and that kept me balanced.
So long story short, I pulled out all my old equipment and got my little home studio set up in the spare bedroom/office, and then all of a sudden the creative soul took over, the music just started
flowing, and flowing, and flowing.
At first, I started recording songs I had previously written but hadn't recorded, Endless Summer was the first one. I had written it while in Casablanca, Morocco with my husband having just celebrated my 40th birthday with my closest most cherished friends; I was just bursting with love and I think that really comes through in the song. It's simple, but it's authentic, and that's what people connect with. I posted a clip of the song with a little clip I put together on Instagram and everyone went crazy for it. Once I started recording those "lost" songs, then the inspiration kept flowing and I started writing some new songs; "Could Have Been" and "Forget The World" were the first of the songs on the album that was written in the "now".
While going back through old song books I came across a poem I wrote 10/12 years ago called “Morpheus,” and I remembered writing it at the park one sunny day, reflecting on my childhood.
Immediately I knew that I was going to release an album from all of this chaos & creativity that was swirling around, that it had to be called Morpheus, and it naturally evolved into a sort of autobiography, with songs that really are snapshots from different times in my life.
By the time I finished the album, "Morpheus" which at first filled me with a kind of nostalgic melancholy, and I recorded it as a chilled electro-acoustic, folktronica ballad, that is a little bit sad, thoughtful, vulnerable. what is now on the album as Morpheus Interlude. It is an electro-acoustic, folktronica ballad and is a little bit sad, thoughtful, and vulnerable. But my healing had started, bit by bit I was feeling like my old self again, and now when I hummed the words to the song, there was a shift, I could hear this epic, uplifting, hopefully, music in my head and Morpheus (Made of Dreams) was born. And staying true to the autobiographical nature of the album, I kept both versions in there, placed exactly where they needed to be in "the story."
How did you approach the arrangement and composition of the music for 'The Tales of Morpheus?'
I always start with a thought, a lyric, or a melody that pops into my head, and sometimes that initially, inspiration can lead to a full song being written in 20-30 minutes, other times it can take weeks to finish a song. From there I start building a beat and record a guide melody vocal of the initial lyrical structure, which tends to change a bit once the instrumental arrangement starts to build around the song. Usually, I hear certain instruments quite clearly in the song in my mind at the earliest stage of writing, so those will be the first melodic instrumental elements I lay down. As I layer up the different elements and listen back on repeat, the arrangement starts to define itself quite naturally. The mood of the song also plays a factor for me as I really try to create a sonic atmosphere that matches the lyrics and amplifies them in a way. So certain keys lend themselves better to a nostalgic mood than others for example, or a plucked guitar riff compared to a strummed rhythm guitar. For me, the emotion of the song is master, any production choice has to be of service to the song.
Can you talk about any standout tracks on the album and what makes them special to you?
The songs are all like little chapters or moments from my life, from reflections on my childhood (Morpheus), right up to getting married (Buy Me A Ticket), and lots of moments of learning and growing in between. It's introspective and self-aware, as I am, but also fun with a playful charm, which I also am. I definitely have a perspective or point of view when translating my feelings into words which is both uniquely personable and extremely relatable at the same time, and whenever I write from that authentic, vulnerable place is when people connect to my music. So this album is all that, it's authentic.
Some of the stand-out tracks, for me, are:
"Killer Charisma" - this had to be the lead single in my mind. On the surface, it's an electrifying, funky disco banger, but peel back the layers and you have a song about self-discovery and living life fully, the power of music to elevate you out of the dark times in life. The lyrical juxtaposition between the light-hearted and the introspective adds a whimsical touch, reminding us to avoid the traps of regret and the mundane and to live fully, and authentically. It's also a subtle commentary on the pressures and allure of social media and celebrity culture, a reminder to look beyond the glitz. The video is super fun, given the topic and being in full swing award season, I made the video as a montage of old golden-era Hollywood clips. A little cheeky charm. "Stupid Blue" - this song went through a few iterations before it got to where it is now, but it was worth it. I kept coming back to it because I knew it could be something special, and once we got that old-school blues guitar riff in there with the trip-hop beat and that late-night lounge piano vibe, I got goosebumps! Lyrically the song is raw & visceral.. I don't swear often, and I would never swear just for the sake of it, but I do in this song and it had to stay in it was worth the explicit label, haha. The song is about that toxic relationship you know is bad for you but you can't get enough of it. The relief in self-deception, the chaotic emotions that hit you like a sledgehammer. The song structure and instrumentation are meant to enhance and reflect the cyclical nature of the relationship & suffering.
"Alchemy" - this song is an exploration of love that transcends traditional boundaries and speaks to the intoxicating chemistry that binds two souls in a dance of passion. The beat sets the tone, pulling listeners into a world where love is not just a feeling, but an exhilarating experience. Straight from the opening lyrics, there is a playful sincerity: “This alchemy is suspicious, I never thought love could be so utterly delicious” - It’s a proclamation that encapsulates the dizzying highs and complexities of romantic entanglement, painting love as both an adventure and a deliciously risky experiment, a dichotomy of beauty and chaos. Musically it's part pop, part urban, part electronica - all sex appeal! I liked singing in my lower register on this song also, that sexy growl adds to the vibe, as I tend to use my higher register more often, as generally considered a more "radio friendly" tone.
"Could Have Been" - this is probably one of the best songs I've ever written. It's vulnerable, it's personable, and everyone connects to it. I think it's the first "ballad" I've ever released as a single. It explores the "what ifs?" in life, specifically related to lost loves. That little piece of someone you still carry around in your heart after so many years, their voice that still lives in the dark corners of your mind and pops up occasionally, the skipping of a heartbeat when you bump into that person without warning and try to play it off as if you don't care.
Can you tell us more about you as an artist?
As a person and as an artist, I'm curious. I've always been a curious person, I love learning new things, creating, deconstructing, and rebuilding. I grew up in a family full of creators, artists & bohemians so creativity was always encouraged and I grew up surrounded by lots of varied influences musically and culturally. I think more than ever, that is coming through in my music - this album, even more so the newer songs I've started working on, are bringing in really varied elements from different genres. Some jazz, bossa nova, disco, folk, electronica, rock... But all with the underlying foundations of Electronic Dance Music, the spine of the album keeping things together. I'm 42 now, and there's also an evolved confidence in myself as an artist I didn't have when I was younger, so I almost always worked with a co-producer and/or co-writer in the past, this is the first time I've produced a record alone from scratch, including the artwork & videos, so I'm listening to & trusting my instincts. I'm making music for the love of music nowadays, not out of a drive for recognition or kudos. Funnily enough making music without any expectations of how it will perform for the first time in my life, it's also turning out to be the most impactful music I've ever made (in terms of reach - thanks in no small part to Spotify to be honest.)
Can you share a memorable experience from a collaboration that enriched your music?
10 years ago I got an email out of the blue from huge 90s house DJ Junior Vascquez, well from his booking agent. I was set to perform a couple of songs at a party here in London he was also booked to play at. They had heard my song "White Night" which I was promoting at the time, and had an idea to remix the song and perform the remix live at this party. The remix was never released, but we did perform it that night, and that was an unforgettable moment!
