Singer-songwriter Lucy Kruger is in the process of launching and distributing her debut album, Cut those Strings. She spoke to LitNet about the build-up to the album, the workings behind it and the immediate future.
Hi Lucy, how are things?
Things are completely mad and incredibly exciting.
Regarding your first album (date of official launch: 20 September 2012), Cut Those Strings: How did you get to this fine point, from the times of your first shows?
In some ways I went the wrong way around. I recorded the album before I really started on the gigging circuit. I figured I was four years behind, having studied in Grahamstown, and that having a product would be an enormous help to me – a very elaborate and intricate business card. I think this has worked for me in many ways. It is much easier to book a gig when somebody can hear what you sound like. This year I have taken almost every opportunity that has been presented to me or that I have created. Working hard and being present is the best way to network. Booking gigs was initially a huge challenge, but things are slowly starting to line up and this launch is a kind of celebration of the journey thus far and the one which is to follow.
Any singer-writer worth her or his salt has a stack of songs in the bag ... How did you decide which tunes would make it on to the album, and which are your favourite tracks?
I had about forty songs to choose from when it came to putting the album together, but found it incredibly hard to be objective about my own material. I sent all the songs in demo version to Schalk (the producer), who then helped me narrow it down a bit further. We were left with two albums’ worth of material with which to play. The rest happened quite organically. The songs that did eventually make it on to the album span a number of years of writing, which means there is quite a lot of variety in theme and structure. We did, however, make sure that this contrast was complementary and added to the album as a whole.
My favourite tracks are generally the ones I have written the most recently, as they are still fresh and coming to life. In terms of the album I am happy with how all the songs turned out, but do have a particularly soft spot for “Four White Walls”.
The album was recorded with some of the top musos in the country – among others Schalk Joubert, Albert Frost and Melissa van der Spuy. Also, it was recorded at the famous Sunset Studios outside Stellenbosch. That's quite a feat for an artist making her debut – how did you manage this?
Most of the album was actually recorded at Dave Langemann’s studio in Pinelands. Only the keyboards were recorded at Sunset. But yes, I am incredibly lucky to have worked and to be working with such talented musicians. I met Schalk about seven years ago at the opening of my uncle’s studio in Fisherhaven, where we ended up jamming a little. We kept contact over the years and when I was ready to record an album I gave him a call. He is connected to an amazing group of musicians.
Photo: Patrick Ryan
As far as I can tell, the album has been met with highly positive comments and reviews since its release. However, there was one particularly nasty review in Local Music Guide. How do you respond to this kind of criticism, especially as a young artist and this album being your first?
It was a strange experience. That was actually my first review ever, so I had to develop a tough skin from the beginning. Not everybody can love everything. It’s all about the ying and the yang, I suppose. Take what is valuable and leave the rest.
If I'm not mistaken, one certain lyric on the album is "They say there's beauty in the breakdown." That immediately made me think of Frou Frou's "Let Go", in which the lyric, well, "There's beauty in the breakdown" appears. I'm also pretty sure I heard traces of Fiona Apple's vocal style here and there, especially on "Dance Little Puppet". Do you draw a lot of inspiration from these kinds of artists? Which artists have influenced you in particular?
Certainly. I don’t consciously draw from these artists, but have definitely picked up on certain things through repeated listening. More than anything I appreciate individuality in the creation of music. I don’t think this necessarily comes from trying to be different, but rather through constant exploration and not trying to base yourself on anyone else. I cannot help but be in awe of the female greats such as Tori Amos and Joni Mitchell. At the moment I have a rather huge musical crush on Lykke Li.
Photo: Francois Visser
What comes next, after the launch of the album? Are you planning to have a tour? If this is the case, will you be performing solo or will there be a band backing you?
Yes, definitely. I am trying to plan a tour for November. I would love to have the band backing me, but that will also depend on what venue I play, etc. Ideally I would love to have the band with me all the time, but always want to be able to play solo gigs. It is important for me to know I can hold my own.
Care to share some highlights and low points of your music career so far, including the recording process?
It has been quite a ride. The recording process was magical and has set a very high standard, which I will work to maintain. I have played some wonderful gigs to very few people and some not so wonderful gigs to loads of people. I have played in extremely dingy venues for absolutely nothing and some incredible spaces for almost next to nothing. I have met some amazing people and some amazingly strange people. I have been completely frustrated and entirely rejuvenated. And I know this is only the beginning. I look forward to making some serious memories.