We sat down with The Vernon Spring to discuss all things the new album 'Under a Familiar Sun'. Delving into influences, inspiration and much more...
If you had to capture Under a Familiar Sun in just a few words, what would they be?
Community, longing, loss, prayer, hope and belief in fundamental goodness.
How did you approach the creative process for this album - was there a guiding mindset or
method behind it?
The identity of the record went through a number of transformations, starting quite sparse, then
massively bloating in size (one draft was over two hours long), before finding its eventual concreted
form. It wasn’t premeditated but an interest gradually evolved towards creating something that
was multi-dimensional; something that contemplated the interconnected nature of the micro and
the macro, the personal and the political etc etc.
In terms of methodology, all of the pieces began on the piano, and from there would then enter
into my hybrid studio setup where I work across a combination of digital and analog equipment in
search of a sound that sings.
What’s the story behind the title Under a Familiar Sun, and what does it represent for you
personally?
At its root this record is a love letter to my nuclear family but also meditates on how that love
relates to broader social responsibility and universal truth at a time when moral uncertainty is
being challenged.
Were there any unexpected moments or discoveries during the making of this album?
One of the most moving and humbling aspects of making ‘Under a Familiar Sun’ has been witnessing
the depth and generosity of other people’s remarkable contributions, and how multiple
collaborations interweaved over time. One example of this interweaving is represented in Eric
Timothy Carlson's incredibly detailed artwork for the record. As part of providing Eric with
additional context for the album I shared a meaningful email exchange between Max Porter and I
which touched on some of the themes underlying our song The Breadline. In a move that still floors
me with its power, Eric then took this email and transformed it into a poetic art piece which now
rests on the inner sleeve of the vinyl design, and also forms part of the wonderful visualiser he
created together with Aaron Anderson. I was just sending him notes for context so it was a big and
beautiful surprise to see Eric transform them to be directly part of the artwork.
You’ve collaborated with some incredible artists over the years - are there any lessons or
insights that have stuck with you from those experiences?
I'm so grateful for all the musical experiences I have had over the years working with so many
incredible people. I miss Amy Winehouse, she was a force of nature and incredibly funny! And there
was so much crossover with the music that was dear to our hearts. MF DOOM I idolise, so that was a
trip working with him. What a positive example he sets in just sidelining the noise and centreing
the work. It was also deeply inspiring to work with Kendrick Lamar's producer Soundwave whilst
making the Gabriels album. Watching how he constructed beats really made me hungry to get back
to my sampler and go deeper!
Is there a particular track on the album that feels especially personal or meaningful to you
right now?
When listening to the album this week it is the song 'Fume' that has opened me up emotionally the
most. This is an especially nice feeling because for a while I had taken Fume off of the album when I
was searching for the right balance. But I'm so glad it stayed in!
Did you think about how these songs would work in a live setting while writing and recording
them? Has that influenced how you approach performing them?
Whilst making the record I really just focused on where the music was leading me regardless of how
that would have an impact on live performance. But I'm very very grateful that I'll be touring with
aden and Calum Duncan, two musicians who I worked very closely with on this record. I couldn't
fully realise this music without their wonderful musicianship and humanity.
Looking ahead, what’s next for The Vernon Spring?
I've got lots of music in the works already but I'll also be heading back as one of the artists in
residence at Sounds From A Safe Harbour in September, together with Max Porter, Calum and
around 70 other artists! That promises to be a space where new music can be discovered and new
collaborations can begin.
Order the new album 'Under a Familiar Sun' below!
SHOP NOW
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Community, longing, loss, prayer, hope and belief in fundamental goodness.
How did you approach the creative process for this album - was there a guiding mindset or
method behind it?
The identity of the record went through a number of transformations, starting quite sparse, then
massively bloating in size (one draft was over two hours long), before finding its eventual concreted
form. It wasn’t premeditated but an interest gradually evolved towards creating something that
was multi-dimensional; something that contemplated the interconnected nature of the micro and
the macro, the personal and the political etc etc.
In terms of methodology, all of the pieces began on the piano, and from there would then enter
into my hybrid studio setup where I work across a combination of digital and analog equipment in
search of a sound that sings.
What’s the story behind the title Under a Familiar Sun, and what does it represent for you
personally?
At its root this record is a love letter to my nuclear family but also meditates on how that love
relates to broader social responsibility and universal truth at a time when moral uncertainty is
being challenged.
Were there any unexpected moments or discoveries during the making of this album?
One of the most moving and humbling aspects of making ‘Under a Familiar Sun’ has been witnessing
the depth and generosity of other people’s remarkable contributions, and how multiple
collaborations interweaved over time. One example of this interweaving is represented in Eric
Timothy Carlson's incredibly detailed artwork for the record. As part of providing Eric with
additional context for the album I shared a meaningful email exchange between Max Porter and I
which touched on some of the themes underlying our song The Breadline. In a move that still floors
me with its power, Eric then took this email and transformed it into a poetic art piece which now
rests on the inner sleeve of the vinyl design, and also forms part of the wonderful visualiser he
created together with Aaron Anderson. I was just sending him notes for context so it was a big and
beautiful surprise to see Eric transform them to be directly part of the artwork.
You’ve collaborated with some incredible artists over the years - are there any lessons or
insights that have stuck with you from those experiences?
I'm so grateful for all the musical experiences I have had over the years working with so many
incredible people. I miss Amy Winehouse, she was a force of nature and incredibly funny! And there
was so much crossover with the music that was dear to our hearts. MF DOOM I idolise, so that was a
trip working with him. What a positive example he sets in just sidelining the noise and centreing
the work. It was also deeply inspiring to work with Kendrick Lamar's producer Soundwave whilst
making the Gabriels album. Watching how he constructed beats really made me hungry to get back
to my sampler and go deeper!
Is there a particular track on the album that feels especially personal or meaningful to you
right now?
When listening to the album this week it is the song 'Fume' that has opened me up emotionally the
most. This is an especially nice feeling because for a while I had taken Fume off of the album when I
was searching for the right balance. But I'm so glad it stayed in!
Did you think about how these songs would work in a live setting while writing and recording
them? Has that influenced how you approach performing them?
Whilst making the record I really just focused on where the music was leading me regardless of how
that would have an impact on live performance. But I'm very very grateful that I'll be touring with
aden and Calum Duncan, two musicians who I worked very closely with on this record. I couldn't
fully realise this music without their wonderful musicianship and humanity.
Looking ahead, what’s next for The Vernon Spring?
I've got lots of music in the works already but I'll also be heading back as one of the artists in
residence at Sounds From A Safe Harbour in September, together with Max Porter, Calum and
around 70 other artists! That promises to be a space where new music can be discovered and new
collaborations can begin.
Order the new album 'Under a Familiar Sun' below!
SHOP NOW
