Les Ailes Interview
Q: Can you talk about musical background?
A: I grew up in Seattle in the 90’s with a musician father, had lots of early exposure to bands like Heart, Alice in Chains and Soundgarden. I think the heaviness of the music and the powerhouse vocalists of those groups really influenced my little being from a young age. As a teenager I deeply connected with Billie Holiday and Jeff Buckley. Seattle was dampened and muffled by a constant rain for most of my childhood (as I remember it) and something about that cloud cover and steady water really feeds a musical spirit, I’m sure it’s been written about. I love the way land informs creativity. I’ve been writing songs since I was 15. In high school and college I spent a lot of time with jazz standards both in school choir and in community in Portland. When I moved to Nashville in my 20’s, I started recognizing the relationship between art and commerce. I think my time there really shaped my resolve to transmit energy through music. My dad and I had written songs together back home and I felt inspired and supported to discover my own sound in Nashville, where I met Mike McCarthy and started recording to tape. The analogue environment offers spaciousness and texture, I really enjoy the presence required of that process. I never managed to learn any music theory or technical musicianship, and am still in a bit of a rebellious phase against the idea of craftsmanship as a prerequisite for creative expression. I believe that everyone has something to say or express, and raw energy is often potent and gorgeous all on its own, sans exposure to tools or resources that honestly are often gatekept only for those who can afford it or have access to institutions, etc. Make your art.
Q: What are some of the themes and concepts on your album Lou Heron?
A: Lou Heron is about embodiment, presence, choosing to be here. Both in this body and on this planet. Some of the songs on this record were written in my twenties when I was living fast, dismissively, consumptively. More of the songs on this record were written later, after a nervous system breakdown that asked me to reconnect with my body and my self-nurturance. The record emerged as a contemplation of who I am and who I pretend to be; ‘Borrowed Body’ talks about this and ‘Yours Truly’ narrates closing that gap as we dare to shift into more honest versions of ourselves. A lot distracts us, keeps us busy and reliant on externalized relationships to power. I think making this record has guided me through practicing calling up my own internal power, and letting that anchor me as I allow myself to be changed by the world and what is being asked of us at this moment in time, in service to the collective.
Q: Can you talk about your creative process? Has your approach to songwriting changed over the years?
A: I often write songs as a fairly quick transmission; this has stayed consistent over the years. Some of the things that seem to help make me available to receive a song are going for walks, reading, stretching, lounging about, having some tea, drawing, or otherwise daydreaming. I’ve written a lot of songs in the car and heard ideas in the shower, out of sleep…these feel like common sentiments among songwriters—putting yourself in situations where you can be receptive. As this is not always possible, worth noting that I’ve also spent considerable time dodging into corners at work to record notes on my phone (this forever). Something that has changed for me in recent years is developing the patience to struggle through new chords on the guitar, owing to Mike McCarthy for that encouragement. I camped out in my van at his home studio in Nashville during the pandemic as we finished up my first record together, “Tennessee,” and most of my unscheduled pre-session hours were spent practicing new chords thanks to his badgering. That’s a more active version of songwriting I suppose, when I’m fighting with chords and mathing the lyrics. Melody seems to come easy regardless of approach
Q: Can you talk about musical background?
A: I grew up in Seattle in the 90’s with a musician father, had lots of early exposure to bands like Heart, Alice in Chains and Soundgarden. I think the heaviness of the music and the powerhouse vocalists of those groups really influenced my little being from a young age. As a teenager I deeply connected with Billie Holiday and Jeff Buckley. Seattle was dampened and muffled by a constant rain for most of my childhood (as I remember it) and something about that cloud cover and steady water really feeds a musical spirit, I’m sure it’s been written about. I love the way land informs creativity. I’ve been writing songs since I was 15. In high school and college I spent a lot of time with jazz standards both in school choir and in community in Portland. When I moved to Nashville in my 20’s, I started recognizing the relationship between art and commerce. I think my time there really shaped my resolve to transmit energy through music. My dad and I had written songs together back home and I felt inspired and supported to discover my own sound in Nashville, where I met Mike McCarthy and started recording to tape. The analogue environment offers spaciousness and texture, I really enjoy the presence required of that process. I never managed to learn any music theory or technical musicianship, and am still in a bit of a rebellious phase against the idea of craftsmanship as a prerequisite for creative expression. I believe that everyone has something to say or express, and raw energy is often potent and gorgeous all on its own, sans exposure to tools or resources that honestly are often gatekept only for those who can afford it or have access to institutions, etc. Make your art.
Q: What are some of the themes and concepts on your album Lou Heron?
A: Lou Heron is about embodiment, presence, choosing to be here. Both in this body and on this planet. Some of the songs on this record were written in my twenties when I was living fast, dismissively, consumptively. More of the songs on this record were written later, after a nervous system breakdown that asked me to reconnect with my body and my self-nurturance. The record emerged as a contemplation of who I am and who I pretend to be; ‘Borrowed Body’ talks about this and ‘Yours Truly’ narrates closing that gap as we dare to shift into more honest versions of ourselves. A lot distracts us, keeps us busy and reliant on externalized relationships to power. I think making this record has guided me through practicing calling up my own internal power, and letting that anchor me as I allow myself to be changed by the world and what is being asked of us at this moment in time, in service to the collective.
Q: Can you talk about your creative process? Has your approach to songwriting changed over the years?
A: I often write songs as a fairly quick transmission; this has stayed consistent over the years. Some of the things that seem to help make me available to receive a song are going for walks, reading, stretching, lounging about, having some tea, drawing, or otherwise daydreaming. I’ve written a lot of songs in the car and heard ideas in the shower, out of sleep…these feel like common sentiments among songwriters—putting yourself in situations where you can be receptive. As this is not always possible, worth noting that I’ve also spent considerable time dodging into corners at work to record notes on my phone (this forever). Something that has changed for me in recent years is developing the patience to struggle through new chords on the guitar, owing to Mike McCarthy for that encouragement. I camped out in my van at his home studio in Nashville during the pandemic as we finished up my first record together, “Tennessee,” and most of my unscheduled pre-session hours were spent practicing new chords thanks to his badgering. That’s a more active version of songwriting I suppose, when I’m fighting with chords and mathing the lyrics. Melody seems to come easy regardless of approach
Q: What was the recording process like for the album?
A: Mike actually suffered a nearly fatal baseball injury the day before we started recording at his home studio in Nashville last summer. He didn’t know that his lung was collapsed and filled with blood at the time, but he was sleeping at the tape machine as we tracked “Playing for Doubles.” After about a week of tracking songs, he eventually went to the ER and had surgery. Major credit to his capabilities as a tape engineer, and to our mutual trust from years of working together, that he was highly functioning and insightful in service to the music despite actively dying during the process.
Q: Is there anything you hope people take with them when they listen to your music?
A: Not at all—I’m so thrilled to give this record over and feel that meaning in a piece of art is co-created by all who come into contact with it. Very excited for these songs to continue to reveal themselves through those who find them.
Q: What other things should we know about the music? Any live shows we should know about?
A: I’m opening up for Small Million at Trout Lake Hall on August 23rd! It’s a beautiful, rustic old dance hall-turned-music venue in the foothills of Mt. Adams, a short drive away from Portland. Ray Mullin and Tiara Gunstone bought the building and the sound is absolutely gorgeous.
A: Mike actually suffered a nearly fatal baseball injury the day before we started recording at his home studio in Nashville last summer. He didn’t know that his lung was collapsed and filled with blood at the time, but he was sleeping at the tape machine as we tracked “Playing for Doubles.” After about a week of tracking songs, he eventually went to the ER and had surgery. Major credit to his capabilities as a tape engineer, and to our mutual trust from years of working together, that he was highly functioning and insightful in service to the music despite actively dying during the process.
Q: Is there anything you hope people take with them when they listen to your music?
A: Not at all—I’m so thrilled to give this record over and feel that meaning in a piece of art is co-created by all who come into contact with it. Very excited for these songs to continue to reveal themselves through those who find them.
Q: What other things should we know about the music? Any live shows we should know about?
A: I’m opening up for Small Million at Trout Lake Hall on August 23rd! It’s a beautiful, rustic old dance hall-turned-music venue in the foothills of Mt. Adams, a short drive away from Portland. Ray Mullin and Tiara Gunstone bought the building and the sound is absolutely gorgeous.