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noiseartists · 4 years ago

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The Academy Of Sun: Psychaedelic Pop from Brighton

Formed in Brighton nine years ago, The Academy of Sun is a four-piece comprised of Nick Hudson (piano, synths, hammon organ, harmonium, vocals, percussion, synths), Kianna Blue (bass, synths), Guy Brice (guitars) and Ash Babb (drums). Together, they present dystopian fantastic creations that combine the deeply personal and the poetically arcane. Dark yet buoyant, this is a controlled explosion of psychedelic and dark power pop with atmospheres couched in vast and expansive landscapes and cinematic arrangements.

Nick Hudson's musical juggernaut has been active in various incarnations since 2012, always transcending expectations. The Academy Of Sun has collaborated with Massive Attack's Shara Nelson, members of NYC's Kayo Dot, David Tibet of Current 93, Asva and Matthew Seligman (Bowie, Tori Amos, Morrissey). Hudson has also collaborated with Wayne Hussey of The Mission, as well as Canadian queercore icon GB Jones. Known for explosive and psychedelic live shows, The Academy Of Sun has performed in a medieval castle in Italy, a boat on the Thames, an abandoned railway carriage in Offenbach, colossal churches, The London College of Fashion, The Old Market theatre in Brighton, the MS Stubnitz in Hamburg, Brighton Dome, and a string of L.A. shows in 2019. Having toured 3 continents, highlights include appearances with Mogwai, Toby Driver and Keith Abrams from Kayo Dot, and Timba Harris (Mr Bungle, Amanda Palmer). 'The Parts That Need Replacing' is out now, available across online stores and streaming platforms such as Spotify. The full album 'The Quiet Earth' will be released in summer of 2020 on CD, as well as digitally.

THE INTERVIEW

Who are the group members?

Myself, Kianna Blue, Ash Babb, Guy Brice.

How did you meet?

A poet introduced Kianna and I. We ended up living together, In our modest cottage on the edge of a cliff we kept house goats. Guy was one of them. It became quickly apparent that if he kept his hooves pedicured, he had an incredible way with a guitar. Ash and I met in a local tavern, courtesy of a mutual online awareness via the blog of author Dennis Cooper.

How did you come up with your name?

I'd been reading literature on pagan sun-worshipping cults and came across Heliogabalus, the queer teenage anarchist emperor of ancient Rome. Artaud wrote on him. So I wanted to unleash and harness the unkempt nuclear blaze of that energy within a formalist framework.

What is your music about?

It's about invigoration and alchemy – stimulating the mind and soul in tandem with the body. Music to dance and cry to. It's about pole-vaulting transgressive and subversive narratives over the iron gate of mainstream normativity. Spiraling wells of energy and dynamism. Loud and shimmering vibrancy. “Did I really hear that?”

What are your goals as an artist artistically/commercially?

Artistically I just want to continually evolve my craft, critical faculties, and general state of awareness so as I can get ever closer to precisely articulating the atmospheres, geometries and ghost stories that circle my head like ever-mutating angels, day and night, on the brink of expelling light and form. And in doing so, to gather those who are similarly drawn to peering through the cracks. Commercially, I - and we - really just want to connect this with a bigger audience. We're aware that we're a weird band, and that it's a long game. So it demands stoicism, patience and persistence. The ideal would be to get to a level where we have sufficient economic backing to be able to actually deploy all the ideas we have without compromising on logistics or production values.

What are you trying to avoid as a band?

The music industry.

Why do you make the music you make? Is it in you? Is it your environment?

It's more interior than exterior. Albeit I respond very palpably to landscapes, just not the one that I'm writing this interview from within! Haha. I'm drawn to severe, wild landscapes, and likewise to art and music that evokes such landscapes.

What inspires you for the music or for the Lyrics?

I've always written prose and poetry, and so a key factor in my embarking upon songwriting fifteen years ago was preserving the conditions of unabashed literary aspirations in my lyrics. I like to think/strive to ensure that as much as they might stand successfully alone on the page they also transmit the melodies with ease. I'm drawn to art in any medium that explores and expresses extreme states of being – modes of transcendence, ultimately. Ecstasies, agonies, the uncanny, the transgressive, the sublime. Stillness can also be extreme. Lots of nature imagery. European cinema and literature.

Tell us what you are looking when trying to achieve your sounds. Do you experiment a lot or have a clear idea of what you want?

I think we all share a delight in unusual sonics – there were some genuinely experimental moments in the studio – for example, the first sound heard on the record is a drone created by my playing a pre-recorded vocal through the speaker of a cassette recorder into the pick-ups on Guy's guitar, which was then sent through waves of delay. We created a MIDI church organ by recording the bass pedals of the church organ of St Mary's, Brighton and turning that into a MIDI instrument. The idea of pitch-bending such a monolithic and defiantly analogue instrument was irresistible. There's one track where we recorded the drum part four times and placed each take peculiarly across the stereo field. And there are field recordings scattered throughout, evoking radioactivity and harsh landscapes. I usually, with each track, have a pretty clear idea of the aesthetic and formal parameters within which experimentation can occur, and we go from there.

Explain your songwriting process.

Sometimes I'll be improvising on piano and motifs will surface that later impose their will upon my subconscious, continually knocking until I open the door and allow them to become a song. Other times I'll have the completed lyrics and sit and just experiment with ways to place them, and edit, and edit until they're homed. Some songs arrive in one swift nuclear wind, and others take years to ferment. I keep a lot of audio notes on my iphone.

Describe your palette of sound.

Rich but not cloying, Psychedelic but not nostalgic. Adventurous. Green and gold. Complex but not arbitrarily technical. Deconstructing, rerouting and inverting obvious formal choices but not at the expense of comprehension.

Who would you want as a dream producer, and why?

Trent Reznor, Bjork, Tim Palmer, David Lynch, Danny Elfman. I thought I'd compensate for not saying 'why' by instead listing five, haha.

If you could guest on someone else’s album, who would it be and why? What would you play?

Well I know he's technically on the cusp of retiring, but assuming this questions dwells in an amorphous temporality (as we do ourselves under quarantine), I'd say Ennio Morricone. Because he's peerless. I would love to have played piano/organ on one of his sixties/seventies film works. To say I've been produced by Morricone and appear on, say, the Sacco and Vanzetti soundtrack, would see me fairly ecstatic.

What musical skills would you like to acquire or get better at?

I'd like develop further fluency in classical notation and orchestration.

Which other musician/artist would you date?

I don't really subscribe to coupledom or its rituals but maybe Jack from These New Puritans. NB. I would never, EVER date a musician. Haha.

Is there a band that if they didn’t exist you wouldn’t be making the music you make?

Probably Mr Bungle. In that they not only blew my mind at a young age with their own music, but laid breadcrumbs for me to explore the family tree of John Zorn, Tzadik, and the sprawling concentric circles of artists making up the experimental underground of LA and NYC.

You are from England. What are the advantages and inconvenient?

Hold my hair back. Well. Its primary advantage is its proximity to the European mainland.

Its disadvantages are manifold and voluminous – aside from a micro-percentage of wonderful, compassionate, intelligent and progressive entities and institutions, its a nasty little hotbed of misplaced Churchillian hubris and post-imperial egocentrism, ruled as a playpen by which neo-liberal public schoolboy millionaires can move their assets around and grow their wealth while 'ironically' masquerading a paper-thin veneer of concern for the public interest and welfare.

Boris Johnson and his monstrous cabal aside, the UK treats its musicians appallingly. I've toured Europe, America and The Middle East and it shames me to say that the worst treatment I've experienced out of any of the countries I've played is that of the UK. I'm not alone in this assertion either.

There are exceptions of course, but as a rule, this sadly remains the case. Ten years of Tory rule certainly hasn't helped this.

What are some places around the world that you hope to play with your band?

There's that amphitheater built into a rock face somewhere in Central Europe. I'd like to do a tour of churches and cathedrals. And acoustically-dynamic natural rock formations.

It's my dream to take The Academy Of Sun on an extensive tour of Europe, but we'd need solid economic backing to be able to do so with production values intact, let alone keep us all afloat while doing so.

So that's something to push for. There's a pueblo in New Mexico called TAOS – obviously it's pre-destined that we play there. I went to Svalbard in the Arctic last year, and there's a beautiful concert hall called Huset right between two glaciers. I'd love us to play there. (Johannes, are you reading this?)

When is the next album/EP due?

June! We inevitably had to postpone the release from its intended release in April, when the whole world went on pause. We're super-excited to have you all hear The Quiet Earth.

Some artists you recommend

I can't get enough of Oingo Boingo right now – Danny Elfman's band that split in 1995. Peerless songwriting, arrangement, production and performance. Otherwise, Arca is amazing. I'm listening to a lot of Nico. Devouring Clive Barker's early novels. Revisiting Diamanda Galas' earlier catalogue. Watching a lot of Chris Marker and Maya Deren. And I just read Marina Abramovic's memoir, which is profoundly inspiring.

Anything else you want your fans to know?

Mainly – thank you for your support, engagement and enthusiasm, especially during this wayward, hazy and anxiety-inducing time. We hope you'll enjoy the record, and we're super-psyched to play shows all over the place when concerts are indeed a viable concern once again. Stay well, breathe deep, and celebrate and nurture the connections that enrich, comfort, soothe and embolden you.