New Music /

Carla Werner

The first time I heard New Zealand born singer/songwriter Carla Werner sing was on her debut album – Depature [2003] – and I was immediately seduced by the haunting, breathy vocals and the aching minor key melodies. It was a beautiful album, full of subtle tempo and mood changes that made the experience of listening to it a very introspective journey. Werner’s second album – Pure Things In Wild Places – has just come out and it’s another cathartic, emotionally liberating mish mash of acoustic soul and folk. I interviewed her about the process behind the album’s creation. The first album was the fruit of several years labour recorded with a handful of producers in a number of countries. What did you learn from that experience that you didn’t want to repeat this time around? ‘I was naturally interested in the recording process, so working with some of the world’s greatest producers allowed me to get one on one training so to speak, and I picked up some vital tips for my own production skills. Although the approach that some producers took to the songs felt a little disconnected to me from what the song actually needed, like putting too many ‘finishing touches’ to them when the recordings only required mild encouraging and a thoughtful approach. So I made a mental note that when I recorded my next album, I would be very careful not to strip any of the essence out of the song, but just let it breath and do its own thing. Working with [co-producer] Chris Townend at BJB Studios in Sydney, the master of guiding songs out into their own natural glory, was the first step I took in making Pure Things …’

You were with Sony but Pure Things has been released independently. How has this new situation manifested itself on the album and in the process of promoting it? ‘When the merger happened between BMG and Sony worldwide, it was indicative of where the music scene was heading. It was a physical manifestation of the power that independent artists had been garnering, largely thanks to the internet. Artists are able to record and release their music without necessarily going through a major. So when I was dropped from Sony there was trepidation, but also excitement for an independent path, and with the belief from friends I was able to make an album I’m very proud of for many reasons. The downside is not having an endless supply of funding for marketing of course, and being independent means that you compete with artists who are on majors and do have that cash supply. At all costs you must try to maintain a presence, whether that’s with media or playing live and I believe in word of mouth being the best publicity – and it’s ALL hard work!’ [see also Joan As Policewoman]

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