“一世今天一直在做很多睡觉，“在我们的谈话开始时加上Gabrielle Aplin。然而，由于她的首次亮相专辑已经超过两年了，英语雨,在英国专辑图表中直截了当，22岁的老年肯定没有花在桂冠上休息的介入月。9月18日，Aplin释放了她的第二款工作室长者点亮黑暗，一个充满自信的后续行动，看起来是制作威尔特郡的原生，他已经分配了150万个单打销售和数千万个Spotify和YouTube扮演，一个更大的明星。
虽然Aplin的好人仍然是前沿和中心，点亮黑暗比雄心勃勃和实验更雄心勃勃英语雨，具有比典型的独奏歌手-songriter记录更完全实现的声音。我们发现合作是关键，带吉他手卢克Potashnick的节制运动，为专辑提供了一个空间来形成。
“我去年1月开始写作;我们最终写着并在他家中录制了整个专辑，“Aplin解释道。“它真的很自然地掉了......这很奇怪。我想我是我自己最舒服的写作，但与卢克的写作是什么伟大的，这是非常放松的，这是一个你可以去的地方和实验。“
“在整个过程中只有一个合作者真的很酷。并且能够在家庭工作室中录制而且没有大的伦敦工作室的压力很酷。它只是觉得真的很自由。“
“大多数情况下，它要么是我带来未完成的歌曲，要么让他到最后的颂歌，并帮助生产它或帮助声音，或者是另一种方式和卢克将进入吉他部分或者riff，我们会以这种方式合作。能够这样做真的很高兴。“
Though she’s also a skilled pianist, Aplin tends to write mainly on the guitar, and working with Potashnick over the last two years or so has inspired her to experiment more with electric instruments: “I felt like I was stuck writing with my acoustic guitar a little bit,” she recalls. “I never really got into electric guitars until about two and a half years ago. I went to LA, there’s an amazing shop called Norman’s Rare Guitars – he has loads of vintage guitars and stuff. I just went in and saw this amazing Gretsch, and I was like, ‘Alright, I’m done!’.
“我真的有故事的老吉他;在我的专辑上，卢克有这个惊人的黑白60s Silvertone，它真的是一个摇摇晃晃的狗屎！但它听起来很棒。这太脆脆了，这很棒。他在用它录制后，他把它卖给了我，所以这真的很酷。其中一些人可能是非常糟糕的，但是那个恰好恰当是令人难以置信的。这真的很矮胖，但我在播放生活时，我一直在一些歌曲中代替我的一些歌曲。它听起来很惊人，或者只是直接穿过没有踏板。这是你不需要使用踏板的吉他之一。“
“我也有一个远程，我发现它需要一些脆弱的踏板，让它变得少了。Silvertone是如此脆脆，我喜欢它，它有点听起来可怕，但以一种好的方式！他们肯定会回到时尚。“
“在一个小慈善商店，我发现了一个小小的卡西欧音箱键盘来自九十年代，它只有两个八度八桅筒，带鼓循环。我们最终录制了很多，并与这些循环写作;我只是喜欢寻找旧的，坏乐器！“
“We wonder if writing with loops contributed to the more band-like feel of many of the songs on the album, providing rhythmic inspiration that one might not get when writing solo with an acoustic guitar.”
“一世f I was to sit down with a guitar, without anything… I don’t know where I’m going to start, it could go anywhere,” Aplin acknowledges. “But as soon as you put some sort of loop on, I have an idea straight away of what kind of feel I want. Whether it’s a rhythm for a riff, or a chord-y thing, or some kind of weird part with a loop pedal or a delay pedal… I’ll have that vibe and that feeling when I have a loop, definitely.”
“但是乐队方面[专辑的声音]来自Luke带来了剩下的节制运动，他们都记录在房子的不同房间。我不希望它成为一种经典的歌手歌手专辑，我希望它有一些关于它的东西。我真的想做一些奇怪的打击乐器，而不是搭乘经典鼓设置。我们绝对是试验。我们从未以正常方式设置了鼓！“
Under the influence
当它来到实验时，Aplin的影响是多样的：“我们正在听大量的爱德华夏普和用于打击乐和声音和古怪的磁性零。寒冷冈萨雷斯的东西已经产生了，他很棒;他做了提醒通过FEIST，我们绝对听取了他的吉他声音和他的声音。他通过一个放大器和麦克风录制了Feist的声音，把它弄乱了它。所以我们肯定在那里尝试。
“一世was really loving Beck’sMorning Phase专辑我正在制作这张专辑，主要是为了弦乐和安排。这些字符串是令人难以置信的，因为它们不是太惨而且太麻烦了，他们真的很令人毛骨悚然，也是尼克洞穴的那种。我们肯定受到启发。此外，街机火灾的宣誓性的声音。
“一世wasn’t afraid to experiment with synths, either. I went into a big studio for a day and got to play on loads of vintage synths. It was really fun to do that and not be scared, and just experiment really freely. There were about 100 synths in there and a couple of mics. It was mental.”
寻找不完美
Out of the synth room and back in guitar land, it’s clear that Aplin finds inspiration in the allure of musicians who have their own voice on the instrument, rather than those with flawless technique: “I really like seeing an artist who clearly hasn’t been taught to play the guitar, playing the guitar. Or someone who has their own way.
“即使他大多是一个声学播放器，我也受到尼克德雷克的启发。我喜欢他的播放方式。这真的是不完善的，对他来说真的是独一无二的。我也喜欢Feist扮演吉他的方式和猫力量。“
“一世don’t want it to look or sound like it’s perfect. It has to be really free and a bit wobbly, as long as it can sit around everything else. I taught myself completely, and I’ve found my way of playing… I’m constantly trying to make sure I don’t know everything! I like that element of not knowing everything perfectly, because in the writing you end up coming out with all these weird chord changes and weird things; I like having that element of discovery when you’re playing, and having to guess where you are going, because you never know what’s going to come out.”
Sharing responsibilities
当它来记录吉他部分时点亮黑暗, the division of labour was split fairly evenly between Aplin and Potashnick. As they took quite a live approach during the recording sessions, it often depended on whether Aplin was playing keyboards: “Luke did a lot of the kind of riffs and the weird noises,” she explains.
“For example, on点亮黑暗[歌曲]，我做了钢琴，卢克扮演吉他。上骨骼, I did piano and the synthy stuff, and Luke played the guitar.伤害, I played guitars on… I think we both played on everything to be honest. Most of the things I played piano on, Luke played the electric and then I would put my acoustic parts on afterwards.”
“专辑结束时有一首歌，不要打破你的心. I wrote that on my vintage Martin and it was the tuning from粉红色的月亮通过尼克德雷克。我有标签书，我真的想学习调音 - 他如何做到这一点？是的，我用过这个调整。那首歌完全是我，没有卢克，这真的很好。我喜欢买标签书！但我从来没有读过这个选项卡，我想要它是调整。“
The aforementioned tunings are another aspect of six-string experimentation that Aplin enjoys: “I’ve started playing a lot more in standard tuning,” she reveals, “but I love a weird open tuning, you never know what you’re going to get. You just put it into some weird chord and that’s an open tuning.”
“我不知道任何笔记在哪里，我不知道有什么模式或任何东西。这只是让你走上去的东西，这很酷。但它非常重要：每次记录iPhone语音备忘录！“
随着谈话转向曲案，它变得明显点亮黑暗Saw Aplin采取了一种新的方法，以便她刊登的话以及音乐：“它非常自由。我猜我的第一张专辑与这张专辑之间的区别在于我能够在同一空间和时间内写一切，“她说。“我对我的真正大变化是乐于写下其他人的故事和其他事情，并从地方和旅行中汲取灵感。”
“On my first album, I assumed that because I’m a singer-songwriter I had to write about things that happened to me. When I realised that I didn’t have to do that, it was really cool, and it opened loads of doors for me.”
一首改变世界的歌
Given that Aplin lists the likes of Joni Mitchell, Bob Dylan and Neil Young among her favourite songwriters, it’s no surprise that storytelling has begun to enter into her own work, something that’s arguably a lost art in the landscape of modern pop. We ask Aplin if she thinks that’s true. “No artists nowadays really write about what’s goingon in the world,” she agrees. “There’s definitely a very clear palette for what’s on the radio and TV nowadays. Hopefully, it will start to change and people will start writing about things that are happening now, again– that’s why I really like Bob Dylan.
我觉得人们害怕因为反弹而做到这一点 - 你将在某个地方冒犯某人，你将在某些事情上发表讲述某个地方的人。除非这是一个问题，否则你不会发表讲话。由于互联网和媒体现在，一切都像火一样旅行，所以也许人们害怕做到并被警告不要。但它只需要几个人来做，它不会再皱起了一下。我很乐意能够写一首改变世界一天的歌曲，但这可能不会发生！“
也许aplin将只需要满足于写作对与他们认同的粉丝产生巨大影响的歌曲......“绝对”，她同意了。“这是伟大的事情，知道某人的倾听并喜欢你的故事，因为它以某种方式与他们涉及他们。”
再次上路
2015年的剩余部分认为加布里埃尔·艾普林与她的乐队一起击中道路点亮黑暗, something she’s looking forward to after spending so much time in the studio.
“希望，我也将在10月份去日本，也回到澳大利亚。回到英国有一段时间，我会痒痒！“
Gabrielle has just her 2016 UK tour, which starts on 28th January and leads all the way up to 20th February, Ticket go on sale October 2nd at 9am.
有关Gabrielle的旅游和新闻访问的更多信息：
故事：Chris Vinnicombe
摄影：Eleanor Jane