BEC SYKES
Following the tumultuous upheaval of a religious upbringing, toxic personal relationships and crippling anxiety, the inner strength and perseverance of Naarm based artist channelled her adversities and subsequently delivered a raw and spellbinding album that is a captivating as it is cathartic.
Hi Bec and thanks for taking the time out to speak with us at Musicology and congratulations on the new record.
Thanks for having me!
Can you elaborate on what were some of the personal moments occurring in your life that formed the basis of the material that went into the making of Pepperpot Magic?
The biggest things that influenced the album were an unhealthy relationship, reflecting on my religious upbringing, family trauma, and recovering from debilitating anxiety.
There is some exquisite instrumentation of the record such as the pedal steel of Matt Dixon on ‘Marlene’ and the heavy piano on ‘I Know What You Like’, and acoustic of ‘Joan of Arc’. Was it a case of the sentiments driving the selection of music first or conversely the music was constructed well in advance, with the lyrics coming second and shaped around the musical backbone of each track?
Sometimes they come about at the same time, or at least I begin singing a handful of lyrics that end up shaping the song. But usually the music comes first and lyrics second. The main way I write is to come up with chords or a melody and sing gibberish over the top, then I try to fit words into the phrasing of the melody. The songs were all written on piano or guitar and then Rob and the band added their respective magic to flesh out the arrangements.
There is a raw honesty with all your works and a vulnerability that you share which at times cannot be easy. ‘Sculpture’ is an exemplary track highlighting the frank and open approach you have toward your lyricism. Is it the cathartic release that writing provides which makes the outward sharing easier or it still is difficult no matter what considering that you are laying it all bare?
When I’m writing the songs and recording them it feels cathartic and empowering to be so honest. But sometimes I get a vulnerability hangover, especially after playing a live show. It was really confronting to play ‘Marlene’ in front of my parents for the first time. Luckily they’re really supportive of my music, despite our conflicting worldviews. What I find the hardest is having to perform the songs live when the people they are about are in the room. I don’t want to upset anyone. Something I’ve had to remind myself in order to write honestly is that multiple things can be true at the same time. You don’t have time to tell both sides of the story in a three and a half minute song. It’s okay to zoom in on a feeling you felt and write about it.
What external forces went into shaping the album and how were those influences expressed in the eventual direction Pepperpot Magic took?
When I was writing the songs, some of the artists I was listening to were Leif Vollebek, Adrienne Lenker, Laura Jean, Lianne La Havas, Rae Morris and Reb Fountain. However I would also go through periods of not listening to any music at all and go walking in the forest to cleanse my palate. Production-wise Rob steered the tunes in a really organic, live direction drawing on classic artists like The Beatles, Dion and Cat Stevens. I think these influences can mainly be heard in the band arrangements.
Pepperpot Magic across its eleven tracks is indeed a full-bodied record but was there anything left off the table that for one reason or another remained on the cutting room floor?
One of the first songs we recorded was a song called ‘Curse’ but it went in the bin pretty quickly. I sent Rob a bunch of phone demos and he was really honest with what he thought we should record and which ones weren’t the right fit. I found that really helpful because everytime I write a song, it becomes my new favourite, so it’s hard for me to think about if it works in the context of the other songs. Some of them I still like, they just didn’t fit with the darker theme of the record.
How considered was the track listing for the album and the narrative you were intending the record to follow from start to finish?
The track listing was more guided by sonic choices rather than having a lyrical narrative. However I do like ‘Paint the House Grey’ being the album closer because it finishes on a hopeful note. Rob and I sat down and spent a bit of time curating the transitions between songs, so that was quite considered.
Given your previous works and where you find yourself today, in what ways has your style and methodology remained the same and where have they parted company considering each work and each release can be something of a different beast?
One of the biggest shifts between my previous singles and this album is the way the vocals were recorded and produced. In the past I was influenced by artists like Aurora and Enya, and I wanted my vocals to sound ethereal and have lots of layers. I still had this vision when we began recording the album, but soon realised that Rob had a way more minimalist vision. I was resistant to single tracked vocals at first, but once I heard the recordings and could hear how well he’d captured my voice, I could see how the intimate approach really suited the songs. Rob also introduced me to recording vocals without headphones and encouraged me to sing softly. I naturally like to sing quietly, and the lack of headphones helped me feel unobstructed and more in control of my tone. Recording live was also new to me. We didn’t use a click for most of the songs so I felt more present and less perfectionistic. I suppose the things that have remained the same about my music are the focus on lyrics and melody, and the generally warm production.
In working with so many creatives, has there been certain words of wisdom imparted upon you that directly altered the way you approach your craft, or perhaps even implicitly, as observable moments or certain sensations?
When I was trying to write the last songs for the album, I felt really stuck because I was putting lots of pressure on myself. I was battling with the feeling that time was running out, which was not conducive to creativity. I talked to my bass player Ronan about this feeling, and he sent me an extract from Rilke’s ‘Letters to a Young Poet’ that he’d recently read: “To be an artist means: not to calculate and count, to grow and ripen like a tree which does not hurry the flow of its sap and stands at ease in the spring gales without fearing that no summer may follow. It will come. But it comes only to those who are patient, who are simply there in their vast, quiet tranquillity, as if eternity lay before them.” After that, every time I sat down at the piano or picked up the guitar, I told myself that “eternity lay before me”. I slowly got out of survival mode and into flow states that allowed me to write ‘Sculpture’ and ‘Joan of Arc’.
Having performed with some amazing acts during your time, has there been a particular stand out show that was really special?
Last year I played a show at the Theatre Royal in Castlemaine with Georgia Knight, supporting Didirri. I hadn’t really heard Georgia’s music before and her set drew me in completely. It was just her and her autoharp. Her songs have really striking, sometimes unconventional melodic choices and her lyrics are gut punchers. She also chewed gum throughout her entire set which was pretty badass.
On something of a philosophical note, what does music give you that nothing else does?
When I’m having a shit time, listening to music and writing songs helps me feel human again.
