Finding Order in Things: Phil Self (Dau) Interview

Musician-composer Phil Self talks about pulling pints, the Kentish coast and Peter Greenaway’s influence on his new album Zed Zed

Self’s latest work flies under the Dau banner where acoustic instruments and drones create an intense chamber-folk soundtrack. He blends bowed guitar, reed organ, vocals and ambient noise to evoke an ensemble’s woodwind or string sections with wondrous results. Self is also a leader of communal singing groups which explore health and wellbeing through song. His numerous band projects include post-rock outfit Yndi Halda and avant-folkies Molly’s Lips.

Which instrument did you first learn and why?

My first was the cello. A string teacher came into our class when I was about six to show us the string family’s three instruments and I liked the tune she played on the cello. After twenty-four years of not playing it I’ve been attempting to play it again.

You studied music technology at Keele; did this change your direction as a writer?

I was introduced to a lot of early electronic music and it’s there I first heard terms like ‘electro-acoustic music’ and ‘musique concrete’. What excited me about these discoveries was realising their influence on music I already listened to. And having a ‘listening list’ that included things like Boards of Canada and Aphex Twin. I was introduced to and developed new techniques in composition and production which have definitely found their way into my current approach.

Zed Zed sounds like a folk-acoustic work with orchestral textures; how did you blend the instruments to achieve this?

By using lots and lots of layers, especially with the bowed guitar. Each part was recorded several times to create a larger, more expansive sound and also to fill the gaps and create constant drones. My bowing isn’t great, so multi-tracking allowed me to offset the playing on each part to allow for continuous sound. At times I made this more of a feature to create granular-like effects such as on “Hangman’s Cricket”. Part of the self-imposed brief of this record was to recreate computer processes, such as granular synthesis and time stretching, on acoustic instruments.

The album alludes to Peter Greenaway’s movies A Zed and Two Noughts and Drowning by Numbers. Were you drawn into his early films by Michael Nyman’s soundtracks?

I actually hadn’t realised the link with A Zed and Two Noughts – I’ve not seen that film. My partner introduced me to Peter Greenaway’s films and we both ended up sharing a love of Michael Nyman’s soundtracks. The impact of watching Drowning by Numbers for the first time stuck with me and found its way into the record.

One piece is named after the hapless boy Smut in Drowning by Numbers. Of all that film’s strange characters, why choose him?

“The Death of Smut” had certain sections of the film in mind as it was conceived. I found Smut’s story so sad and it was this aspect which lingered most after watching the film. His obsession with finding order in things, his naïve and innocent nature, stand out in a film where most characters are trying to murder and deceive each other.

Two videos on your website feature surreal folk-horror settings. Are you intrigued by the occult?

I don’t have any personal interest, although my partner and I rewatched all of Buffy the Vampire Slayer last year and we’re currently working through The X-Files. So yes, if that counts?

It was great working with Matt Rowe. He’s a Folkestone-based artist and the music I co-wrote for his film Fortopia was inspired by the visuals and exploring the film’s setting – Fort Burgoyne in Dover. The finished film was installed in the fort for an open day in 2020, just before COVID hit. The video for the Cocos Lovers track “Witches” was made by Dogbrain Videos who are based in Margate.

You’re a member of the Smugglers collective in Kent, with its own festival, label and record shop/cafe. How’s that going? Are you hands on in the shop pouring craft ales?

I used to run the bar at the festival where I poured enough pints in five years to never do it again. At the Smugglers Festival my current role is bursar amongst a few other admin tasks. I also tend to play a lot of gigs with different groups and sometimes attempt things like acid house ceilidhs. The shop and cafe are run as separate businesses by wonderful people.

During lockdown you initiated a group singing project, The Isolation Choir. What was the inspiration for this and was Brian Eno involved somewhere?

A lot of my day job involves working with singing groups around east Kent. COVID obviously put a stop to all of them, so The Isolation Choir was a way of keeping everyone singing together in some form. Brian Eno appeared in our second video thanks to James at Phantom Limb who persuaded him it was a good idea. Search on YouTube for The Isolation Choir and “What a Wonderful World” to see it. That was also a collaboration with the brilliant Sacconi Quartet who I hope to work with more.

With the Montrose Composers Club you’re involved in many creative projects around Kent. What personal connection do you have with the region?

I live in a small-ish town on the southeast coast called Deal. I’ve been here since finishing university. It’s where my grandparents retired to and I have a lot of memories associated with the place – visiting for weekends and family celebrations as a child. I didn’t expect to stay here but found myself meeting lots of people, making friends and playing music with them. I may move elsewhere in the future, but I think here will feel like home for a long time.

Zed Zed is released on Phantom Limb’s Spirituals imprint in June 2021

Phantom Limb Bandcamp

philself.com