Start Listening To: Wyndow

Glasgow’s most unique unison, Wyndow’s Lavinia and Laura guide us through nine circles of isolation anxiety and beautifully broken musical universe on their haunting debut album.

For those unfamiliar, could you tell us a little bit about who you are, where you’re from, and what kind of music you make?

We are Lavinia Blackwall and Laura J Martin.  Lavinia, based in Glasgow, was previously in Trembling Bells before going solo and Laura, based in Liverpool, has released 3 solo albums to date as well as playing live in Euros Childs’ band. The music we make comes from the idea of foregrounding two female voices, an approach we both loved from The Roches, however the music is quite different. It takes in elements of Kosmiche pulses and interlocking minimalist piano lines form the core of many of the songs. As well as that there are nods to The Penguin Café Orchestra and the chug of Faust gone dark folk. 

What was the creative process like for this self-titled album?

Laura: The songs were written in enforced isolation and sent back and forth to each other, something akin to creating an onion and then peeling the layers back to reveal the essential perfect onion-ness!  The music is transportive and multi-layered with heavy use of analogue synths and treatments to support the intention of each song. The limitations of the process somehow became its strength, and I loved the time to reflect in isolation and also the surprise of receiving new versions back from Vinnie and Marco. 

Lavinia: I really enjoyed working in spaces so far from each other. It was a fun process, sending a track to Laura, then receiving it back in a totally different incarnation from its previous form. In turn, being apart allowed me to feel unlimited in my response to Laura’s tracks as there was no worry of what her immediate response might be and she could always pick the bits she liked and brush aside those she didn’t (and vice versa) 

We understand you worked with Iwan Morgan and Marco Rea in producing Wyndow; how were those experiences?

Laura: Marco brought the Pink Floyd ‘Live at Pompeii’ vibe in abundance and Iwan was not afraid to embrace that and even sometimes put the whole track through a tape echo to distort and warp it if he felt like it, we were going for a beautifully broken sound and they were both ultra keen to go with that! Marco is a multi instrumentalist who played a variety of instruments including guitars, bouzouki and even triple bass. Iwan has worked on some of my favourite records (Euros Childs, Cate le Bon, Meilyr Jones), has great taste, and also comes with an encyclopedic knowledge of music and records. He knows which things to reference and is always going for the right feel. I think although they come at songs from quite different angles, what unites them is going for interesting sounds and performances above trying to smooth every nuance out of a track. 

What do you love right now? 

Laura: At the moment I can’t stop listening to Alabaster De Plume’s To Cy and Lee Instrumentals Vol 1 album.  That’s a great album to get lost in. It sounds modern and old at the same time.

Lavinia: I just bought Steve Hillage’s album Rainbow Dome Music, which I’m absolutely loving. I’ve ordered Kikagaku Moyo’s next album Masana Temples which I’m very excited to hear as I really enjoyed and keep returning to The Houses in the Tall Grass.

What do you hate right now?

Laura: There’s a plethora of obvious political figures to hate right now, but I’ll choose something different. Food packaging that can’t be recycled or isn’t clearly labelled is doing my head in.

Lavinia: Piles of washing left undone and clothes that no longer fit me.

How did you guys get into music?

Laura: I come from a large Scouse family and my Grandad was a great piano player who played in clubs and kept a songbook from which he’d play at family parties. Watching him play is what got me into music.  From there I was randomly assigned the flute in school and just ran with it.  I loved being able to create my own world in sound and get lost in my imagination.

Lavinia: Both mum and dad were into classical music and encouraged me from an early age to sing and play the piano. My piano teacher told my parents I had no natural aptitude for it and that it didn’t suit me, so after many different teachers and attempts, I was allowed to give it up. I focused on my singing instead. I’m still not great at the piano but I really enjoy using it as a tool for composition.

Now that things are easing up and “unlocking”, are you guys eager to play any live shows?

Laura: It’s been a weird time, to say the least; this project provided solace through the worst of the pandemic and the songs have never been performed live so definitely looking forward to presenting them in a different form live.  And of course, actually being in the same room as Vinnie and Marco will be nice!

Lavinia: I’m really looking forward to it, there’s been a lot of studio work going on and I can’t wait for live audiences again.

Now that things have opened up, you guys got any live shows you’re keen to play?

Laura: We’ve got a tour coming up in the Spring and really looking forward to working out how to translate these studio songs to work live with a band.

Lavinia: I’m looking forwards to rehearsing for the tour and the process Laura is talking about, then I can really look forwards to enjoying the shows. 

If you had to pick a personal favourite track from the album, what track would that be?

Laura: This keeps changing for me. I really love our opener on the record ‘Never Alone’ but our cover of ‘Free Will and Testament’ will forever be a favourite of mine especially as it opened up the project in the first place.

Lavinia: I’m with Laura on this, I can’t make my mind up, they’re all good! 

Tell us about the themes behind the album.

Laura: This wasn’t intentional but looking back the lyrics seem to evoke introspective thoughts and how they change when put against the challenges of the outside world. Quite possibly related to lockdown anxiety I suppose.  I remember listening to a playlist of Japanese environmental music and Phillip Glass’ Koyaanisqatsi soundtrack around the time we first started the project and this informed the sound of the initial demos even though it’s not as apparent in the final versions. Thematically, I think the questioning nature of the lyrics of ‘Free Will and Testament’ influenced our songs; they are self-reflective but also I wanted to allow fragmentary thoughts and words to enter into the lyrics. Sonically, the other key sound that we kept coming back to was the two voices singing in unison. I have always loved the Roches and was struck by that tight unison singing and wanted to explore that in the band

What can we expect next from Wyndow?

Laura: Funnily enough we were just texting about that last night. I can’t really predict at this stage.  This record sort of came from nowhere, so we’ll see what sparks the next one.

Lavinia: We’ll definitely be working on another record soon, where it will take us and what form it takes, who knows?

Any final thoughts to share with the readers?

Laura: I think there’s a lot to be said for Fran Lebowitz’ line that “There is no such thing as inner peace. There is only nervousness and death.” Thought I would end on a high!

Lavinia: Break it down into small pieces and it no longer resembles a mountain.