These days technology has wavered the necessity of a band to create a rich, textured sound, paving the way for innovative musicians to take sole control of complex compositions. Having played guitar for twenty years – dipping in and out of various outfits – MICK FLAHERTY decided it was time to go it alone about four years ago.
Coupling warped Aphex Twin electronica with ethereal folk, alongside a whole host of other influences, Mick has been making ripples across the sound waves with his idiosyncratic sound and self-effacing attitude.
Bridging the gap between those two varied sounds, it only seemed right that we draft Mick into our SOUND FOOD & DRINK line-up to join the dots between the earlier Mellowtone acts and the electronic outfits that will take things into the night. Before that though we caught up with Mick to discuss his influences, music and art…
How long have you been making music?
I first picked up a guitar 20 years ago, but since no one seemed to be playing bass I ended up as a bassist for most of that time. It’s only been the last 3 or 4 years that I have got seriously back into the guitar and to start singing. Which is certainly not something I would have pictured a few years back when my main musical contributions to a band where in the form of adding bass lines here and there. So it’s always good to push yourself, and I suppose that’s true in all aspects of life.
Was there a particular artist that made you decide to start?
I was a metal head as a kid, so any urge to pick up a guitar would have came from some big heard leather bound thrash metal guitarist. Thankfully we evolve in time. When I first started with song writing, which is still pretty recent for me, it was always with the idea of a full band format. So I suppose in one sense, being put onto a guy called Denis Jones and seeing his onstage set up gave me a real sense of direction in relation to merging these different influences which were floating around and laying them into something concrete . So I can say that he has had an impact in relation to me doing the kind of stuff I am now. I often find that many artists can inspire me in many ways in terms of how far I can push myself in terms of creativity or ability, so in essence it’s like having that same initial feeling of the kid with Slayer posters on his wall and just wanting to play because it resonates with you at some fundamental level.
Do you prefer writing more straight-edged acoustic songs, or producing bizarre electronica?
In all honestly I’m not sure if I have a preference. They are obviously different, but I can’t separate them in terms of preference – they are what they are . I just like creating and learning through play. I had a stint several months back where I felt I was really trying to force myself to finish one or two new guitar based ideas, and nothing was feeling right or natural. So I just spent the next few weeks on the electronic stuff and that was coming out almost without effort. It’s almost like a case of just catching and riding what ever wave just happens to be coming along.
Which do you think are better received by audiences?
I’ve not managed to get the electronic stuff out in a live environment as of yet but I’d love to see how that would go to be honest. Ideally it would have to be something more than pressing a few triggers ….so something relating to visuals, scores for silent film, animation and so on would be something I’d love to get my teeth into.
Do you think Liverpool is right kind of city for an artist looking to explore the leftfield?
I suppose it is fair to say that there is a distinct sound that is associated with Scouse bands and artists as in a way there is with a city such as Bristol. It just so happens that both sounds happen to be different. The way I see it is that there is so much going on musically that there is room for everything. And it’s my city so I just do what I do really and if that resonates with people then so be it. Another aspect is the support that is given and received among a fair number of musicians here, were that support network grows in both directions through a sense of mutual respect. So I am more than happy to have this place as my playground and wear it as a badge of honour when I’m playing outside of Liverpool.
You’ve weaved your way through Liverpool’s grassroots communities, cropping up on some cracking line-ups. Which of your live shows has been the most memorable?
I had the privilege of playing with UK and US Boss looper champions Suzy Conrad and Angela Sheik at the Lomax over the summer. Which was interesting from the stand point of them observing how I was making things work and then obviously likewise me with their respective sets. I suppose it was like finding my long lost siblings or something!
You also dabble in art. Do you think it goes hand in hand with your music?
Most definitely, it’s all the conveyance of emotions and ideas; be it via song, sound , visual imagery or the spoken or written word. It’s expressive communication between the creator and observer and sometimes things can only be defined by feeling rather than trying to understand. How do you explain isolation to someone…? What happens if you add a ton of reverb and images of desolate winter landscapes?
Image may be NSFW.
Clik here to view.
Which have you been interested in the longest?
I was always a keen drawer as a child , which would have came long before any desire to create music. However it did tent to be something that would drift in and out of my life up until a couple of years back when I decided to take up an art course at college. In a sense it was like merging pathways in the brain as the thought processes involved in freeing up what were once rigid drawings trying to imitate the object they represented , I found myself being encouraged to push myself, experiment, don’t be afraid to make mistakes , be influenced by others and don’t feel the need to compare yourself with others as there is no right or wrong and probably most importantly that no one will ever be a harsher critic on your work than yourself . So just do what you do and let others decide. It’s been a perfect mantra for music , so it’s the philosophy I adhere too.
Have you thought about any ways to merge the two together?
As I mentioned earlier , it is something I’d love to get to grips with one day soon. Something like filming and animating stuff to accompany music on a projector or scoring atmospheric ambient scores for old silent films would keep me happily occupied for countless hours, days, weeks, months on end .
Are you working on anything at the moment?
Finishing some of them songs that I mentioned earlier , as well as reworking a few others. I still have a 5 track EP that was recorded last year, that I’m hoping to get mastered and set for release some time soon. After which another stint in the studio would be nice, maybe even with a band. Watch this space.
What kind of stuff will you be playing for us at Sound Food & Drink on 18th October?
I’ve had “melancholic euphoria”, “avant-garde camp folk” and “warped and wonderful” used as recent descriptions, if that is anything to go by. It will be an acoustic based set with a loop station, some delay, an ebow and possibly some beat boxing . So hopefully it will be interesting.
—
Image may be NSFW.
Clik here to view.
TICKETS ARE £6 AND CAN BE FOUND HERE
You can donate £3 to Oxjam Liverpool by texting [JAM0010] to 70066 or you can donate as much as you like HERE
The post Mick Flaherty // Interview appeared first on Oxjam Liverpool.