An Interview with Izzie Voodoo
Voodoo creates a shimmering concoction of electro sounds, equally at home in the nu rave, indie and gothic tribes we threw a few devious questions her way and this is what came back…
NBT: electro is bright shiny and very much modern (ie of the last 30 years or so) voodoo conjures up thoughts of darkness, mystery and the ancient..How do these two seemingly opposites meet in your act and your music?
My music’s always had a darker edge. It started out being far more eclectic , more guitar orientated, and much more ‘alternative’ and has grown into something which has more direction, has cleaner sounds, lately has far more space and gives way to the possibilities of having a more fun (but still twisted) edge. Before, it was too dark and manic to handle that. I think my moods constantly battle with a childlike attitude to life and between highs that induce occasional hysterical giggling fits and a strange edge to my personality that’s drawn to anything dark, unnerving and unknown. The weird thing is that the 80’s type music that has had some influence on what I write was stuff from the commercial Goth era, whereas now I prefer to listen to more dance/electronica/pop stuff, and that must be where the crossover comes. I think it’s a decent balance though that might keep you on your toes.
NBT: Musicians should be political….or not… Discuss
Not deliberately so, in my opinion- there’s nothing worse than a preaching tunesmith. If a song demands that you make a point, make the point, but then leave it be.
NBT: which is better, the internal of the studio or the revelations on stage?
That depends on the crowd, for me. If there’s a great crowd and they like what they hear, there’s no other feeling (horrible cliché, but true), but since I’m a geeky tech head, I tend to be a bit too happy locked up in the studio- with beer and liquorice allsorts.
NBT: how does a self confessed control freak delegate when creating music..or is that possible?
It’s not possible J
I do it all myself til it’s nearly done ,then ask for constructive criticism and get really unbearably arsey when someone tells me ‘this isn’t right’ or ‘that’s too loud’. After an hour when I’ve calmed down, I generally pull my head in because I knew it was wrong anyway but was too burned out to fix it. Graphic design and some of the mastering I delegate out or share because I think it’s important to get an outside look at what you do.
NBT: The internet is innocent, crazy and brave, with a wink of an eye and a touch of a keyboard it can discover, delight and showcase. Will this wild child save or destroy independent music..your thoughts please. J
Absolutely- but I think it will change the way that people access independent music- has already. It’s part of the evolution process of the industry. Already it’s given so many artists an opportunity to be heard by thousands of people that they would otherwise have had no chance of doing – not because they aren’t good enough, but because they don’t move in the right circles and get the right breaks. The internet is a wonderful new tool for musicians who have recorded songs, who no longer need record labels to do the things record labels traditionally did. The one thing that I think is already suffering hugely as a direct consequence of the internet and of new media tools like mp3 players , and the ability to view home made videos of bands at the drop of a hat on a phone and such like, is the live scene- which certainly from a small venue point of view, is virtually dead on it’s feet.
You can buy her songs and learn about gigs and news here
Izzie is also on this week’s episode of the NBT Podcast