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Zeromancer flirt with me but not enough. Zeromancer music videos - musictonic

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Yeah, I guess so. But Catherine Carter is amazing.

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I keep meaning to film it, and make a really weird YouTube opera. You traded the 47 string harp for the four string bass; did the bass change your approach to writing music?

Perhaps appropriately then, I met Steer in a proper East London boozer, with cheap pints and a lovely landlady; however, the day was still young and the tables were yet to become sticky with the spilt lager that characterises ecstatic joy and eventual defeat.

Lucy Railton was meant to do one, and that one would have been quite far out there. Then we made a video for 'Walton On The Naze', and we were filming out at sea, and again it felt problematic - his wife is still alive as well, so I got slightly worried that it might come across as a bad joke or something.

Did you have much of a say in the process?

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I wanted to ask, quite straightforwardly, what is your relationship to folk music? But really just trying to create an atmosphere without a narrative was an interesting thing for us to attempt. I just really got to the end of my road with writing songs and playing the harp, and sitting down and feeling like a singer songwriter.

Does your music flirt with paganism? But then, as the band grew, it just became something which felt really natural; playing in a band from the bottom up for example, being in the rhythm section rather than on the top.

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Initially she recruited performance artist Jenny Moore as a song writing partner, the duo then became a trio when they were joined by ex-Chromehoof violinist and composer Sarah Anderson, to complete the group. What is next for you and for Bas Jan? She is so nice, but I could see what they meant.

That is sort of on the back burner while we work out what we are going to do next. The band are named after named after the Dutch conceptual artist Bas Jan Ader who was last seen setting out to sail across the Atlantic in I really hope so.

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We felt that we were improvising these mini scenarios, and we started off by taking some text from the film Taxi Driver, as we felt like that was kind of a way an operatic voice could be seedy and interesting. We wanted it to be two vocals, drums and a bass, and I found having a set of parameters quite interesting.

Perhaps, but I would not say that folk music has anything to do with Paganism, especially not these days.

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Yes, I definitely think so. Yeah, it was really bizarre. And that is also how I like to see the band, I wanted it to be this non-hierarchical entity, perhaps as a reaction to how I went about my solo material.

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Ah, that was great! I looked him up and I thought he was amazing, I really loved his work, and I got slight heebie jeebies about the whole disappearing at sea thing. That was just a kind of a full stop.

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I gave them the same sort of spiel - it was meant to be a bit more acid house. For example, there is a lecture by the philosopher and social theorist Mark Fisher which I tried to use as a base for some of my lyrics.

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Post-Brexit I have quite a difficult relationship to it. I find it hard to understand what folk is now. Thats why I loved writing the music as a band, where the music is really coloured by other people and their collective sense of humour. What has this prize allowed you to do so far?

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Maybe that feeds into a sort of non-hierarchical approach to society that I would prefer. When I first started asking people I was a bit more specific, but by the end I was happy for them to just send me what they had done.

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It sometimes feels problematic using his name, but I just thought that I really liked the way it looked and the way it sounded, and that was enough for me.