and I felt like that whole last album was extremely conceptual and layered, both visually and musically. When I started doing the demos for this album, I immediately started recording them in a verydifferent way; instead of layering them up with extras and effects, I put the vocals up very loud, very up front with hardly any reverb, and was writing very big bass and beats and there wasn’t much else. I noticed immediately that it was a very stark, much different approach to the one before, and I think visually that’s continued through. I just wanted to really represent taking away all that adornment and seeing if you can still create magic - that soulful, beautiful thing. I think it’s about having the confidence to believe that you don’t necessarily have to present those magical tokens on the outside to validate what’s on the inside. I think it’s become quite – not necessarily passé, but fashionable to look like this mystical being who goes and snorts coke every weekend, even if you’re not anything like that. So I felt like it was just a bit of a statement of not needing to do that anymore; stripping it back and representing the body in a raw, natural form, that’s not glossed over and made up, the way that naked bodies aren’t presented any more, without being sexualised. And yeah, I was just thinking about John and Yoko, or Patti Smith, who had that quite amazing, 70s iconographic album art that used to be present. I think it’s got a bit more lost recently.
Te fashion world really fell in love with you, and Jefferson Hack described you as “shamanic”, but recently at Latitude you looked very understated and demure – are you keen to eschew the relationship that music has with fashion now? Well I felt like the summer shows were an interesting sort of middle space, for me, ‘cause I hadn’t finished the record – well I’d finished it, but it wasn’t particularly mixed and mastered, or anything. It was very much like going out before I was ready, in some ways. But obviously it was important to show my face in some ways, and to get back into it, rehearsing with a new band and all the things like that. So I think for these shows, it’s been a more modest approach as I’m sort of easing my way back in. I do feel
outlineonline.co.uk / October 2012 / 13
I DISCOVERED THAT NATASHA KHAN IS A LOT MORE COMPLEX AND RICH, AS A PERSON, THAN JUST BEING THIS MYSTICAL, SAD PERSON.
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