Jonathan Wilson

“It can place you in a trance. That’s what I’m going for”

What’s the appeal of the unembarrassed grand gesture?

It’s all I can do, I guess! I tend to think in longer phrases and grandiose musical gestures. I think my love of jazz has something to do with it. I’m looking for balance and harmony, no matter how long the piece of music is – that means nothing to me. Sometimes music needs to float for a minute or two; it’s actually very hard to let these moments remain in the recording/ editing process.

Why drum machines and synths this time?

I’ve always used drum machines, just never really on my records. I love Arthur Russell, Shuggie Otis… that use of kind of a dumb little beat from a “rhythm computer”. The other thing I love about quantised rhythm is that it can place you in a trance. That’s what I’m going for with tracks like “Over The Midnight” or “Loving You”; they are long and designed to make the gentle listener float away on a sonic gondola.

What was working with Laraaji like?

He is one of my favourite people on Earth. His selfless, intuitive music gift informs and inspires me. The indie-rock ghetto could use a million more Laraajis.

What was your aim with “Hi Ho The Righteous”?

It’s a prayer, really – a freaky synth, country-fried showdown. The end drum freakout I had to include because it represents fire, bringing sweat, heat, intensity… the record needed the song.