All the songs are pretty much first takes. On my first album, Unwind, I didn’t want to overdub anything. Is playing everything yourself important to you? That was a technique thing I had to practice a lot to sound decent. That’s just for the bridge part, and I’m doing it on my lap I flip the guitar to do the tapping part. On “I Wonder,” you’re tapping harmonics while playing something different underneath. I’ll play it only if it’s needed to play the idea that I have – and I guess I have a lot of weird ideas (laughs). I don’t play just to use certain techniques. You have an idea you’re trying to execute. Usually, I have an idea of either an emotion or an atmosphere I’m trying to capture. Sometimes songs just come from randomly playing. A lot of the time, if I’m noodling around, it’s to get an idea that I previously had in my hands, so I can figure out how to play it. She sat with VG to discuss alternate tunings, artistry, and the pursuit of one’s identity on guitar.ĭo your compositions come from your imagination, or noodling? Williams has hit the ground running in the new year. The songs are freer, hypnotic, more stream-of-consciousness, and feature complimentary instrumentation. On her latest album, Urban Driftwood, Yasmin Williams’ wanderlust expands beyond the acoustic polyphony her fans know well.
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