Pixey: ‘So much magic is made in bedroom studios because people work with what they’ve got’
We catch up with Merseyside native, dream-pop extraordinaire and the self-described ‘indie Britney Spears’ Lizzie Hillesdon and discuss her debut mini-LP, touring with Alfie Templeman and what it’s like having your song used by BT Sport for their Premier League coverage.
Photo: Press
Hi Pixey! Your debut mini-album ‘Dream, Pains and Paper Planes’ came out last year – can you tell us a little bit about the LP and the process of making it?
Hey! Well, I started some of the tunes on this mini-LP around two years ago and I’ve written so many things since then that it’s weird that all this music is only coming out now! It was going to be another EP but I had so many songs that it was suggested we make it into a bigger project. The lead singles are all co-produced but the rest is just me producing, so it was quite a challenge finishing it all off. It’s definitely an eclectic mix of songs and it’s a nice showcase of everything I’m capable of doing – a bit like a Pixey playlist!
Your production breakdown video of ‘I’m Just High’ showed us how the song spawned from the opening riff and you built all the layers around it – is that usually how your songs are written?
It really depends on my mood or what I’ve got available to me. If I’m on the go, I’ll maybe get a beat from Splice then write everything through the midi on my keyboard. When I co-produce with Rich [Turvey], I’ll be in the studio with him on the bass and we’ll noodle together. Sometimes I’ll already have the idea in my head from start to finish before I even lay it down.
Was producing something you always had an interest in or did it come from the necessity of getting your tunes out?
I used to be painfully shy – going into a studio with someone that I didn’t know without knowing how a song was even put together was never an option. If I didn’t figure out how to produce myself I don’t think I would have felt comfortable enough to go into the industry, and I wouldn’t have the sound, sonic identity or technique of songwriting I have now. When I first started making songs, I was recovering from an illness and was basically bedbound. I couldn’t even really play the guitar properly so I started looping it to learn Ableton – not the standard way to do it! It can take time to find someone else who feels like they make you even better than you are rather than someone who takes over. The greatest power you can have as an artist is already having even a baseline knowledge of how to produce a song. It stops that prejudice that producers sometimes have – that ‘I know how to make songs’ thing. But some of my favourite songs have been recorded through voice memos. You don’t always need an expensive studio!
Do you prefer professional studios now or do you still favour a home studio?
Once you’ve found the right person who you’re comfortable with and you feel at home and confident, it’s great. The professional studio just feels like a bigger version of your home studio with more gear – that’s all it is really! That’s why so much magic is made in bedroom studios because people work with what they’ve got.
Your videos so perfectly encapsulate the songs they accompany and have a great nostalgic vibe – what’s your process in creating them?
I’m obsessed with feeling like you’ve heard or seen something before but not quite being able to put your finger on it – I find a lot of comfort in that. Like, I love ‘80s Dad Rock! Just something about it gives me that nostalgic, safe feeling. So I always want to make things that hark back to stuff made before without recreating it. Videos like ‘I’m Just High’ and ‘Just Move’ were my original concepts that I then sent out to people. I love working with Dan [Broadley], he’s great at translating what I have in my head to the video and bringing it to life – and in a way that’s realistic with the budget. If it was up to me I’d be levitating and everything! But some of the best videos are the simplest – The La’s stuff around Liverpool is so good.
You recorded a session for the BBC at Maida Vale – what was that like?
So cool, such a special day, we only got back from recording that yesterday! I’ll remember it for a very long time, I think. I’ve always wanted to do a Maida Vale session but I was so nervous. I had this idea, I dunno why, that they’d be this huge crowd there when in reality it’s just an engineer and a sound guy. The quality of those microphones is quite humbling too – you’re like ‘oh my God, maybe I should get some vocal training’.
How was touring with Alfie Templeman?
We couldn’t have had a better support tour. Alfie and his band were just the nicest, most caring, funny people and made us feel boss every night we played. As well as the shows, we were at all the same festivals and basically the same stages so I’ve spent the entire year with him. He helped me a lot with stage fright as I’ve never been on tour before and he made me feel so much better.
Any personal highlights?
Shepherds Bush Empire was a mad gig. So surreal. There was a moment when I was sitting in the box with our label (Chess Club) and he shouted me out for opening. Suddenly a thousand people’s faces were looking up at me and cheering – it was like ‘what the hell? This is crazy!’. It couldn’t have been any better.
Your cover of The Charlatans’ ‘One to Another’ with Mint Royale was picked for BT Sport’s coverage of the Premier League this season! How did that feel?
That was the highlight of my year. Mint Royale and I are both on Sentric Publishing and the pitch for the cover went out to a hell of a lot of people. I had no hope that I was gonna get it, they weren’t sure about my arrangement and originally said no. Then they came back and said they liked my vocals but loved Mint Royale’s arrangement so maybe we could bring those together. I was buzzing. It’s the one thing I can flex to older people. They don’t care if I’m on a playlist or something but they’ve heard of football! I was talking about it with [fellow Merseyside natives] Courting on a night out. And they were like ‘did you hear about this BT Sport thing?’ and I was like ‘yeah, I got it!’.
So somewhere out there, there’s a Courting version in the archives?
Somewhere there is! He said ‘I sang it just like Tim Burgess – like, “woon to anoootheeerrrrr”’ (laughs). I got Tim Burgess’ seal of approval as well, that’s the most important thing.
Who are three artists who you think are really important at the moment?
Wet Leg – They’re really exciting and creating this whole want for that Post-Punk, spoken word style of music, not many bands have made that kind of a wave. And they’re unapologetically them, not trying to be anyone else. A female duo as well, I think that’s so boss. [At the time of publication they’ve just taken home two Grammys].
Porij – The music they make is so interesting and so skilfully crafted. I saw them live and really appreciate the way their live set is put together.
And Alfie! I love his music. He’s got the talent, he’s an INCREDIBLE guitarist — he doesn’t even look at what he’s playing, he just does it! And the production is tip-top.
And finally, speaking of tip-top, what are some top tips you’d give to new artists?
Learning to produce is really important. Even if it’s just learning the basics of how you want your track to sound – it gives you power as an artist and puts you in control of what you wanna be. Also, don’t be too scared of it all. Don’t be afraid to upload it to BBC Introducing. I uploaded my tracks and that’s how I got a career. If [BBC Introducing Merseyside Host] Dave Monks hadn’t sent my tracks to Radio 1, I’m not sure I’d even be signed now. They give you confidence in your music, play your music, give you live opportunities and help you so much.
Dreams, Pains & Paper Planes is out now via Chess Club Records.