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Digital Subscriptions > MusicTech > Jul-18 > ALL ABOARD THE MOTHERSHIP


From designing sound packs for Ableton, to establishing the Female Frequency network Julie Kathryn, aka I Am Snow Angel, is passionate about the industry and the music she makes. MusicTech speaks to Kathryn about her new album…


“I ‘ve always been a musician, but for a long time I played more acoustic, Americana, type material.” A surprising admission from Julie Kathryn, aka New York’s synth-pop rising star I Am Snow Angel: an artist who’s been receiving plaudits for both her intense, emotive performances and her richly textured mixes. But as Julie tells us, initially her music-making aspirations were focused on just getting people to listen. “At some point during this early period I started producing my own music,” Julie says. “I really didn’t feel all that connected to the type of stuff I was doing, I wanted to do something more interesting.”

”I’m in fluenced by both the auditory and the visual”

Soon the desire to make more thought-provoking music became too much. “The music I was doing at that point never quite felt how I wanted it to feel. To be honest I didn’t really feel like I had much control over what I was doing. I was working with musicians and producers but I still felt like I hadn’t quite ‘lockedin’ with what I wanted to be.”

It wasn’t long before Julie realised that to feel comfortable with what she was doing, she’d have to rethink her musical direction. “I started producing some demos, just in Garageband. I’d always been a little resistant to mixing my own tracks, I didn’t think it was something I could do. It’s kind of strange as I’m actually pretty good at it! Anyway, the demos I made, they turned out sounding much more electronic than the other music I was doing. Even though I didn’t really know what I was doing, it sounded better and more like the sort of thing I wanted to do myself.”

Julie began to relish the control that selfproducing allowed. “I realised also that producing was a really big part of the fun of making music,” she tells us. “I just started doing it, basically around the clock. I got really obsessed with it and worked as hard as I could. Anyway, now in 2018 I’m producing my own projects and also work with a lot of other songwriters, and I love to collaborate with a lot of other artists, particularly women. I live and breathe music completely.”

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About MusicTech

He’s the man who revolutionised modern film scores with a creative approach to music-making, sonic experimentation and sound utilisation that helps some of the biggest directors to tell their stories. This month we’re overwhelmingly honoured to speak to one of the greatest composers on the planet: Hans Zimmer. In our ten-page interview we talk to Hans about his recent work with Spitfire Audio – co-creating a remarkable assortment of production and studio tools – as well as his incredible career in soundtracking. Elsewhere this issue, Dave Gale takes us through the legacy of the vocoder, we report on this year’s Superbooth show in Berlin and speak to its progenitor Andreas Schneider about his views on modular synthesis and its integral place in the music technology world. We’ve also got our usual tutorials, tips and reviews. Enjoy the issue!