[INDIELAB] You’ve just independently released your debut album ‘Plainsong’, some of the songs were originally on an EP recorded in Ireland but the final album was recorded in your apartment in New York and mixed in England. Tell us a bit about how that happened?

[Susan Enan] It was a bit of a long process but the short story is that I made in EP that was getting quite a bit of good feedback. Although it did fairly well for an indie artist I was still pretty much unknown and felt like I’d be throwing the songs away if they weren’t also included on the debut album. By that time I had moved to NY and the whole thing had taken on a different life so we re-produced the original 4 and added 6 more.

It turned out to be quite a deliberate decision to record the album yourself rather than work with a producer in a studio, why did you go down that route and how did it influence the sound of the album?

I did have an opportunity to work in a studio for a bit and in many ways it just didn’t work out. One thing I discovered was that I was not then confident in my ability as a musician to give it my best in front of others while recording, and then I found my feet doing it at home. I remember my engineer encouraged me to at least record some vocals with someone else in the room (and I did), but when I asked him which were his favorite vocal tracks it turns out they were the ones I did by myself. Making this record has taught me a lot about my limitations but also when to follow your gut. I think the more you are aware of that, the best you can get out of yourself and the better music you are going to make.
That being said, even though I was going to produce it I didn’t want it too sound “home-made”. I love albums with polished sonics and that’s definitely where having a co-producer (Alan Bezozi) and an amazing engineer (Alan Branch) came in. Bezozi would keep it out of the “kitchen sink” as he called it and I’d send off the tracks to London and Alan Branch would take out all the background noise you get in a Brooklyn apartment with no soundproofing whatsoever. It was the best of many worlds as I got to make it at home but yet I think the final product sounds like it was made in an expensive studio. I couldn’t have done it without them.

You had several large indie labels interested in releasing the record, especially after your track featured on Bones. What swung you to release the album yourself and go independent? Any regrets about your decision?

No regrets at all! I would have taken a deal if one felt right. The problem is though, that signing a deal, almost every deal, is a huge risk. I know the horror stories. I think everyone does now, or at least they have access to them. When I put myself in the worst case scenario with each deal, I would always end up with pretty much nothing. Sounded like suicide to me.

You’ve had some great support from Amie Street and Paste Magazine, how did that come about?

I posted a couple of songs up on AmieStreet a while ago and they sold really well on the site, so they e-mailed me and it kind of went from there. Paste, ah… I LOVE Paste!!!! i just really like what they are about. In the very early days of the magazine someone sent them an EP of mine and they loved it and put one track on a sampler CD. It got a fantastic response and they’ve been good to me ever since.

Do sales equate to success? If so do you feel that this album is on it’s way to being successful?

Well, it certainly is encouraging when I get up in the morning and see that someone has bought the album from the online store. If I’m in NY, I ship out all the ones to the US and Canada and my parents do the rest from their village in England so every one is greatly appreciated! I’ve been living off the sales for a few months now and that’s incredibly rare nowadays. I think true success will be to have it grow so I can make the next one and be able to afford new gear etc. I’d really love a sound proof room that I can go to work in every day. Being creative is only free up to a point!

What have been the best websites/services you’ve found for promoting your music?

The best for me, by far, has been Tunecore. If you are not with a big label who can get your music on all the online stores, Tunecore is the way to go. They are incredibly clued in to what’s going on in music right now and have a fantastic team to deal with any issues.

If you had the budget, what would be the first element of your business life that you’d like to pay someone else to do? Eg. PR, Booking Agent, Manager, Sales & Marketing etc.

Booking agent or manager right now would be really helpful!

Complete this sentence – “To be a successful independent musician then you have to be…”

If you mean a singer/songwriter trying to make your own records, tour etc, then I think you have to be truly creative in every area of what you do, even in business, and that means being adaptable. You’ve just got to go with the flow of what’s happening, but be as creative as you can with it. That’s why the major labels are struggling right now. They are stuck.

If you had one piece of advice for an aspiring musician it would be….

I was at SXSW a few years ago and the one thing I remember from the key-note speech was ‘If there is another job you would be happy to do, don’t become a full-time musician.’ If you really believe you were chosen for it however, jump in with both feet.

What does 2010 hold for you?

I’m very excited about this year. I’m setting up a world wide house concert tour and blogging about my adventures on my YouTube page. I’ve still got some dates free so if anyone wants me to come and perform in their home they should email me at bringonthesong@susanenan.com. I’m also starting to think about some news songs and how to get them recorded. Pretty much feeling like the world is my oyster right now

Susan’s Album is available from the Susan Enan Website and Aime Street.

Follow her on Twitter // MySpace // Facebook

Links

One of the best resources on the web for information on recording yourself is soundonsound.com. The web site has equipment reviews for the geeks and in-depth ‘how to’ articles on everything ranging from mic placement to building your own studio. To read the most recent articles you have to have a subscription but there is a wealth of information and tutorials available for free!

1. If you know nothing about recording then take time to learn before you start working on anything important. There is nothing that breaks the creative flow more than fighting with the computer to make it do something simple. Take an educational course or better still, sit in on some sessions with some fellow musicians or engineers and learn the ropes from them. Work on a few ‘dummy’ projects before starting the big one so that the creative process is as seamless as possible.
2. Don’t skimp on equipment, if you want your record to sound as good as your favorite album then be prepared to buy some decent gear. Don’t believe the adverts that say you can get professional grade recordings with a setup that costs just a couple of hundred quid. You want quality throughout your signal chain going into your recording device (good microphones, good pre-amps, good converters) and good software and hardware to mix with. If in doubt get some good advice from other musicians and engineer you know and trust, don’t believe the man in the shop who’s on commission from the manufacturers!
3. Spend as much time researching, setting up and treating your recording room as you do deciding on your equipment. The room is the key to a great sounding recording, even if that means just making it dead enough so that you can add on artificial room effects afterwards. 
4. Even though your ‘doing-it-yourself’ get other people involved whenever you can. This could range from just playing work in progress to a select group of honest friends with good musical taste to working with someone in a co-producer role. In the latter situation, the dynamic of throwing ideas around with the right person can take a record to a whole new level, it can push you when you get complacent and it can reassure you when you feel unsure about something that sounds awesome but you’ve heard it so many times that you’ve lost perspective. Getting too close to your project is always a danger and so having one or two people come in and give you some objective pointers and encouragement can be a lifeline.
5. Try and set a timetable and stick to it. Projects without finish dates can ramble on for years and lose all sense of creative momentum. Obviously spend as much time as you need to perfect the song writing and production but try to continually push yourself to get it done within a manageable time frame. That immediacy of a deadline can brings it’s own creativity to the process.

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