Your forthcoming album, Flying Wig, was produced by Cate Le Bon. What was it like to collaborate with her and what influence did she have on the album’s sound? VerulamiumParkRanger
We’ve been friends for years, which began with an impromptu haircut. There weren’t any scissors so I asked Cate to cut my hair with a fork. I was kidding, but she agreed. It hurt, but a bond was born. When it came to this record she was the only person I wanted to ask. It was supposed to be co-produced but five minutes into the first day and seeing how she approached it I knew I could trust this person. So I said: “Cate’s producing.” Brian Eno’s Another Green World is one of my favourite albums of all time, but I attribute any Eno-ness [on Flying Wig] to Cate. There were so many times making the record when she’d go: “Why are you crying?” And I’d just say: “Because it’s so close to what’s in my head.” Just don’t ever ask her for a haircut.
You’re often associated with the genre “freak folk”. What do you think of the term? Peasywease
I didn’t make it up and none of my friends ever used it. I’d rather be called nu metal! I hated the tag and wanted to avoid it at all costs. Twenty years later, my licence plate says: “King … Queen of freak folk.” I go to the airport and go, “Freak folk coming through.” It’s the tackiest, stupidest thing so I decided to embrace it.
