Swedish-Argentinian singer songwriter José González was a major draw at Bluesfest, sharing his thoughtful compositions of guitar and voice to thousands packed into the Mojo tent.
It’s been a moment since his last solo record, Vestiges & Claws came out in 2015. He’s now shifting into the writing process and we can expect his new works may be influenced in some way by the recent arrival of his first child.
Nick Hollins sat down with González ahead of his set at Bluesfest.
How does a song start for you?
I’m about to write my fourth solo album and I usually release albums every third year so I’m a bit late now. I just had a kid so that’s been happening.
When I write music I just collect demos with guitar riffs. It’s either a couple of chords or a riff, arpeggio, and I always start with music first. Guitar and some humming and then get one or two words or sentences, and then comes the working part where I sit down with a piece of paper and try to write down lyrics.
That’s where meaning or an album comes together with a theme and a bit more depth than only music. It can take from a couple of years to a couple of weeks so it’s pretty varied. Usually it’s a long process of doing something for a while and then letting it be and then picking it up again.
Right now I’ve collected enough demos to start doing the job part where I sit down and I’m heading to France for a few weeks to write lyrics. And I don’t know where it’s going to be headed. It’s mainly guitar and vocals so similar to the other albums.
At what stage does collaboration come in? To what extent do musicians that you work with influence the end product or are they more complimenting what you’ve already put together?
When I’ve recorded solo I’ve always kept it really simple. Just me and a guitar and some percussion that I do myself. But with live shows, with bands, with an orchestra I’ve had those productions in mind when I’m writing even though you can’t hear them. I wrote a song that was super simple for my album that I was just envisioning how that would sound amazing with an orchestra later. So it changes a bit.
Also I’ve done some collaborations where I step out of my comfort zone like the Arthur Russell cover that I did. I just had a lot of fun with the synthesisers and drum machine and doing a soundscape that’s very different from what I usually do. It’s fun to do these other projects. But my main thing is to try and do as much with only one guitar.
You’d mentioned that obviously this new album doesn’t have a theme as yet.
No it’s a bit too early for that. But I’ve been keeping a similar theme on almost all the albums in a way. There’s the sense of inner struggle and outside look onto humanity, and to their struggle, our struggle. But always with a twist towards the light. So it’s not doom and gloom. I think that theme will probably go through the next couple of songs too. Slightly existential but not in the sort of French depressed style but more in the outward looking humanist type of style.
You’ve just had a kid, is that your first?
Yeah. She’s almost six months. It’s amazing. Life has changed, I’m changing diapers and playing.
That’s really cool. When you say your songs often explore outward looking existential themes, has this experience of having a kid shifted your point on the map a little bit?
Yes. Since I haven’t written any songs yet I’m not sure how the songs will come out but I think definitely she’s changed me and also the dynamics between me and Hannele [Fernström] my girlfriend has changed. I’m almost 40 and I feel like I’m an adult slowly but surely, and I feel like okay I have more and more responsibility than I want to have. But now it’s obvious, you have someone that’s very dependent on you and it’s part of growing up in the world to be more responsible for everything you do.
I suppose that changes your lifestyle a little bit, like you’re out on tour and back to the home base. Whereas previously you were on the road almost endlessly?
I did tour way too much with the other albums. I’ve been keeping down with it more and more with each new album. But now it’s different. Whenever I’m away it takes away free time from my partner so I try to keep it down for many reasons. Try to be home so she can do her stuff which is like drawing and she’s a designer. To make sure that she’s able to follow her career and also just have valuable moments with the person who’s growing up.
Seeing as I have the opportunity. As a solo musician it’s pretty easy to decide my schedule so for many reasons I tour way less. But still when I tour it feels perfect. I’m able to do something that’s very privileged and a lot of fun.
I’d love to talk about your collaboration with the Arthur Russell record. Had you been a fan of Arthur’s work previous to getting involved in that? And in what way did that project perhaps evolve your appreciation for his music?
It was Jens Lekman, a friend of mine from Gothenburg. He introduced me to his music and we were going to do a show in Gothenburg and he asked if I could do the song That’s Us / Wild Combination. And since then I got hooked and really liked his awkward recordings, very demo-ish but very musical.
I got asked to do the song for the compilation [Master Mix: Red Hot + Arthur Russell] and I got to meet Tom Lee his ex-boyfriend. So we’re friends. One of the fun things is that Tom felt that my voice was pretty similar to Arthur Russell’s in some respects and so I’ve thought about him a lot. About his way of playing with echo and doing these pretty artsy music things that I like when I’m recording on my own.
I feel like there’s a point to do something on your own instead of bringing lots of musicians. It gives it a lo-fi sense that I don’t want to lose so I’ve been pretty stubborn in my recordings. Most of the time I keep to myself. And then I let it bloom out with bands or orchestras but at a later stage. That’s partly Arthur Russell and Shuggie Otis and these sort of loners.
I don’t want to work with a producer I want to produce my own. Let it be a bit muffled or not perfect in a sound of production sense.
So do you record in your own space or go into a studio and camp in there on your own for a while?
Yes usually on my own and many times at home. Sometimes in a studio with proper equipment but still on my own. So since I’m not a studio engineer it comes out slightly muffled or less than perfect for the hi-fi, so I usually say it’s the mid-fi studio recordings.
What’s been some records you’ve been into lately?
Sure I DJ once in a while, like 20-something times and I try to play music from Soundway Records, they put out compilations of music from Latin America and Africa so that’s my jam. But I was listening to this song and it blew my mind, Can’t Believe by Kranium with Ty Dolla $ign & WizKid. I really like the Jamaican or Nigerian pop that’s coming out.
