1. How did you get your initial start in music?
You need to know that I was growing up in the late 60s and early 70s, and so being in a band was an act of rebellion rather than a career choice! So I learned to play the guitar to impress more girls and to annoy my parents, I think. Once I’d learned how to play a bit and been to the London Film School, I pitched and bitched and whined and wined and dined and networked and badgered people until they gave me work.
2. What would be your ultimate aim in the industry?
I’d like as many people as possible to hear music that I write, and I’d like lots of them to like it, but that’s hard to measure! I think you just need to do the best work you can do, and to hope that the projects that you find (and that find you) will allow you to grow as an artist. There’s no point in worrying about anything else, because you’ll be “successful” but miserable. There’s enough evidence of that in the music business, no doubt.
3. How long have you been writing your own music?
I can’t remember when I started writing although I think it was probably soon after I started playing the guitar. That would have been doing other peoples songs that I couldn’t play properly, and it ending up being so bad it was something completely else! Then it was bands and 4-track recorders and dirty little studios and off I went. And then there were samplers and software and virtual instruments and suddenly I could learn to arrange properly and it was all exciting!
4. Who are your top three influences and why?
I’ve been influenced by so many gifted musicians that it’s hard to pick only three. When we began work on Halflight, my current release, I had a long list of albums that I wanted to channel, and that was headed by Aladdin Sane by David Bowie, Heligoland by Massive Attack and Don’t Bend, Ascend! by Godspeed You! Black Emperor. That was because I wanted to make an album that was comforting and disturbing in equal measure, and those three albums do that to me. My producer and partner Martin Lister took the songs and dripped them in Vangelis and German Electropop and made it into a very interesting thing that I’m proud of.
5. Is there anything you would like people to know about your current release?
Martin passed away unexpectedly soon after we’d finished, so it’s his last work, which is very sad, but I’d like people to hear how good he made it.
6. Where are you based and what’s your local scene like? Any favourite venues?
I’m based in West London, out near Heathrow Airport. I’m too old for local scenes! My favourite venues this year are mostly involved in the Minimalism Unwrapped season, so King’s Place and the Barbican in London. But for preference, I like very small venues with very large crowds and a very good bands.
7. Who else can you recommend from your local scene for people to have a listen to?
As I said, I don’t really follow a scene. I’m listening to a lot of stuff from Erased Tapes records, who have a fantastic roster including A Winged Victory For The Sullen, Nils Frahm and Olafur Arnalds, all of whom I love and sort of fit with the music I write.
8. Give our readers a round up of where they can find you online and hear more of your music.
www.kimhalliday.com is my website, and although I have stuff on Bandcamp and Soundcloud and Facebook and everywhere, it’s easiest to go to my site first. Enjoy!