Avant-Pop Magic
Maddie Ashman is an emerging British avant-pop musician pushing boundaries and maintaining her sense of self, all whilst garnering a dedicated listenership by way of her experimental self-recorded home performances. In an industry that is constantly encouraging musicians to centre palatability over authenticity, Ashman finds a way forward – holding steadfast to her unique, enchanting vision.
Interview Lauren Bulla Creative Direction Katie Eary
Scarf - VINTAGE. Jacket- VINTAGE BURBERRY. Shirt - COS. Jacket - ZARA. Skirt - VINTAGE . Boots - JW ANDERSON WELLIPETS
Maddie Ashman is a boundary pushing, up and coming musician that isn’t afraid to let her deeper emotions breathe. Listening to her newest EP is like stepping into an unassuming field – therein lies a mind-melting faery circle. Each passing moment that you think you understand where you’re going – suddenly, you’ve been transported to an entirely new and untapped world. Listenership is pulled deeper into the vibration of each word and independent microtonal detail. “Your shadow haunts me” is an eerie, beautiful lyric pulling listenership into Her Side, as it arrives one minute into the first track, Rumours.
When it comes to honing one’s unique practise, Ashman is a poster child for pushing your personal creative vision. No matter how unexpected the layers unfurl with each new emotion, she continues to dig deeper. Instead of turning away from the unexpected, she welcomes it in, creating a seance of dark-undertoned whimsy that is as addictive as it is unexpected. Her work is positioned in balancing uncanny lyricism, whispering melodies, and decisive music elements, entrancing you for the duration of each track. On her ever-expanding, undulating EP, you’ll witness the expert blending of classical inspirations, to breakbeats, and choral influence.
“Do what feels authentic. What you actually want to do, and not what you think you should be doing. Because regardless of what happens, you'll be happy in yourself.”
What does it mean to be known as an "emerging British avant-pop artist"?
It's very exciting and affirming. I spent a long time feeling like I shouldn't be making certain music, and making music in ways that I thought might sit in different lanes. I made the decision to just do one thing and do whatever I wanted, which I embarked on two years ago. It’s really nice to feel like the most authentic version can exist… And “emerging” is fun.
As a genre-bending artist, why do you think it's important to experiment with new sounds/ mediums/ and narratives in your music?
I think the instinct came from wanting to answer questions or explore things that were
otherwise unexplored. Part of that, with the sound, was really microtonal tuning. I've gone through a whole music education, and had no idea that any of this was even possible or acknowledged. There's so many ties with history as well. It's political and historical and that makes it feel relevant and important to explore, even just for me.
Beyond that, exploring these different sounds and making music without worrying about anything except what was driving the music and questions I had, allowed me to actually emotionally tap into a lot of places that I was ignorant of. There was a lot that was suppressed. I think sometimes exploring those things really allowed me to go somewhere new emotionally, which was quite unexpected.
The “shadow self” is discussed as it relates to deeper emotions or creative inclinations that we cast out of ourselves for sake of palatability. Why is it important to let these deeper emotions/ thoughts/ or ideas breathe?
Otherwise, there will always be a part of you that feels dissatisfied. I don’t think you can be the best version of yourself without exploring them. That being said, there's a lot of privilege tied in with having the time, confidence, and situation to be able to explore. But I think if you can, for me, exploring those shadow selves is the best thing I've done ever in my life. It sort of surpasses “right” or “wrong” – it’s feeling into something and just being open to that.
How do you let your shadow self breathe with the latest release of "Waterlily"?
When I first wrote it, I knew it was a very relevant song. I knew what I was singing about, but I actually wasn't singing very emotionally. I was very kind of detached. It was almost like I was viewing it as this character. I was viewing the whole project like that – like characters.
It was so crazy because I actually felt like I knew what the songs were about. And they ultimately were all drawing from quite a personal place. But I was deceiving myself when I was writing them, thinking, “no, no, no, this isn't about me, this is just like a hypothetical thing.” I think, in a way, the music really enabled that. Making the music first, and then sinking into it really helped bring that out.
It’s quite dreamy, kind of sweet, and washy. If you were hearing it, there's actually all these tiny little quiet uncanny twists. Kind of uncomfortable, little menacing things. It feels very sweet and fine, but then emotionally, I'm going around in this big wash and it's actually really overwhelming. It's fun how music can do that. Especially when you hear songs and then you really listen and sit with them… Different things can come out.
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"I think the process is the best bit – walking through that and evolving. You have to respect it."
What other mediums directly impact your music?
Particularly films, I think can be really impactful. Films when I'm actually not sure what I think, that's when it sticks with me the most.
Beyond that, art exhibitions. Often the ones you haven't planned to see because you've seen it in a big brochure or it's like the main event. The ones that you find along the way, especially in new cities, because you happen to be there. It can be very inspiring just because of the way it happened.
Generally, I find being outside really inspiring. I find walking really inspiring. Lastly, it’s not like a “medium”, but I think, just people.
Who are some of your favourite directors?
A lot of my favourite directors, like Paul Thomas Anderson, are kind of obvious in a way. Molly Manning Walker made an amazing film that was very, very inspiring called How to Have Sex. And that was really impactful. Yorgos Lanthimos – he just goes places that you don't think you can go. Even when it's affronting or you don't like it, I think that's kind of the most interesting bit.
If you could produce the score for a film, what would it be?
I think a film by Yorgos Lanthimos actually, again – just the kind of slight surreal energy that you get from it. Emma Seligman, she did Shiva Baby. Films that have this tension, but it's also quite comedic. Inner-world – a kind of subconscious scoring, if that makes sense. Trying to depict the inner world. Those are the films that I would find the most exciting to score.
Also maybe low key… The Substance, by Coralie Fargeat. I think somewhere blending into the horror. Not horror as in Horror, but horror as in dark comedy – not anything actually traumatic.
Why is it important for musicians and artists to continually seek new ways to expand their vision or refine their work?
Because that's the point, isn't it? At least for me. I think the process is the best bit – walking through that and evolving. You have to respect it.
Imagine you are able to have a cup of tea with three musicians that inspire your work, who would it be with?
Number one would be… It's kind of rogue, but Ben Johnston, this composer. He just did absolutely mental things and he's not really discovered. It's just his practise and the work he makes goes so deep. I'm just like, how does this happen? It's just amazing.
The next person in that conversation would be Marina Herlop, who I have actually met, but, uh, that would be really cool. She just goes to another level – somewhere else. The other person, it's so obvious, but maybe Björk.
I'm slightly worried that the vibes between Björk, Marina and I would be really fun. And then Ben might be a bit like, what am I doing here? But, uh, we’ll never know unless someone brings him back from the dead.
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"I made the decision to just do one thing and do whatever I wanted, which I embarked on two years ago. It’s really nice to feel like the most authentic version can exist."
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If you could give advice to an aspiring musician trying to make it in today's creative landscape, what would you tell them?
Do what feels authentic. What you actually want to do, and not what you think you should be doing. Because, regardless of what happens, you'll be happy in yourself. I'm finding that the best thing is actually the passion, or the love of it. And that's infectious, when people love what they're doing.
Choose a fashion brand/ designer or label that you think best represents your music?
There's actually a designer I discovered recently in Berlin called Borbala. It’s really focused on upcycling and plastic recycling. The outcome is so beautiful and amazing, and personal. It just feels very rich. When you see the clothes, you're just like, wow. There's something really special about it. I think the way that the designer creates is fascinating. Again, it's about the process and not about the outcome, in a way.
If you’re talking to somebody who has never listened to your music before, how would you describe it to them in three words?
Vibrant, fun, and uncanny.
Anything else you’d like our readership to know?
I think that's all cool. I have the EP that just came out, Her Side. So there's that.
Do you want to give us a little more insight about the EP specifically?
I think people can discover it for themselves.
Team credits
Interview: Lauren Bulla
Photography: JC Verona
Creative Direction and Styling: Katie Eary
Hair: Paris from Bonny and France using Sam McKnight
Make-up artist: Jess Summer using Lisa Eldridge
Publicist: Satelite 414
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