Rachel K Collier is a vocalist, electronic music producer and performer from Swansea in Wales. Coming from a background working in songwriting as a topliner (writing vocal parts over instrumentation), she is a die-hard Ableton enthusiast who loves finding fresh ways to perform her original tracks in a live setting. Whether performing solo or with live percussionists and interactive visuals, Rachel’s expressive, high energy performances are rooted in a multi-instrument based technical setup while allows her to bring the studio to the stage.
At the end of October, Rachel released her debut album RKC, and has just had her first Melodics lesson set ‘And I Breathe’ released on keys, drums and pads. On Tuesday 19 November, she’s playing a special headline show at The Grace in London. You can purchase tickets over on her website here.
Melodics: Is live performance the most important part of music for you?
Rachel K Collier: I’d say I’m 50/50 between producer and live performer. I feel like as an electronic performer, you’re either recreating parts you wrote in the studio in a live setting or stem DJing them. I feel like since you spend so much time in the studio crafting those parts, the most rewarding way to play it live is to actually play them live, rather than just having a band play those parts, or having everything set up as tracks. When you play live, you really get to show off your studio productions in the best way, and it’s kind of like taking the studio to the stage, but obviously with some compromises.
Melodics: Do you enjoy how recreating your songs live can add an element of danger to the performance?
RKC: 100%. There is room for human error, things are going to go wrong, and you have freedom. You can have big breakdown sections and be doing all these live effects, live manipulations, and it’s different every single time.
Melodics: How important is improvisation to you?
RKC: My productions actually start from improvisation, and when I perform without any pre-made stems or clips, which I do, I’ll just be starting there with eight empty channels. I’m basically creating a whole track from scratch, and there is something so liberating and amazing about that. I get to record myself playing percussion, vocal loops, key loops, trigger them, and I can change them up into any shape or form that I want to.
Melodics: It’s very rewarding when you get into a flow with this sort of thing, isn’t it?
RKC: Exactly. You get into a flow, and you might just do one extra note on a loop, but it’s really sick, so you decide to do it again next time. I feel like it is really important to leave a bit of it up to chance. I’m the type of person who gets bored really quickly. With this live set-up, I can constantly evolve things, which means it never gets boring.
Melodics: Would you like to tell us anything about your debut album, RKC?
RKC: When I was in the topliner world, I got very bored of writing generic pop lyrics, so every song on the record is a personal experience for me. If you’re a songwriter and you want to produce your own music, you should just go for it. Even if it takes time, you can do it, because I did it. I hope everyone enjoys it and gives it a chance because all the tracks are quite different.
Melodics: Could you talk about your live performance set-up?
RKC: I have two live set-ups. One where I’m alone, and I create everything from scratch, and one with percussionists and visuals. I use two little Yamaha Refaces. I’ve got the Arturia MiniBrute, Ableton Push 2, two additional midi controllers, a DJ TechTools Midi Fighter, an Akai LPD8. So I have three midi controllers and several synths. When I add my percussionists to my show, I have a KingKord synth on stage as well. Everything runs through Ableton on my laptop.
Melodics: How much time do you spend practising your live show?
RKC: I practice a lot. When you are practising for a technology-based set, as well as actually singing or playing, getting the notes right, there are always little tech amendments you need to be doing. I’ll do a little vocal warm-up, then I’ll try to do my set, but instead of programming and rehearsing at the same time, I’ll make notes about the programming changes, before having a break, and then practising again, but the next practice session will be a programming session. I separate out the technology rehearsals and the actual physical performance rehearsals. Sometimes I play Tetris in-between sessions because when you concentrate that hard, you need to take breaks. I can’t really have anything else going on that day. I have to devote days to practice. If I have to make a video or finish producing a track, I can’t practice as well.
Melodics: What can you tell us about your Melodics lesson ‘And I Breathe’?
RKC: It isn’t really a typical song type of thing; actually, it’s really odd. I’ll never forget how happy writing it made me feel because it represents a turning point where I realised I was becoming a really good producer. When we play it live, no matter the show, it’s always my favourite. There is a big synth solo at the end, a big percussion solo, and the song is about when everything gets too much, and the world feels crazy. It’s about the feeling of release you can get from music.
Melodics: How do you feel about having your song converted into a lesson people can play?
RKC: I think it’s really cool. Melodics can really enhance your production. It’s about more than just playing in time. Learning those grooves, chords and keys, that’s the type of stuff that can actually inspire you when you are creating music. It’s a lesson for you to get tighter at your finger drumming, and you can use that when you perform live, but for me, Melodics inspires me to create with different grooves. I like to go on Melodics for fifteen minutes before I start producing because it just warms me up and really gets me into the groove. Instead of just looking at the plug-ins on a song in a production tutorial, you can actually have a go at playing those rhythms. I think it is amazing and I am looking forward to sharing my lesson with everyone.