Through utilising a variety of experimental techniques, Kent-based solo artist Alexander Tucker is a maverick among mavericks, a standout artist on the ATP/R roster who only ever follows his own road.
Tucker’s third album for ATP and most recent long-player, ‘Portal’, was released last year, attracting positive reviews from the best in-the-know critics. Live, Tucker’s music swells to wrap the audience in undulating and rich of textures avant-folk – his finger picking and field recordings tap into the past, while an embracing of unsettling atmospherics lends the performances a true sense of drama that elevates them above the one-man-and-a-guitar aesthetic.
He’ll send you spinning into a blissful state of otherworldly escape, and here Tucker answers our questions as part of ATP Week…
(Hear Tucker’s track ‘Veins To The Sky’ on the audio player above.)
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How did you come to work with ATP in the first place?
I first met [ATP founder] Barry Hogan in the company of Bardo Pond. I had recently released my first album self-titled on Jackie-O Motherfucker’s Tom Greenwood’s Usound Archives label – both Bardo Pond and JOMF were already signed to ATP. I sent the material for my second album, ‘Old Fog’, to Barry who came back and said they would love to release it .
What do you think the label’s reputation is, amongst the music-buying public? What does it ‘stand for’?
I hope ATP stands for an openness to all genres of music, and it gives the artists involved a say in how their material is seen and heard.
Do you feel the label stands alone from the festival, or should the two be seen as connected? Could one exist without the other?
The festival and the label are connected by their high production values and focus on the artists’ wishes. The label, of course, could stand alone, but the festival came first so the two will always be related.
What have your ATP festival experiences been like, when you’ve played?
I’ve played Thurston Moore’s Nightmare Before Christmas and the first ATP vs The Fans, as well as their stage at the Primavera Sound festival in Barcelona. Each experience has always been exciting and a pleasure. It’s great to play for such large audiences – if not a little daunting. I’ve always come away with really positive feelings and responses from others.
Does working with ATP give you a degree more freedom than another label might, do you think?
The great thing about ATP is that they have always given me artistic freedom with my music and artwork. Being a visual artist is of utmost importance; it’s vital that the albums look the way I have envisaged, so being able to have free reign over this aspect is great.
Can you tell us about your latest release for the ATP label, and if you’re now planning a future release, what can you tell us about that?
The last album I released with ATP is called ‘Portal’. With each album I feel I’m refining my process of creating music and sounds. With this album I was able to give the songs more definition whilst maintaining a sonic sound world for them to occupy. I’ve just started a new album which is much more orchestral and epic in scope; I’m mixing full studio arrangements with home recordings.
Do you have an appreciation – a love, even – of other act/s on the ATP label, and if so did their involvement with the label lead you to signing with ATP?
Bardo Pond were definitely instrumental in helping me getting signed to ATP/R, and I was already a big fan of Fursaxa – I really love Tara Burke’s music.
If ATP didn’t stand for All Tomorrow’s Parties, it would stand for… what?
AQUATIC TERRAFORMING PLANETS.
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Find Alexander Tucker on MySpace HERE. ‘Portal’ is out now on ATP/R (official site).
More ATP Week content…
* The Drones interview
* Interview with the first ATP curators, Mogwai
* Fuck Buttons Interview
* Deerhoof Interview
* A Brief History: interview with ATP founder Barry Hogan
* ATP: A Beginners Guide
