The final performance of my tour for Pastoral took place at a cinema in Walthamstow called Mirth, Marvel and Maud. As soon as I walked into the building, I felt an overwhelming sense of pressure change that left me feeling anxious and uneasy. A staff member was setting up, so I asked if the place was haunted. They looked at me a little taken aback, but it only added to my unease.
After the gig, I was chatting with my friend Alexander Tucker, a.k.a Microcorps, who told me a ghost story completely out of the blue. It was then that I realized that all of these culminating feelings and anxieties were leading me to create my next album about ghosts.
I began researching the technology behind ghost hunting and discovered many connections between audio technology development and spiritualism. From there, I learned about the genetic pathway of music through people like Delia Derbyshire, Daphne Oram, and the Radiophonic Workshop – sounds and machines with a supernatural heritage. Even women’s rights were influenced by early spiritualism because it gave women a platform and power that they couldn’t have had anywhere else at that time.
The emotional response on Black Dog was an excavation of my own fears and psychological state throughout my life – a journey that blew my mind when making the initial connection between technology, women’s rights, and ghosts.