There are many potential models for collaboration, from live performances and jamming via producing in the same room together up to file sharing. Which of these do you prefer – and why?
Louisahhh: Because we don’t believe in ‘goals’ or ‘planning’ (lol) so much of the work we do is process-based and really about responding in an innovative way to the present moment together. That looks like trying to create new ways of working every time we start a new body of work.
We will share inspirations as part of our friendship more than as a formalised work practice; we’ve enjoyed ‘jamming’ and writing in a room with friends in a more live scenario, or sending ideas back and forth. Usually there is at least a few days of in person studio time even though we live in different cities, because it’s more fun that way and it doesn’t fail to create something that feels really good.
We never have to pull out teeth when we are together, there is no fussiness, no frustration. Generally, making music together is a joy.
Is there typically a planning phase for your collaborations? If so, what happens in this phase and how does it contribute to the results?
Maelstrom: We never plan anything!! We strongly believe that trusting the process will help us much more than focussing on the outcome, and we’ve worked this way for so long that I don’t believe we could switch back …
It might be problematic sometimes, especially when it comes to things like running a label, or organising tours, but working this way has helped us learn so much along the years. By making mistakes, by learning how to fail with as much grace as possible, we got to know ourselves much better than if we had tried to stick to some kind of ‘master plan’. And it also leaves a lot of room for improvisation and experimentation.
So generally, when we start something, we never know where it’s going to take us, and it’s much more thrilling than trying to ‘make a banger’ or ‘record a hit’.
Louisahhh: Literally the only thing we plan is train times of dates that I will show up at Mael’s house so we can make noise for a few days.
I do think we hold each other accountable, however; if there is a good idea, we take turns following up so we can try to make it happen. If it is too complicated, it will generally fall by the wayside, and this is as it should be.
What tend to be the best collaborations in your opinion – those with artists you have a lot in common with or those where you have more differences? What happens when another musician take you outside of your comfort zone?
Louisahhh: I actually think it has more to do with personal integrity, less with commonality. Good collaborations will support one’s intuition in a very fierce or steadfast way, and over time you trust your co-creator more and can take that farther, go deeper, be braver together.
The only time I’ve had bad or painful collaborations are when I didn’t trust my gut, or stand up for my instincts, and ended up with work that I wasn’t proud of, that didn’t feel authentic.
Do you need to have a good relationship with your collaborator? Or can there be a benefit to working with someone you may not get along with on a personal level?
Louisahhh: I know it happens but I can’t understand why anyone would put themselves through that. I have done it in the past and it’s such a strangely violent experience that I cannot possibly advise it.
Some artists feel as though the creative process should not be a democratic one. What are your thoughts on the interaction with other musicians, the need for compromise and the decision making process?
Maelstrom: Every human interaction needs to start with respecting each other, so I don’t know how we could do this other than ‘democratically’. Although, as it’s only the two of us, the rule is simple: we just need to both agree on the necessity of releasing a track, an EP, or an album.
Looking back, we never had any heated argument or situation where we disagreed strongly with each other on creative directions. It’s always more of a dialogue, never a fight.
Louisahhh: Mael is a really great communicator, and both very compassionate and also unafraid to ask for what he needs, and lacks co-dependance or people pleasing tendencies.
I try to be more like him when it comes to navigating the ‘work’ side of our creative partnership and so far it’s pretty great.
What's your take on cross-over collaborations between different genres?
Louisahhh: I mean, we self define as ‘techno-punk’ (if we must), but we abhor ‘electro-swing’, so I guess it depends on what genres.
In a live situation, decisions between creatives often work without words. How does this process work – and how does it change your performance compared to a solo performance?
Maelstrom: Again, I believe my best DJ sets are b2bs with Louisa. When you’re on your own it’s easy to rely on habits, to fall back on things that have worked in the past, and kind of get lazy this way.
When we play together, either live or behind the decks, there’s always this conversation where we try to challenge each other, surprise each other, find new ways to answer old questions. It’s way more fun than being on your own, and it’s also a lot less boring. Sometimes, when the club is empty, or when things go sideways, there’s someone with whom you can just laugh about it.
How this communication works, I sincerely have no idea … but that’s kind of the magic of it.
Louisahhh: So much of our work together is about deliberately delighting the other, and that can either be kind of stacking linear ideas in an increasingly playful or unhinged way, or kind of using a more reactionary method, like ping-ponging off of one another track by track. This makes our back-to-back sets really fun and dynamic in a way that would be impossible all alone.
There is a level of spontaneity and magic that is very special, we are rarely not having fun. Even when we are having a really bad time (difficult crowd, technical issues, conditions of being hungry / angry / lonely / tired), we are in it together and this makes it hilarious, especially in hindsight.
We are presently preparing for our live-hybrid show, which will be original material played live, woven into a back-to-back DJ set, and I can only imagine that it will take all of these qualities that we enjoy about working together farther.
There are many descriptions of the ideal state of mind for being creative. What is it like for you as part of a collaboration? In which way is it different between your solo work and collaborations?
Louisahhh: In this collaboration specifically, because we have very intense spurts of studio time together a few times a year, even if we are both in rough shape (emotionally, physically, feeling burnt out or overwhelmed), even if we keep our expectations incredibly low, we always end up with something that we enjoyed making because we get to make it together.
It is an unbelievable gift, this thing that happens when we co-create, and it’s hard to compare it to anything else because it is kind of different in its very nature. I don’t know how else to describe it.
Collaborating with one's heroes can be a thrill or a cause for panic. Do you have any practical experience with this and what was it like?
Louisahhh: I collaborate a lot because my production chops took a long time to get anywhere near decent, and because I actually enjoy it as a method of workflow. It’s been mostly a positive experience.
There is always something to learn, and I guess if there is any advice to give it’s that people want to collaborate with you because they believe you have something to offer; any self doubt is deeply unhelpful because it takes away from what you can bring to the table. So show up prepared with ideas, with a good attitude, and with the humility to serve the work and you’ll probably have a good time at the very least, and hopefully make a song you are proud of with people you admire.
Also, as a rule don’t collaborate with people you dislike or whose work you don’t appreciate (even if they want to work with you). Mutual respect is the basis for everything .
