Dublin singer-songwriter and multi-instrumentalist Katie Kim’s music making process is as shrouded in mystery and opulence as her latest single Eraser.

Led by the creative flow rather than the urge to bring messages or stories to life, Kim recalls writing this latest track at 2 am one morning just after watching All The President’s Men.

The track is a slice of her upcoming sixth studio album, Hour Of The Ox, which she describes as a balance of light and dark atmospheric sounds that constantly and consciously sees Kim stray away from her comfort zone in music.

Speaking to 1883, she delves into her melody-first approach to making music, what to expect from her album, what she loves most about performing, the one message she’d love to people to take away from listening to music and more.

What is the message/inspiration behind your latest single Eraser?

Message is a difficult one to answer. I don’t think I personally take message into account when writing. When I’m in the flow during a writing streak, I tend find a melody first and lyrics or story follows that. Normally I would get the bones or core of a song written in a few hours and then go back to it and make it more fully formed. So it’s a less conscious process than sitting down to say “OK what am I going to write about today?” or “I feel sad and need to write about it”. It happens very naturally and what comes of it, I tend to look back on after the process, sometimes years after the process and say. Hmm. That makes sense looking back on what was going on in my life then.

What can we expect from your album Hour Of The Ox? Tell us about the creative process and sound in this album.

People tend to talk about how there’s darkness in my music. But I don’t really see it as darkness. I enjoy guttural chords. Subs and drones. Minor keys etc. Which people tend to associate with dark or sad atmospheres but I like to think we created a balance of light and dark within this record. Where we used chompy, thick bass notes with synthesisers, we then married that with high sweeping strings and cinematic orchestration. So the music and songs didn’t get bogged down. I tried to stay away from my safe spaces in music for this record too. Like the piano as that featured heavily in SALT, my last record. I also tried to not rely on reverbs vocally and keep the vocals up front, almost right inside your ear. The creative process, was me recording bits and pieces over the last few years and once I think it’s time for an album, I pick the songs I think will work together, go to John, my friend and producing partner and we start the process of arranging and rearranging, overdubbing lots, taking lots away. I record my vocals at home alone. I’ll always do it that way too. I feel way more comfortable having the space and time to do it by myself and then bring those to Johns studio. And we just mess around with different arrangements until it’s eventually a fully formed record that we’re both happy with.

In terms of song writing, what would you say is the most surprising thing/moment/ incident that became a spark of inspiration within the album?

That’s difficult to pinpoint, because as I mentioned above, the way I write is gradual. It happens over the course of a few years and when I sit down to write, it’s normally just because my body kind of takes me over to the piano to start tinkering around. And because this does happen over such a long period of time, it’s difficult for me to remember what inspired me to the piano. Not to mention how bad my memory is anyway. Eraser was born out of the movie All The Presidents Men. I really love that movie and was watching it for the millionth time a few years ago around 1am and the string plucks just started playing in my mind. The opening lyrics “We’ll Erase while you hide…” was inspired by that opening scene in the movie where we see flashlights flickering in a darkened building. So that was an odd inspiration I wasn’t expecting.

The album launch takes place at The Button Factory in Dublin in September. What’s your favourite part of performing on stage besides getting to engage with fans/audiences?

Performing is great when you’re up there for me. But not the preparation or lead up to it as I’m really so much more comfortable recording. It’s my happy place. Just playing around with sounds alone, no pressure, experimenting . Performing live, especially for this show coming up, as I haven’t played live in over two years will be nerve wracking! But I’m rehearsing  at the moment with friends and it’s starting to feel quite fun again. I do enjoy a visual element to my shows too. Whether it be actual visuals or projections, lighting and atmosphere. I enjoy putting all that together.

If listeners could take away one message from your music – in general or from this album specifically- what would you want it to be?

Where there is despair or confusion, amongst friends, there is also certainty and joy. I hope.

In the music making process, what part of it is your favourite and which parts often challenge you the most?

The making of it is all my favourite part. But if I had to pick a negative, it would be something technical like having to listen to it 60,000 times over the course of making an album. It tends to become a blueprint after a time where you sometimes don’t know what is what. It’s like saying a word over and over again. It starts to not make sense. But once you distance yourself from the album for a while after it’s mastered, that tends to go away.

How has your sound evolved over time and where do you see it going from here?

I think my working relationship and long friendship with John Murphy, has rounded my sound out more. Sonically I feel it’s grown bigger and ever so slightly more polished around the edges. I’ve been able to achieve more technically over the years? I mean I made quite lo-fi records until SALT. Mostly drenched in verbs and delays. And I still love that sound. Give me a tape-recorded bedroom album any day! Where I see my sound going? I’d like to try something under a different name. Something completely different. But who knows? It’s good to always be exploring I think.

What’s been the most surreal moment of your career so far? And what’s the next step from here?

Probably singing Whole of the Moon every night for 2 months on stage with The Waterboys while I was touring with them. That will never stop being surreal.

Next step, keep going.

Eraser is out now, follow Katie via @dancekatiekim

Interview Malvika Padin

Photography Thom McDermott