A quick catch-up with Robert Sotelo
Dan Bolger of The Pheremoans and The Bomber Jackets talks to Robert Sotelo about his new cassette and digital release, Botanical.
I first met Andrew Robert Doig (AKA Robert Sotelo) in 2004, when we moved in to the same flat in Dalston. He was in what seemed then to be about a thousand bands, playing guitar mostly, facing an amp. He was hardly the responsible, mature songwriter penning heartfelt, empathetic music back then – but he was a great guitarist, with an ear for an unpredictable melody, and his bands always had something interesting about them.
In more recent years, Doig has been quietly learning to write songs on his own, to sing them out loud with his own voice, and to generally be a bit more responsible about stuff. As part of this story arc, he left London last year for Glasgow – where he now lives and works, making exquisite minimal pop in his spare time.
I managed to come up with a few questions for him to answer on the eve of his holiday (they were answered on an aeroplane), and in time for the release of his new record Botanical.
Dan Bolger: I read a thing online describing you as “Glaswegian artist Robert Sotelo” the other day. Can you confirm whether there’s any truth to this rumour? Speaking more seriously, do you consider that you’ve made a home in Glasgow after fifteen (?) years in London?
Being serious, also, it’s pretty weird not being in the capital and hard not to feel sentimental about it all, but Glasgow explodes with so much musically, artistically and socially, that there is barely time to recollect any more, which is refreshing in itself.
As an adjunct to the previous question, please supply a revealing personal anecdote which tells us something important about your new home, its music/arts scene etc (particularly in contrast to the capital).
This record is a departure from the rock and roll “format”, in that you’ve dispensed with trad “band” instruments and recorded using a cheap keyboard in a very minimal way. There’s something very delicate and measured about how you’ve orchestrated this record. Is this it for you and the guitar, or was it more of a formal decision to make something using restricted tools, just your keyboard/drum machine thing and saxophone?
I am happy with the reserved nature of Botanical, the delicateness you describe. I am not sure where it comes from, maybe an avoidance to try anything too obviously banging, as if I could do that kind of thing anyway! Also it’s a result of the limitations of my keyboard playing, nothing too crazy can really happen. Of course it sounds nothing like Japan, it just sounds like my guitar stuff, but with keyboards. I love the sound of a sax and was put in touch with the exceptional Iain McCall, from Glasgow also, who recorded those parts and now plays with me live. I have already recorded another guitar album though, to answer that part of the question, so I am still dysfunctionally drawn to its usage.
I think so. Certainly Iain’s sax adds a luxurious sheen. Out of interest, did you have to hum what you wanted him to play? And will the next record have a full Noel Gallagher string section?
No, his parts come from him, I asked him to mirror certain bits maybe. I am actually talking to a trombone and clarinet player for further recordings such as these. I would like my part to become so minimal that its almost just my singing, with the classical instruments providing the main backing, that’s how I imagine a style that would keep it weird.
Writing and recording alone is obviously different to writing in a band. Do you enjoy the freedom? Are there problems associated with going it alone? How do you finish something, or know when it’s finished?
Lyrically, I’m baffled how anyone writes lyrics without hating and scrapping them before even going near a microphone… but what’s your approach? Do you write stuff down and put it to music, or make music and then hum along until it becomes “words”? Something like “Mary” is a story about a person; is this drawn from real life or just sort of riffing on a character/set of ideas?
Hum along until it becomes words, yeah. Or just sing mumbo-jumbo and then finally convert these into words. I actually copy someone I know’s method, which is to write down the words that the mumbo-jumbo most resembles initially, then swap in stuff that makes a little more sense; you’ d be surprised how legitimate it ends up sounding considering it’s often truly meaningless.
I really don’t consider the words enough to scrap them; often the completion of the song is compelling, so getting some lyrics down helps get you to an exciting stage. There are exceptions though and “Mary” is one: yes, a real person from my support work days in Stevenage, a very interesting person who saw some bad times but remained optimistic throughout, so this song has a real and thought-about meaning.
When you write songs with a specific person in mind, do you feel weird about sharing details of that person’s life? I mean, while “Mary” on this record and “Alan Keay Is Fit For Work” from Cusp come from an obviously sympathetic place, did you worry about borrowing details from real people in your care, or is the “meaning” you mentioned the most important thing?
Was that question a slightly more adult version of the student paper interview question ‘”where do you get your ideas from”?
Perhaps it was, Dan, I am not sure. If you are now asking me where I get my ideas from, then I would say I get them mainly from food and places.
Who do you make music for? Yourself? An audience? Your peers? None of the above?
I make music and I barely know how to do that, so everything else required to capture an audience is lacking. I tend to avoid music scenes or much socialising between peers and this insular stance defeats me. So I will simply lie and say I make it for myself, ultimately, and that it’s a question of legacy. If I can create a body of work that says something, anything about who I was in existence, when I am long gone, and any curious party that comes across anything I ever did gains an insight into what an utterly charming individual I was in life, then success come find me.
Botanical is out now on Nicey Music.