“It’s brought D.I.Y. to the forefront. It’s really cool talking to some of my friends who have been going to music school and seeing how they’re really inspired by that,” says Murray, who has just graduated with a degree in music. “There is a way of going about things; you send off your CD artwork to a factory and they print off 500. There is this set out way, and I feel like I didn’t go into a studio the way you should. I did what I could, with what I have, and the finished product comes out like a fun project that a girl did in her bedroom.”
Murray’s industrious approach to her debut EP allowed her the creative freedom to flesh out a clear vision. Right down to hand-crafting the CD cases and artwork herself, Fazerdaze is a testament to the blood, sweat and tears Murray has put into her product. Released late last year to critical acclaim in her home country of New Zealand and overseas, the entirely self-recorded and produced EP showcases Murray’s penchant for dense, ambient productions, which are both abstract and accessible.
“I’ll write a song and then the production is really an art in itself,” she says. “I spend a lot of time in my room exploring. I love creating a strong mood for a song. Sonically, it’s got to encompass a feeling. It can sometimes get stressful. If a song isn’t working, you can begin to doubt the song or your ability. I just try to play and enjoy the process.”
Although this immersive approach may be demanding, it’s clearly paying off. In recent months, Fazerdaze has landed gigs with high profile, big name artists such as Milky Chance and Tiny Ruins. This experience has inspired Murray to work even harder than before.
“I’ve learnt to be more professional,” she says. “It’s really good watching and playing with these people that are a few steps ahead of me. I think there is a bit of an image with musicians, where you think they’re quite careless and blasé. It was really cool playing with Milky Chance and Anthonie Tonnon to see how seriously they take it. You kind of have to if you want to be that good.”
While the sound of Fazerdaze occasionally edges towards ambient pop, the use of crunchy, ’90s-esque guitars creates a point of distinction. “Even as a six year old, having just heard a rock song, what I heard made me feel so good,” Murray says. “I’m 22 now and I still feel really good hearing guitar music.”
As the humble guitar struggles to compete with futuristic technology in the contemporary music climate, Murray sees herself as a reaction. “There is a whole soundcloud culture, where you plug in your midi keyboard and you’ve got a world of electronic sounds,” she says. “That seems to be the main thing these days; synths and electronic music. Guitar is a little unfashionable right now. I think the third track on my EP, Zero, that’s me taking those feelings of exhilarating guitars and putting it into a song.”
Murray mightn’t be prospecting to be the next guitar hero, but her music demonstrates that any idea can be turned into a reality if the conviction’s there and the work ethic is strong enough.
“I want the listener to feel inspired,” she says. “Regardless if it’s music, journalism, art or sport, if anyone could take anything from the EP, it would be to do their own thing, own it and embrace who you are.”
BY JAMES DI FABRIZIO
