Phil Stiles Interview

 

1.Can you give us an update on what has been going on with your and your solo project?

Hi, thank you so much for the interview. For me, as for so many, it’s been a very difficult year for a number of reasons, both personally and because of the pandemic. Throughout it all, I’ve tried to be as positive and as creative as circumstances have permitted and, to that end, the last few months have been incredibly busy. Obviously, the main event was releasing The Anchorhold – the recording basically ran through the first lockdown, and it was a great way to maintain that sense of musical community that is so integral to being a musician and which we so nearly lost as we all retreated into our bunkers. When that was done, I wasn’t sure how soon it’d be before I started writing again but as I have so often found, activity begets activity, and I ended up producing several new pieces almost immediately – the basis for the next two EPs. One piece is already out - it’s called Reclaim Your Life and I produced it for the recent Terra Relicta compilation (https://terrarelicta.bandcamp.com/track/reclaim-your-life). I also did two pieces for another band. I’m afraid I’m going to have to be a little coy here, because they haven’t yet announced what they’re up to and it’s not for me to reveal their plans, suffice it to say that I have two pieces of music bookending their record. 

Finally, I am very proud to announce that I teamed up with a fantastic DJ from Seattle – Shane Aungst - who remixed the Anchorhold in its entirety. The record will be released next year, and we’re just finalising artwork and details as I write this. It’s a really cool project that reminds of me of the NIN companion EPs (stuff like Further Down the Spiral or Fixed). Shane did a fantastic job – he’s incredibly cool; very musical and attentive to detail; and I am so grateful that he chose to work on this project. Anyway, we’ll be announcing more details regarding that soon, but I can tell you that it will be called The Anchorhold – Dissolution. 

2.Recently you have released your first solo album, can you tell us a little bit more about the musical style that you went for on the recording?

Well, when I started The Anchorhold, the pandemic had already started to take hold, although several pieces had been demoed earlier (in particular, the piece that became Reflections from an Echo Chamber). Anyhow, I had it in mind to create an album that reflected some of the sense of isolation that abounded in those early days. I didn’t really have a musical style in mind, as such, although it’s glued together by the electronic elements that I use throughout, but rather I wanted to create a record that flowed from start to finish as something of a journey – a fairly common theme in all my work. 

I can honestly say that it was not my intention to gather together so many different musicians, but when I started reaching out to people there was this amazing response and it just felt like the right thing to do. You know, most of these people are musicians with whom I’ve previously played, and so it was finding a different way to have that sense of community that you normally have when you’re waiting for a show to start and it was just amazing to me that these artists, all of whom I hold in the greatest respect, would be willing to give their time and their talents so freely. It really lit a fire under me, and I honestly think that the album not only benefited from their contributions, but also their contributions were so good that it made me work a lot harder than I otherwise might have done. It was a really engaging creative experience and I’m very proud of the results. 

Anyhow, as far as style goes, I think you can probably find the reference points in bands like Swans (latter period), NIN, Mogwai, Radiohead and Massive Attack – but there’s plenty more swirling through the mix for those who care to look! 

3.You are also a part of 'Final Coil', how does your solo material differ from the stuff you record and release with your full-time band?

That’s a really good question. Somewhat inevitably, there’s cross over in terms of sound and style, but there are, I think substantial differences. Firstly, while I use electronic elements in Final Coil, they are always more as part of the atmosphere of a track – augmenting it rather than driving it, if you like. There are a few pieces that are pretty much wholly electronic (Alienation, from Persistence of Memory, for example) but, on the whole, I write songs for Final Coil with the expectation that the songs can be played live in a more conventional way. For my solo material, the music is electronic from the outset and it’s hard to imagine doing these pieces in the absence of synthesisers. It’s very liberating to write in that way because you’re less worried about the limitations of the stage, so anything becomes possible. That said, now that I am thinking about putting together a band, it does beg the question of who’s going to do what to make it all work because I’m really not keen on going down the backing track route – I imagine the live presentation will be somewhat more visceral. Nevertheless, the first difference, I guess, is that I have a very different palette from which to choose. 

The other difference is that the solo material was written with very little filter. When I write for Final Coil, I’m writing material with the expectation that Rich will add some guitar at point X, that Dan (the drummer) will adapt the programmed drums to his remarkable playing style and that Jola will augment the bass patterns. So, there’s always that kind of filter, and I tend to leave things relatively open in that respect. With the solo stuff, I don’t have that expectation or, where I worked with guests, it was only on one or two parts of the whole, so there was much more pressure on me to fill those spaces. I don’t think that that necessarily makes the music better or worse… it’s just different, and it’s a constant challenge for me to learn new tricks so that I can keep things interesting both for myself and (hopefully) the listener. 

4.What are some of the lyrical topics and subjects you have explored so far with your music?

The themes in my solo work and Final Coil are rather similar in that they tend to pick on social issues and explore them in one way or another, although I’d argue that my solo work is much more overtly political. Ideas of sovereignty and what that means in a partially globalised world loom large, as do themes such as human rights, freedom of speech and communication. 

If there’s a common theme for both Final Coil and my solo work, it is the increasing inability of people to communicate effectively, despite the potential for communication. I am generalising, because there are many intelligent and articulate people out there, but you look at social media and all you see are these snarky soundbites filling the void, and it’s hard not to lose hope when you see how cruel people are when they consider themselves cornered. I come from an academic background and, at the risk of sounding incredibly naïve, I have always believed that the purpose of learning is never to prove yourself right, but to uncover the truth of a thing to the best of your ability, even if that truth stands contrary to your previous beliefs. We were already seeing people treating debate as a zero-sum game with Brexit and Trump, but the pandemic has exposed the fault lines more than ever. There is no nuance to people’s interactions, just remonstration and resolve, and it’s impossible to look at all of this and not find subject matter for lyrics. 

Of course, on top of that, here in the UK, we have the most inept, corrupt and amoral government that this country has ever seen, which adds further fuel to my lyrical fire. It’s interesting because, when I was getting into politics as a subject, it was always in my mind that you could disagree with a politician but still respect their ideals. Off the top of my head, I would pick out people such as John Major, George Bush and even the ever-divisive George W. Bush (who, admittedly, was more a product of his handlers than his own ideals) as leaders to whom I was largely opposed in a political sense, yet I always felt they were enacting what they believed to be the best policies for their country and for their party. In other words, I respected their commitment to their beliefs even as I disagreed with much of what they did. That respect is important in a democratic system because you’re simply not always going to get the person or the party that you wanted in power. 

However, with “politicians” like Trump and Johnson (and the quotation marks are very deliberate), there is no such feeling. They are so obviously lacking in any ideal beyond their own sense of self, that it’s hard to believe their respective parties would ever allow them into power. Such a level of narcissism in high office is terrifying to me. Power may corrupt, but what happens when power is granted to the already corrupt? This is something that is playing out right now in both the UK and the US – with Brexit and the aftermath of the Jan 6th disgrace respectively, and it isn’t pretty. So, I’d argue my criticism is nuanced – it’s not anti-government for the sake of it (although I can see the charms of such an approach), but rather it is anti- what government has become and it is written with a sinking sensation that, where democracy once allowed for politicians from diverse political backgrounds to shape a country’s future, we are now living in a populist age where people vote out of incredibly narrow self-interest. In such a situation, of course the selfish and venal will flourish and there’s no question that my lyrics were directly informed by my utter rejection of the modern political class.  

5.Can you tell us a little bit more about the artwork that is presented on the new album cover?

I am so proud of the artwork. It was created by my incredibly talented wife, Jola (also the bassist in Final Coil), and it was a direct representation of the concept behind the album. Briefly, an anchorite was most commonly a religious recluse, often declared dead to their earthly life upon choosing their calling, and the majority lived within tiny cells known as Anchorholds. In other words, they subordinated their entire existence to a belief system and rejected the world beyond it. So, the anchorhold is a self-imposed cell – a rejection of the wider world – although they often had a window upon the world through which wisdom could be imparted. I like the concept because it makes me think of individuals, locked away in their basements, imparting information through the web – their window on the world – while rejecting viewpoints that differ from their own. At any event, when we discussed this concept, Jola immediately picked out (and edited) the picture that now graces the front cover. 

Once that was in place, Jola then set about creating the gorgeous internal artwork, which is a mixture of photography (it’s a picture of a mountain range in Zakopane), digital manipulation and hand drawn imagery. An indirect inspiration for this latter approach was the packaging for Radiohead’s I Might Be Wrong, which featured a similar mix of photography and fantasy, and I think Jola produced one of her best pieces of work when she created this cover. 

6.On your solo album you also have a great amount of musicians also helping you with the songs, are any of the session musicians also involved with any other bands that should be mentioned?

Yes, every musician on this album is an artist in a band worthy of note and I am very glad to share them here. So, in no particular order, the following musicians are on the album:

Kyle Brandt – Kyle produced a simply stunning vocal for C21H22N2O2 that totally blew me away. I first heard Kyle with A Light Within, a band whom I rate very highly. More recently, he produced his debut solo album under the name of Molitoth (https://molitoth.bandcamp.com/album/the-tribunal). Both bands broadly exist in a post-rock environment, but they’re both eclectic and have their own unique sound. In the same way, when I sent the track over to Kyle, he took an approach that was totally outside of anything I had considered, and he just made it look effortless. 

Roger Morter provided bass for It Follows Me. Rog and I have been friends for years and we previously worked together when he did some bass work for an early (unreleased) Final Coil demo. Roger would probably blush for my saying this, but he’s not only immensely talented, but also a very interesting individual with a unique artistic vision. As such, I was thrilled when he joined Pornographic Sunset (https://www.facebook.com/PgSunsetBand/), a band that just seems to be the perfect vehicle for his ambitious approach to the bass. Something of a cross between bands like Mr Bungle and Dog Fashion Disco, although any simple comparison is to do them a disservice, they draw on jazz, industrial, noise and more, and their live show needs to be seen to be believed. 

Richard Allsopp played guitar on It Follows Me and I’m Not Done Yet. Rich is extremely talented and does things with his guitar of which I can only dream (and even in my dreams, I’m hopelessly outmatched). He has a load of projects on the go, but his main outlet is Monachopsis (https://monachopsisbanduk.bandcamp.com/), a melodic death metal band with some serious chops. Rich made it so easy, and his blistering lead work really gave those two tracks the lift they needed. I have no doubt that we’ll work together again down the line. 

Matt Steady is a folk singer and musician whom I met when he shared a bill with Final Coil. An incredibly down to earth individual who manages to juxtapose musical gravitas with a twinkle in the eye that is utterly irresistible, Matt not only delivered on The Wanderer, but came back with layers of harmony that just worked perfectly. Matt is both a solo artist and in The Grace Machine (https://mattsteady.bandcamp.com/album/new-buryin-ground), but whatever you may hear of his work, it is always incredibly authentic and informed by a genuine love of the music. 

Pauline and Brett of The Medea Project (https://medeaproject.com/) worked on Reflections from an Echo Chamber, not only adding layers of noise but also lyrics and vocals. It was amazing to me how fully they understood the track outline I sent them, and they really turned it into something special. As for the Medea Project, we played together in Nottingham, and I became an instant fan. They have this remarkable look and sound that just draws you in. When they released Sisyphus, not long (I think) after we had played, that just sealed the deal. Since then, they’ve been super busy with all manner of projects, including the Southern Echoes EP and I’d strongly recommend them.  

Mark Gatland (https://hatsoffgentlemen.com/) added bass to I’m Not Done Yet and, as with the other guests here, he delivered way more than I could possibly have expected. Of course, Mark is a super-talented musician who plays with both Hats Off Gentlemen It’s Adequate (a band I first heard courtesy of a progressive rock radio station that was also airing Final Coil) and IT. Mark’s one of those people who will happily chat about music for hours and, when I finally shared a stage with his band, it was a real pleasure to sit and talk influences over a cheeky pint.

Tomek Wolksi added bass to Sleep Take Me. I met Tomek when we were both teaching in the town of Skarzysko in Poland. He is one of those people who just fosters enthusiasm in the way that he describes his favourite music and we played in Metanoia together while I was out in Poland. Anyhow, I knew that I had to work with Tomek again and, when I was putting this project together, it was just obvious that he should play a part. Tomek plays in loads of different projects, but his most recent effort is with S/W and it’s stunning (https://www.facebook.com/SWbandofficial). Their debut is a heady mix of Porcupine Tree, Pink Floyd and Genesis and I was so happy when Tomek sent me a copy – it’s the music he was born to play, and he does it brilliantly. 

7.You have also mentioned an interest in Hermeticism, can you tell us a little bit more about your interest in this topic?

You know, your questions are really well thought out. They’re both interesting and challenging and I really appreciate it. Thank you so much.  

Anyway, with regard your question, Hermeticism is a deeply interesting (and even controversial) topic with regard Christianity, in that it looks at the nature of truth and the revelation of wisdom as being central to humanity. However, what interests me in particular is the focus on what might be referred to as a knowledge of god – in other words, the truth at the heart of Christian Hermeticism is not a truth at all, but a deeply held belief. It is a contradiction that is impossible to reconcile because if, as the Anchorite might believe, all truth flows from this central premise, then truth will always be subordinate to belief. 

Anyhow, I see in this an analogue for the modern world. I have already alluded to my concerns over modern politics, and I would argue that the world is increasingly filled with anchorites – people who take one truth as their central premise and then allow everything they believe to flow from that. Conspiracy theorists, for example, accept as truth that there is a conspiracy and their understanding of the world flows exclusively from that, tainting their relationship with any form of expertise (including science). Similarly, Trump supporters have adopted the “big lie” as their truth and, like conspiracy theorists, they are now holed up in basements, viewing the world through a warped lens and spewing their beliefs back out through the window of the internet. 

So, here we are, a mere few hundred years after the dark ages, and people are once again rejecting rational, observation based science, politics and philosophy in favour of belief – beliefs so radically held that their followers would reject a vaccine, storm the capitol or cling to discredited notions of sovereignty rather than adapt their views according to circumstance. Change does not scare me, but people’s propensity for certainty does… hence, The Anchorhold. 

8.On a worldwide level how has the reaction been to your music by the fans?

Well, especially as this is a very new project that has never played live, I have been consistently blown away by the support the project has received. From webzines sharing release news to the reviews (most of which were incredibly positive), it has been a constant surprise how supportive people have been of this project. 

As I mentioned before, I came into this with no expectations other than that I wanted to use the time of lockdown to create something a little different, but I didn’t really expect too many people would take notice – there’s so much great music out there and it’s easy to get lost amidst the noise. Certainly, it has been a pleasure for me to see people from around the world picking up the record and commenting upon it and there’s also been quite a bit of radio play, which was a nice surprise. 

9.What is going on with 'Final Coil', these days?

Plenty! This year, there were three projects on the go. First of all, we recorded a lockdown EP of reinterpretations of songs from our back catalogue, stretching all the way back, even to before our debut EP (2011’s Live With Doubt https://finalcoilrock.bandcamp.com/album/live-with-doubt-ep-2). Entitled Somnambulant II, it was the first release I have mixed and mastered entirely on my own since Somnambulant back in 2014, and it was a real pleasure. With all the restrictions in place, we recorded our parts individually at home and then traded files over the net. Not the ideal approach, perhaps, but it was a great way to keep the band’s creative flame alight at a time when we could neither practice nor play. 

Having done that, I then decided to return to our inspiration for the EP – Somnambulant (https://finalcoilrock.bandcamp.com/album/somnambulant-i-2021-remix-remaster). Initially, I was just going to do a little remaster but, as it turned out, I ended up doing a substantial remix. It was really satisfying because, although the files were in good shape, I could see how inexperienced I was when I produced that EP, and I ended up spending a lot of time on editing and tidying the files so that the EP had a sound more consistent with Somnambulant II. Jola then reworked the artwork and, as with my album, she did a truly fantastic job. 

Beyond that, we are also putting the finishing touches on our third album (and the final part of the trilogy we began with Persistence of Memory). I believe it will be the best thing we have done to date, but time will tell… 

10.Where do you see yourself heading into as a musician during the future?

I honestly have no idea. Since I was very young, I have been involved in music one way or another and it is something that comes from a very personal place. I love to explore, and I can say that there will absolutely be another solo album at some point. Final Coil, too, has quite the distance left to run, although in what configuration remains unclear. 

You know, it’s been a really difficult two years and, at this point, it feels enough simply to say “we’re still here” and to be working on new material – so many of our fellow artists have fallen by the wayside during this difficult period but, for us (and for me especially), making music is something we have to do, regardless of whether we can play live or attract new fans. The art is the thing, and I hope and believe that I will continue to evolve in the coming years. 

11.What are some of the bands or musical styles that have had an influence on your music and also what are you listening to nowadays?

Oh no! How long do you have? There are so many bands that have contributed to my musical DNA that we could be here a while!

Off the top of my head (and fully aware that the list shuffles every time I am asked such a question): Sonic Youth, NIN, Swans, Alice in Chains, Tool, Pink Floyd, Genesis, Manic Street Preachers, Butthole Surfers, Nirvana, Soundgarden, The Cure, Killing Joke, Screaming Trees, Neil Young, Gary Numan, Radiohead, Massive Attack, Pearl Jam, Paradise Lost, Anathema, The Ocean, Mogwai, Spiritualized, Depeche Mode, Katatonia, Porcupine Tree, REM, Mayhem, Darkthrone, David Bowie, The Orb… you know, I’m going to stop there before I list my entire collection! 

As for what’s been on my stereo of late, my albums of the last year included: Melvins – Working With God; Year of no Light – Consolamentum; Nick Cave & Warren Ellis – Carnage; Amenra – De Doorn; Ministry – Moral Hygiene; Halsey – If I Can’t Have Love I Want Power; Converge – Bloodmoon I; Mastadon – Hushed & Grim; Darkthrone – Eternal Hails; Tomahawk – Tonic Immobility; Neil Young & Crazy Horse – Barn; Mogwai – As Love Continues and Arab Strap – As Days Get Dark.  

12.Before we wrap up this interview, do you have any final words or thoughts?

I started making music with no plan. I was very naïve and operated on a “if you play it, they will come” mentality (thanks Wayne’s World), because I believed that that’s how music should work. In many ways, despite plenty of evidence to suggest that a mix of money and familiarity is probably the best way to (for want of a better phrase) get ahead, I still believe that music is art and should be treated as such regardless of how cynical the market has become. 

I suppose that what I am trying to say is that I strongly believe in the music I make. I don’t ever have a plan and I don’t often know even how it will be released. To some degree, that is a secondary consideration (although, of course, I’d like as many people to hear it as possible), and I can’t imagine not making music, even if it is only ever heard by myself and the people unlucky enough to be in the vicinity. It’s a passion that runs deep and it is as exciting as it is cathartic. With that in mind, I’d like to thank you very much for your time and for your great questions and, if any of my listeners are reading this, thank you for taking the time and trouble to check my music out – I never take it for granted and I very much hope you’ll join me for my next release, whatever it may be. 

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