Since 2019, Melanie Radford has been electrifying stages with Built to Spill, where her adept playing covers a large plot of sonic ground in the musical landscape of the band’s alternative indie sound. In addition to the outfit’s tireless touring schedule, Radford also focuses on her trio, Blood Lemon, which shows a different side of her musical voice, focusing on vocal-driven compositions with deeply brooding bass. But now, despite her constant travels and tour dates, Radford has found the time on the road to compile an intimate collection of songs to comprise an album of her own that shows us precisely who she is as a songwriter.

Recorded during and between tours over the span of two years, For the Sake of Stillness is the result of Radford taking inspiration from field recordings she captured of soundscapes and ambient noise from her journeys. From there she layered her bass and vocals to create meditative movements with dreamy melodies and winding rhythms. The nine-song album takes the listener on an ambient adventure guided by the beautiful vocals and heavily effected low end that utilizes nuance and subtlety to make big statements. With string arrangements, guest musicians, and a cinematic feel to it all, this serves as a superb first look into the musical mind of a highly skilled musician who knows the impact of restraint and patience.

What sparked you to create your first solo album at this point in time?

I think this project was born out of necessity and a newly found confidence in my own work. It’s been a long time coming.

These songs started from field recordings during your travels. What was the process like of forming each composition?

Although not all of the songs formed this way, I tried to start the writing process with a textural field recording that spoke to me first and then built the song from there. I collected a lot of different field recordings so there were a ton that I didn’t use for the album, just the ones that intrigued me the most.

How would you write from that point? Did bass typically come first or vocals?

It depends. Sometimes I think of a bass line first, other times I immediately had a melody in mind, or they both naturally come into fruition at the same time. In the past, I would try to approach songs by having a point to them first, like something I wanted to say or communicate. This album was completely different because I approached the songs totally based on feeling.

This album spanned two years of touring with Built to Spill and a lot of other life. How was it recorded?

It’s a type of “collaged” record because I recorded bits and pieces in different locations using different equipment everywhere. This includes my laptop, with Lê in his home studio, at Escritório in Rio, at Jim Roth’s studio in Seattle, in a random Airbnb somewhere, and so on.

You let the songs breathe and utilize space, ambience, and nuance. Was that your impetus going into this process?

In a way, yes. I’ve always been drawn to simple songwriting that makes an impact and I’m fascinated by the use of minimalist arrangements and warm textures. It felt natural for me to explore those things with my bass.

How did you track your bass for the record?

For a lot of it I went direct, but not always. I tried to use some amp-miking techniques too, depending on what I had at the time of recording.

Your use of effects deeply enhances these songs. What did you use on the album?

I can honestly say the Keeley Parallax Spatial Generator reverb and delay pedal was used frequently on this album. It’s become my main tone when I perform it live too.

I also got myself a Chompi Portable Sampler that I had a lot of fun experimenting with. From using that, I was able to record natural sounds and chromaticize them into tones that I used to sprinkle little moments of magic in the record. I also found a lot of their initial sample tones to be very useful. For example, the main synth tone you hear in “Sink & Swallow” is the Chompi.

Did you use your trusty LEH bass primarily?

I used multiple basses on this record. My Music Man Sterling bass [with “Apathy Kills” written on it], my LEH Offset bass, and my friend João Caseas’ special “Frankenstein” bass.

What inspired your beautiful vocals on this? 

A lot of grief processing and also personal and spiritual things.

This album is very meditative from start to finish. Did you have an overall goal in creating this music?

I think so, whether I knew it or not at the time. My body, mind, and spirit needed to be grounded so the meditative work came naturally. I was pretty focused on the concept of the record, which was to make it feel minimalist and stripped-down.

You include some guest contributors. How did you select who played on these songs?

Jim, Lê, and Lori contributed because I knew their work beforehand and felt comfortable extending the invite to collaborate. They also acutely understood the concept I was going for and were a delight to give instruction to.

Does it at all feel vulnerable to be releasing music as a solo artist after playing in bands throughout your entire career? 

It’s definitely a weird feeling. I confess in the past, I’ve often felt the need to have other people validate my ideas but now I don’t really feel that way anymore. I have specific ideas and specific ways I want to execute them now. Because of that, I think solo work has become a fruitful thing for me to explore more moving forward.

This music is very different sonically from that of Built to Spill, but more akin to Blood Lemon. Would you say this body of music is a pretty accurate snapshot of your musical center?

I think so. In general, I’ve always believed versatility is necessary for bassists who want to play a lot, which is where my mind was for a long time. But nowadays, I’m less interested in chasing versatility and more interested in finding my own style and bringing the guardrails down for that. So, with that in mind, I think this is an accurate snapshot of where I’m headed.

What can we expect from your live shows coming up?

It’s an immersive show, both the duo and full band performances. I think people will be surprised.

Your bass playing covers a lot of ground with your various projects. How would you say you’ve evolved as a bass player since joining Built to Spill?

I have a lot more confidence now.

What were the biggest things you learned from this process? 

Being more comfortable with writing while recording and trusting my instincts.

Can we expect a follow up solo album in the near future?

Yes. I have a lot of ideas I’d like to pursue with this project. It’s been freeing for me to explore, and I’ve already begun writing the next record.

What’s coming up next for both you and for Built to Spill?

I’m looking forward to sharing the show that I’ve been preparing with a full band. This is only happening on select dates, but the visuals and fully immersive experience have been a joy to conceptualize and put together with a whole team of talented folks.

I’m also very excited to open for Built to Spill and Quasi with my solo project in October, where I’ll be pulling double duty. I’ll be performing the songs as a duo with Jim Roth on pedal steel.

What would your best advice be for someone looking to embark on their solo album?

Treat your solo work like an actual art project. Grab onto a concept that intrigues you or awakens your spirit. Trust your instincts.

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