April 1st, 2013 
Brian Leak 
Under the Gun Review is honored to bring you this exclusive interview with up-and-coming alt rocker, Louise Aubrie!
Aubrie has had the rare opportunity to live in and fully experience two of the most influential metropolitan areas of rock music and its various sub-genres. This, needless to say, could be monumental in the development and career of a musician and their creative efforts. These are things we discussed in detail as she took some time to speak with us recently, along with some insight to her newest record and its themes. Take a look beyond the jump and get familiar with a genuine person and cultured musician, Louise Aubrie.
What originally inspired you to get involved with music and how did you start out?
Sinatra. I am not sure how obvious that is from listening to my records though! But I remember watching re-runs of those old Sinatra TV specials when I was very young, and I was transfixed by his performances. No one comes close (or will ever) to his style and phrasing in a song. He never once sounded unsure in his attack. And Elvis is, of course, the King. I had his music on loop. So there you go — it started with the Chairman of the Board and the King. I am obviously not alone in citing these men, but it’s amazing that they still inspire people, long after their deaths, in so many ways. My music is not Swing or Lounge or Gospel or Rockabilly, but all of that is in my heart, which is the place all my songs come from.
As I got a little older, David Bowie became a huge inspiration, and then the glam-rock era and of course punk-rock. T Rex, the Pistols, the New York Dolls, and the Ramones — and I remember playing a Blondie album over and over until I wore it out. I wasn’t around when these bands were at the height of their fame, but for some reason I was drawn to look back to the 70s.
However, the main inspiration on my music is Morrissey, both his career with The Smiths, and his 20+ year solo career. The Queen Is Dead changed my (musical) life. Again, I am not alone in referencing this; it is surely one of the most seminal and influential albums that has been made. It is an incredible body of work. Morrissey’s solo albums Vauxhall and I and Your Arsenal in the 90s were also a central influence, the latter being produced by the late great Mick Ronson, and it’s a sound that I definitely tried to emulate.
As far as starting out recording music, I began writing in my teens, sitting with my best friend in her bedroom, not knowing what on earth we were doing, but that never stopped anyone! I took the first step to recording professionally at the Mill Hill Music Complex in North London. The owner there, Roger Tichborne, was extremely kind to me and gave me my first opportunity to work with his engineers and to start being creative with my own material. I did not have a band with me at the time, but I laid down a few tracks there, and then I upped sticks and moved to New York City. Which is chapter two in this story.
When did you officially make the move to New York?
I moved to New York in 2008. I’d always loved the city — it really does have a special energy; just driving into the city from Kennedy, you feel like you’re in a movie. Because you’ve seen that skyline in so many movies!
Does London have any inspiration that you feel is evident in your music?
Absolutely. London is my home town, and will always be in my heart. Lyrically, a lot of my songs are about the adventures that have happened there, both in my own life, and harking back to previous eras, including the Swinging Sixties — so maybe that swing is there after all! In fact, the duet, “Tonight At Ronnie’s,” on the new record is set in London in 1970. London and New York are similar these days in many ways: you walk around and see the same stores, the same restaurants, the same spectrum of (in)sanity and creativity. But there is a difference in the energy. I found the energy in NYC is more heightened than in London for a couple of reasons: 1) The size of Manhattan and the concentration into such a small area — it’s like someone has gone to London, stood at Stepney to the east and Ealing to the west and squeezed that 14-mile width into Manhattan-s two. And secondly, the 24-hour culture. I still don’t think London has really embraced this, which is no bad thing, but New York’s streets feel different at night which again can spark thoughts and ideas that might otherwise be constrained to dreams and/or nightmares! The silence of London’s streets at night has inspired me to write on many occasions, and the grey skies do hang over some of those stories.
So with New York, to elaborate, what affect has the city had on your sound and lyrics?
New York is an amazing city; I fell in love with it immediately. And being in the city has had a huge influence, both the city itself and the people I have worked with on my records. When I moved to New York, I did not know anyone, let alone any musicians. But because everything is so concentrated, it is fairly easy to integrate into the music scene. I chose to live in the Lower East Side because of the proximity to all the music clubs. It can be tough living in this city, but it’s also very addictive… it’s so hard to leave, and even though it can boot you and bruise you, it’s a wonderful city full of opportunities.
I met some fantastic musicians in New York; the city attracts so much talent. And I started to mold my songs into the sound that I wanted. I went through five or six line-ups before I found the one that worked — playing music is obviously about chemistry, not just musical ability.
And New York also played the central role in my relationship with my producer, Boz Boorer. Boz is one of the pioneers of the British Rockabilly movement, and is perhaps best known for his collaboration over the last 20 years with Morrissey, as a co-writer, guitarist, and musical director. I first met Boz, briefly, in London but it wasn’t until I moved to New York that we began to work together. Which is ridiculous because we actually lived very close to each other in North London, but it took 3,000 miles for us to get together! He was touring a lot with Morrissey in the US, and one day I handed him some demos, which luckily he liked. He saw something in them, and he was generous enough to work with me on producing the albums.
So, Time Honoured Alibi just recently released. How do you feel you’ve grown since your debut and how do you think that shows on the new album?
It’s been an interesting process. The first record was such a wonderful experience. I was able to work with some fantastic musicians, and bring together all these stories onto a full album. It was the first time I’d worked with a full band in the studio. And because it was such a successful formula, I’ve stuck with the same team for the new record. I write all my own material, music and lyrics, and then I arrange the songs in collaboration with my band and with Boz. On guitar, I have Rob Ritchie, who also sings the duet “Tonight At Ronnie’s” from the new record with me. On bass is Matt Wigton, and on drums is Fred Kennedy. Matt and Fred have a wonderful partnership and have worked closely together for over a decade, so this gave me a really solid foundation. They recommended Rob to me, who I knew was a brilliant guitarist as soon as I met him and first heard him play. The fact that the three guys all knew each other before was also a key element. We all respect and care about each other inside and outside the band. I think the fact that we’ve worked together for a few years now really shows on the new record. Everyone knows what the other will like and suggestions/arrangements become so natural. I am blessed to work with such talented people.
Who/what are some of the most important influences that helped you create this album the way you did?
This album, lyrically, is about great men in my life. I really wanted to honor them, although none of them know these songs are about them; that’s something I keep close to my chest! Musically, I definitely wanted to find a rockier sound. I was listening to a lot of T-Rex, Ramones, Bowie etc. and wanted to make a glam-rock record! Obviously, it’s not exactly that, but that was my main influence, and where the heart of the music was rooted.
This record was very much shaped by Boz. He was key in bringing together the arrangements that the band and myself had designed. Boz is wonderful to work with; his ears are the best in the business. I am always amazed at how he can hear every tiny sound and nuance, and he will pick up on things that no one else can; just a subtle line that would change an entire song. He spent many years as a studio engineer, and that, coupled with writing, playing and being on the road now for over 30 years, really makes him the most special person to be around. I am a big fan of his music, both solo and with Morrissey, so to be able to work with him is an amazing experience. We co-wrote the song “Keep It Coming” on this new record, so I know I am in the very best of company.
After this process, Fred did some additional production work, then we turned to Cam Blackwood at Voltaire Road Studios for the mixing. Cam has worked with a wide range of recording artists, including Cee Lo Green and Florence and the Machine, and I believe is one of the best in the business. Finally, Dave Collins mastered the album. Dave is the former chief mastering engineer of A&M Studios.
Is there any particular reason that there’s only 8 songs on the new album?
It’s funny, but it just felt complete. I had written more songs, but when I sat down and listened to the tracks, and the way I’d sequenced them, I just felt that it told the story that I wanted.
It looks like you have a couple shows in the near future but do you have any full touring plans for the new record?
I hope so. We’ve been very lucky to get some great reviews for this record, and I am very much looking forward to the official release gig which is at the legendary Bitter End in Manhattan’s West Village on May 1st. That’s going to be a wonderful show. I would like to tour in the summer/later in the year, and we are currently looking at venues and logistics — it’s something I am very excited about.
What has been the biggest obstacle for you as an artist?
Well, I guess I should probably know more than 3 chords by now, but I’m doing alright!
What is your biggest goal or dream as a musician that you’re yet to accomplish?
I would just like to be able to write, record and play music as much as possible. Pretty simple, right?! But it’s amazing how often that real life gets in the way of something seemingly so easy!
What type of things do you do in the real world outside of being a musician?
I just try to get by. New York isn’t the easiest city in which to survive. I focus very much on my music, and I try and pay the rent. I am supportive of children’s charities in both the US and the UK.
Since you started your career, what has kept you wanting to continue on in the music profession?
I don’t think it’s a choice to play music; I think it’s just something that is inside us all. I couldn’t picture a time when I wouldn’t want to play. Life would be very dull!
What advice could you give to any aspiring musicians that may be wary about what it takes to succeed and worried about whether or not it’s worth it?
I’d say that you shouldn’t worry about success, because what is success? Especially in this digital age that we live in, where the music industry has changed beyond all recognition. The motivation should not be to “make it” but to create music that you love. Is success money? Is it fame? Not in my book. I think success is finding a life worth living down, having love around you, and doing the right thing.
Written and conducted by: Brian Lion – Follow him on Twitter
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