The Perfect Union: Ysabel Bain’s ‘Harmonics’

Back in December 2020 we wrote about an artist who’d just put out her debut EP, a collection of performances recorded in just one day prior to the pandemic. The name of the EP was ‘We Are’ and was subtitled ‘Live At The Clarendon Centre, Brighton, 2020’. The artist’s name is Ysabel Bain, and she’s on a brand-new journey that begins with her latest single ‘Harmonics’.

Though Ysabel Bain kept mostly a low profile in 2021, she did play for a livestreamed audience via Audiotrope back in the summer. In October, as well as prior fundraising, Ysabel performed in person for the opening of Afrori Books, Brighton’s first black owned bookstore. Her Patreon page is also blossoming, where she shares covers, demos and early access to her forthcoming projects. This includes ‘The Grief Stories’, a series of five EPs charting the five stages of grief. Ysabel’s recent single ‘Harmonics’ is an extract from one of these collections.

‘I love you so much, too bad it won’t last.’

Co-written with Scott Reynolds, it’s his acoustic guitar playing that opens Harmonics. Reynolds began writing the instrumental track ten years ago, with the song exploring many structural avenues before Ysabel settled on the finished version here. Contrary to the full band material on her ‘We Are’ EP, Harmonics is stripped back largely to the vocal and guitar – but is no less powerful.

‘Looked like the perfect union had begun, but we were so close, it couldn’t last long.’

Indeed, Harmonics is a lesson in passion from Ysabel Bain. Coupled with the perfect chords and lyrical subject matter, the song builds in intensity without the listener realising. Most of this is in Ysabel’s layering, beginning with a single lead vocal, gradually adding backing vocals and harmonies. Bain’s effortless escalating of Harmonics finds me unconsciously holding my breath, building to its peak in a nearly repeating motif: ‘Hear me calling out your name, as if there’s something left to say, everything I had erased, now the fire’s turned into a blaze.’

In a heart-thumping pang of vocal delay, Scott Reynolds continues to hold down the rhythm. As if a person had just said their piece and begun walking out the door, Ysabel returns once more to drive the point home. Still bursting with harmonies and Scott’s rhythm and lead parts, the final words return Harmonics to the way it began.

‘…but we were too involved, and someone had to go.’

If this is just one song from The Grief Stories, I can’t wait to hear the rest of it. Continue reading for our Q&A with Ysabel Bain. We discuss the writing origins of Harmonics, playing live and her plans for the rest of this music.

1. Your new single ‘Harmonics’ has been in the making for ten years. After all this time, what was the moment where the track finally clicked and you knew it felt right?

It’s taken so long! I’m usually pretty quick when it comes to writing, but this one had me stumped.

We started out with a completely different melody (and lyrics) at the beginning. The pre-chorus has always been the same, but the mid 8 didn’t exist and the verse and chorus were completely different.

After a few rounds I realized I hated it, so we went back to the drawing board which gave us the chorus you’re hearing today and the mid 8, but finding the verses were a nightmare. It took me 2 years to write 8 lines!

I think the hardest thing was knowing where we’d end up but not being able to explain how we got there. I was trying to find the origins of the whole situation and it just wasn’t coming. 

I finally got a new melody for the verse which felt like it was sitting well, and got the lyrics for the first verse soon after, but verse two wasn’t finished till 2019. I had a gig in March of 2019 and we were gonna be playing the track as an acoustic break in the set. We were rehearsing the track and when we got to verse two I started singing completely different lyrics, they kind of just flowed out. I had to stop us halfway through because I wanted to write it down before I forgot. That’s when it properly clicked, everything felt like it was finally where it wanted to be.

2. For this track you worked with Scott Reynolds who’s worked with you on some of your previous songs. Do you remember hearing Scott’s instrumental track for the first time? What was that like?

It was magic. Scott played it the first time he and I ever wrote together. He was playing a few instrumental things that he’d written and that was one of them. I remember it was him, my mum and myself sitting in the room together, and me and mum looked at each other and we were both speechless. All I could think was “this dude is phenomenal and I have to write to this track”. It felt weirdly familiar, like I was meeting an old friend after being apart for years.

It was such an amazing experience and I think it really opened my eyes up to Scott as a guitarist and as a creative. If anyone has the privilege of working or (more specifically) writing with Scott then you’ll understand what I’m talking about. He inspires you to be a better writer, and I think this track is proof of that.

It was by far the best first impression that I’ve had from someone.

3. You’ve certainly captured an intensity in this lyric. How do you get to that place emotionally when recording? Does it easily go away once the session is over?

Anyone who knows me, knows that the gap between writing and recording a track is usually a year or two (or in this case ten). By the time I get into the studio I often feel really clear on what I want the song to sound like (be that vocally or instrumentally) because I’ve lived in it for at least 12 months. It’s not so much getting into that place, it’s more remembering how I felt when it was first written and thinking about how I want people to feel when they hear it. It feels a little easier to get out of because I don’t feel like I’m reliving, more reminiscing.

I’m sure this will change as the distance between writing and recording gets shorter. I feel like if I ever record a track while I’m genuinely in that space it would be a very different experience (I might need therapy).

4. Tell me about the artwork for this single, who put that together?

It was me! And, like the track, it took a ridiculous amount of time to find something that fit.

I’m quite a visual person, but (often due to lack of funds) I very rarely get to create the visuals that I want to accompany my songs. It wasn’t until my EP ‘We Are’ that I finally managed to get something that represented the songs it was advertising.

I think that artwork is such a powerful tool when it comes to music, especially for independent musicians, and it was really important for me to find something that helped people to understand the story I was telling.

I’m hoping, as I learn more (and earn more) that one day my artwork and visuals will be as impactful as my music.

5. You previously said you had a studio version of your track ‘At The End’ ready to go, is that still forthcoming?

It is. It’s been sitting, patiently waiting to be released for the last 3 years (I told you it’s a waiting game). It’s a part of my next project (The Grief Stories) and technically it’s not supposed to come out til the end (no pun intended) as it’s on the final EP from the series, but I like to keep people on their toes (Harmonics is on EP 4) so there’s a chance you’ll hear it sooner than that, but I can’t make any promises.

I can, however, say that it’s epic. Very different to what’s been released so far, but it brings all the vibes and a lot of sass. It’s another track with Scott Reynolds so you know you’re guaranteed some high quality music.

I can’t wait for you all to hear it (but it might be a little while).

6. You did some livestreaming earlier in 2021 with Audiotrope, how does performing that way compare to being in front of an audience?

That was a crazy time. The gig got postponed 3 times in total and we still managed to lose 2 band members ‘cause it clashed with work.

I’m really glad that we finally got to do it and Audiotrope were so accommodating, but I don’t think that I performed at my best.

I realized how much I rely on the energy that other people bring into the room, and you just can’t beat the atmosphere of a live audience. Having people in the room who are ready to hear your stories and being able to see who’s receptive is so powerful when it comes to live performances. I think lockdown has really shown us all the value of being in and seeing a live performance.

I’d definitely like to do some more livestreaming at some point ‘cause I think it’s a skill that I need to work on, but I’d need to think about how I can create “moments” without a live audience.

7. With gigs on and off now since summer, have you been out to see anyone play since the lockdown restrictions began to lift back in July?

I’ve seen quite a few actually which has been so nice! I got to see Jake Isaac who’s a favourite of mine (if you don’t know, get to know) and he was fantastic. Great performer, great storyteller and his band is insane!

I also got to see some friends of mine gig which was so lovely (check out Jessica Wilde and Ebony Buckle). I’m really looking forward to seeing some more people this year.

8. And can we expect some Ysabel Bain gigs in 2022?

I think so …

There’s a lot of stuff up in the air at the moment, but I’ve got some ideas about doing some intimate gigs in London and Brighton this year.

I’m hoping to do at least 3 over this year, but we’ll see what happens ‘cause I’m not planning on using standard venues so there’s lots of conversations going on, but you’ll know as soon as I do.

9. ‘Harmonics’ is a part of a new series of releases from you called ‘The Grief Stories’, can you tell us more about what’s in store?

So The Grief Stories are just that, tales of grief documenting my journey (and those around me) through grief, loss, love, and mental illness. Over the last 3 years I’ve written 26 songs which will be split into 5 EPs going through the 5 stages of grief. Alongside that we’ll also be making a short documentary covering grief, loss, love, and mental illness in the black community (which is something I’m particularly passionate about) and I’m feeling really excited about that. 

The first EP (Denial) should be out at the end of this year, and the following ones will be released over 2023 and a little bit of 2024 (alongside the documentary and some really epically fantastic music videos).

I wanted to take a risk, and that’s what I’m doing. Creatively and personally we’re going to a place that I’ve never been before. This is a new Ysabel, new music, bigger and better visuals, and even more stories.

These last few years have been a real journey for me, learning about not just who I am, but also thinking more critically about myself as a creative, what I’m creating and why I’m creating it.

This project is that journey made public.

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Support Ysabel Bain on Patreon for early access to new material, covers and demos.

For more information about Ysabel Bain, visit her official website.

Follow Ysabel Bain on Instagram and Twitter @ysabelbain, and on Facebook @ysabelbainmusic.

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