Genre Fluidity with Helefonix

I’ve often thought about what society would’ve done if the pandemic had occurred twenty years ago or more. All the things we’ve managed to cling on to almost certainly wouldn’t have been possible, like working from home for example. Largely we have computer technology to thank for keeping the cogs of society turning, but it’s also allowed people to learn new skills. Artist Helefonix took to learning some music production during her time in lockdown, with 2021 already seeing her second EP release in ‘Orchestral Manoeuvres’, there’s much more music on the way.

Helen Meissner’s musical project Helefonix (formerly ‘Midlifemix’) began life in the summer of 2020 as Helen began learning to use music production programme Garageband. Her self-titled Midlifemix EP came out in September with six dance tracks, preceded by her debut single ‘Liberation’ in mid-August.

For the past ten years or so, Helen Meissner has run Folkstock Records (with Roxanne de Bastion a Folkstock artist we wrote about recently), so to hear this sudden change of direction was somewhat unexpected! Even more surprising still is that Orchestral Manoeuvres replaces more of the electronic sounds with classical instruments, while still retaining some of the sound Helefonix produced on her debut. So good in fact is this EP that Clouzine Magazine awarded it Best Electronic Classical EP for Spring 2021 even before it gained a wider release on CD and digital download.

‘Evolution’ is active straight away with violin and panning pizzicato strings, hopping from your right ear to your left and back again. Then more layers introduce themselves, with touches of brass and ensembles of strings rather than solo instruments. Don’t be fooled by the radio-friendly lengths of these pieces, there is still complexity, tension and a mood established here.

Of course it goes without saying that this is entirely rendered on a digital audio workstation, but Helefonix does have a background in this music, reaching Grade 7 in piano and violin by her A-level years. You might consider Evolution being entirely classical, that is until the EDM influenced beat comes in and puts a completely different spin on it. Evolution indeed. Suddenly it all makes sense and the transition between the Midlifemix EP and Orchestral Manoeuvres is clearer.

The woodwind opening to ‘Reflection’ has that monophonic sound of one note at a time on a keyboard, with nothing overlapping. This means that when the next note comes, it pulls the last note up or down in an unnatural way, but I like it. The reverb gives air to the note, putting it in a large empty room, like the audience could hear a pin drop. Pizzicato strings follow, or is it harp? An electronic sound like somebody stirring up a bath-full of water takes away the classical element while cellos hold down a drone.

Reflection is descriptive of how I feel about this piece, it’s reflective, less chaotic than Evolution. Even the beat that comes in is more restrained, and something that sounds like a Chinese Erhu can be heard more in the background which aids in what Helefonix calls ‘genre fluid’, a term she uses to describe her music. Already in the first two tracks it’s not hard to see the result of all this musical fusion.

‘Transformation’ is full of interesting sounds, the opening of which has strings, something more distorted, and a beat with the hi-hats dancing in stereo. This is the track most like Helefonix’s Midlifemix EP so far. The key sets the mood like it’s more mysterious, and the fusion between classical and dance is at it’s most obvious and with equal measure. Just as you think Transformation is going to go full dance – it switches back to a flurry of violins. A piece that certainly keeps you on your toes.

The final composition for Orchestral Manoeuvres is entitled ‘Reconnection’. Interestingly, the opening sounds are more like guitar than anything else, with electric picking and strumming acoustic. The bassline here is something new on this EP and more conventional, sounding much more like a bass guitar than the earlier lower frequencies filled out by cello or double bass. Reconnection has a lot to offer in more electronic sounds, but there is still some violin and harp. This is the most beat-driven of all the compositions on Orchestral Manoeuvres, perhaps a sign of where Helefonix is heading on her next release?

Continue reading for our Q&A with Helefonix, we talk about the meanings of the track titles, Helen’s work with Folkstock Records, and what the future holds for her own musical projects.

1. Your new EP 'Orchestral Manoeuvres' is a set of four tracks fusing orchestrations with a modern dance sound, would you tell us about the recording of the project?

Since I started making music just over six months ago, I’ve tried to challenge myself to create a variety of different styles. I use Garageband and there’s so many lovely samples of phrases in a variety of musical instruments and while my first EP included some of them, I thought I would see if I could create something which was more ‘classical’ in sound. Once I had created Evolution, the opening track I realised that I was loving the challenge and deliberately set about creating four tracks which loosely followed a four part symphony structure. So I researched the keys that might suit, based on the emotion I wanted to evoke and the speeds and once these were set, I had a play with what was available on apple loops!

2. All the tracks on the EP have single word titles, what's the story behind each of the names?

Thanks for noticing! They took a while to come together. I am quite a spiritual person, believe in the universal laws of attraction and abundance for example. That what you focus on, you attract into your life (of course, that can be both negative or positive!). And that we are universally connected as souls and really ‘what goes around comes around’ and the old ‘do as you would be done by’ philosophy is a big part of that. Kindness and compassion are at the forefront of this and their ideals guide me. I don’t always succeed of course. But for me it’s a worthy aim.

Our own evolution as people is of great interest to me. I think we evolve many times in our lives. Different circumstances, people or roles/jobs inevitably influence us, and bring out different aspects of our behaviour/reactions/personality. Each time this happens I think we learn new things about ourselves. These situations give us opportunities to show ourselves that we can survive and naturally grow.  We learn how resilient we are and our confidence in handling new situations increases. Our fear of the unknown lessens as we realise we have no control over many of the things that happen to us, only our reaction to them. Ironically, so often the things we worry about don’t actually happen (and find we handle those that are unexpected) and we’ve ruined the good times by worrying about the bad! And as I get older, I embrace change rather than fear it.

Now that I am in my mid fifties there’s twenty five years since I became a crystal healer and reiki master. These developments in my life, which involved reading iconic books like The Power of Now and The Secret (among many others) were significant and helped me develop a mindset where I was able to appreciate the positive things that manifested in my life. And to forgive myself and others in my life for the not so good things. It helped me choose how I respond to situations which prior to that might have caused me significant stress.

So I started this four track composition with Evolution, which is often seen as the end result but really, it’s the beginning of a new approach to life as I see it! Then Reflection follows. Who am I? where do I fit in? what is important to me? What are my values? And this is about being completely honest with yourself rather than giving answers you think your parents or friends would approve of (for example!). It can be quite shocking to really see and feel yourself. I went through this big time when I had treatment for breast cancer ten years ago and the biggest thing I learnt was that the things we hide from by distracting ourselves are often the very things we need to do a ‘deep dive’ into. You know, the thing that makes your stomach do an involuntary somersault (of an unpleasant nature!). Only once we explored those horrors and sat with them can we hope to accept ourselves and do the next stage, Transform. Hence the third track title. In a symphony the second movement is usually the slow and sombre Adagio, and this is Reflection. The third is ‘light relief’ I guess. A playful ‘scherzo’, such as a rondo with repeating patterns and motifs which in this case, evolve and develop as ‘variations’ on a theme. I really enjoyed letting my hair down on that one! The last movement is something which repairs the mind I think. Resolves the situation. I nearly called it Resolution but actually the track is so much more uplifting than the name implies. And we’re never really resolved are we? Perhaps resigned? But that wasn’t suitable either for the closing ‘movement’ so I felt Reconnection was the most appropriate. The soul’s reconnection with the source. With universal energy. With the souls we cohabit with.

3. Were there any other tracks you worked on for this EP but decided to leave behind?

I did work on a different track for the final ‘movement’ but it ended up being too strident and jarring and so I’ve put that aside for an album I am working on. Other than that, they were written for purpose.

4. With this EP comes a name-change for you as well, what led to changing from Midlifemix to Helefonix?

I had a name challenge a few weeks ago. Initially I was horrified. I’ve worked really hard to establish my name and brand. And it was a blog, not even a band, who were asking me to change, and it wasn’t the exact name either. But apparently I was getting tagged in her socials. And people were asking her if we were connected. I realised I didn’t have a legal challenge here but managed to find a new unique name which I feel is less limiting to my ‘age’ and more about me. And I managed to create a great logo with the help of art from Amy Pettingill which I am really happy with!

5. You've said before that you reached Grade 7 in piano and violin during your school years, have they remained an asset throughout your musical life?

It’s funny as since my school years, I wouldn’t say I’ve had a musical life. I’ve loved music, but that of other people, never my own. I’ve been told I have a keen ear. Notice things others don’t notice which is particularly important when you are listening to mixes of your artists’ releases. I think I am a pain up the backside for any producer I have worked with in the past. This has been mostly my daughter Charlie Deakin Davies and on a specific project for my husband, singer Joe Rose, producer Martin Lumsden. At least now, being my own producer, I don’t have that dilemma of ‘do I dare mention this? it’s the 20th remix’! I am a perfectionist and I love having complete control over my own output.

6. You put out your debut EP in September which has received a great reaction from everyone! If money and time were no option, what's a musical ambition you'd like to fulfil?

My best friend recently shared that she has this vision of us touring Europe in a van, with her being my groupie at raves all over the continent! But really, I am not sure how I would ‘gig’ my work without being a complete fake, there’s no live mixing element, so I might have to work on that!! In time, I would love to be played on specialist shows on national BBC radio stations. Artists such as Hannah Peel and Kelly Lee Owens, Floating Points and FourTet are really broadening the audience for exciting and inventive electronic music, so it’s all to play for. And the other thing I’d love is to have a school orchestra or ensemble ask to perform something I’ve created!

7. It's great to see you're putting out physical copies of this EP! With streaming services being the dominant format these days, it's interesting to see vinyl and cassettes bouncing back - what do you like about music being on a physical format?

I think perhaps it’s taken more seriously? However, for many people the only place they were able to listen to a cd was in their car and now even that is changing. So it’s for ‘collectors’ and ‘real fans’ more than the casual listener I would say.

8. Going further back, you've been running Folkstock Records for about ten years, what's been the very best moment in your time with the label?

It’s impossible to pick one (sorry!), There’s been so many. Running many festival stages with our artists, taking my artists to visit and be interviewed by Bob Harris…who was so friendly and supportive and actually knew what I’d been up to, Tom Robinson championing a special The F Spot Femmes Fatales album we released in 2015 and saying some very kind things about our vision! Then there was Clive Davis emailing me asking if I could send him a reviewer copy of the first of three compilation CDs we released. I didn’t know who he was and thought the ST he was referring to was the Stoke Telegraph or something! Was astonished when it emerged it was the Sunday Times, and he went on to feature many of our releases. The day that Mike Naylor from the local BBC station phoned me up out of the blue to ask about my festival (that was in 2013) is high up there and I often remember that moment! I was so used to having to do all the legwork, so I was really astonished that he contacted me and he’s been so supportive ever since. And I’d have to include working with two absolute icons in the folk world – Dave Swarbrick and Peggy Seeger on special releases after they graciously agreed to be Patrons of the ‘Folkstock Arts Foundation’ and organising tours where local musicians shared the same stage with their heroes. They are both such characters and really inspired everyone they come into contact with.

9. I wrote extensively before about Roxanne de Bastion's career, how did you meet Roxanne originally? What was it like to work with her?

In 2012 I was helping my daughter’s band, then called The Folk. I was eternally grateful to Brian Player from Surrey for being the first presenter to play The Folk on his Acoustic Café show and enthusiastically went to his live events. Whereupon I was blown away with Roxanne de Bastion’s fresh and original music and when I decided to put on a festival in 2013 she was first on my list! In the end she performed two sets too, the only act to do so. Working with Roxanne is always a pleasure. She is straight to the point and efficient. Which saves so much time! I’ve helped her with promotion for some of her releases and she’s been on most of our compilations. She’s just started a show on Boogaloo Radio on Monday mornings, it’s great!

10. Zoë Wren has also been a part of Folkstock Records, who’s debut album I'm loving at the moment, what do you like about Zoë's music?

I am a big fan of Joni Mitchell and I can see a lot of Joni’s influence in Zoe’s songwriting. But she puts her own spin on it. Unusual keys, interesting chords and I love her lyrics. Her songs sound timeless and they’re always a joy to listen to.

11. I feel like you're on a roll now! What can you tell us about your next release? 

This EP Orchestral Manoeuvres has sort of leapfrogged over the planned second EP release! Winning the Clouzine award meant that I brought the release forward. So I’ve got another six track EP ready to go (from which I’ve released Utopia and Dystopia) and then there’s 10 new tracks to form the basis of an album. And I’ve just started setting recordings I’ve made of various garden bird songs, to music – and expect to create an EP of those too. So it’s all go! 

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To purchase CD’s of ‘Orchestral Manoeuvres’ or the rest of Helefonix’s music in a digital format of your choice, visit her Bandcamp page here.

To find out more about Helefonix, visit her official website.

Or follow Helefonix on Facebook and Twitter @helefonix.

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