Following the release of Newcastle riser IMOGEN’s single ‘Sleeptight’ and the full EP ‘Bloodbag’, we caught up with the artist to find out a little bit more about the background and inspiration behind her avant-guard artistry.
Welcome to Dead Good, IMOGEN! Tell us a little bit aboutyourself as an artist?
Hey! Thanks for having me! I’m a singer-songwriter and performer, originally from Newcastle now based in SE London. I write mainly at the piano and perform with a live band of keys, drums, brass and synths. I’m heavily inspired by old classics: Carole King, Joni, Nina Simone and the production of early 90s down tempo; Portishead, Massive Attack.
I’m also part of The Ivors Academy and spend a lot of time advocating for a safer and healthier industry! Think that’s it…
Do you have to be in a certain mood to write?
I do find myself relying on the urge to write, I’ve never really be one to force it, but I do think it’s useful to be able conjure up the right mood otherwise I’d probably do more waiting than writing!
Were you involved much in the Newcastle music scene growing up??
Yeah it’s always remained a huge part of my identity. Around 17 I’d be at a different gig most nights, from buskers on the coast to endless nights down the Ouseburn, either playing or watching my friends bands. I’ll always be grateful for the support and encouragement from the scene. It’s quite incredible just how many talented musicians come from home! Even now, I don’t live there most of the time but I still have such strong connections with the scene, you don’t shake that kind of pride.
Please tell us about how you came to write your new single ‘Sleeptight’?
My thoughts for this track began to form around the Christine Blasey Ford’s stand against Judge Kavanaugh in the US. I just felt like screaming. If the first response to a women’s bravery to even come forward, especially against a man of his stature, is to accuse her of lying… how do we progress. For me, and I know this is probably true for all women, it echoed all too plainly the everyday plight. I hadn’t found the right setting for these feelings to be explored until my friend Matt laid down a beat and it all just splurged out in a couple of hours.
Do you think you’ll see a shift in societal attitudes to women’s accounts of misconduct in your lifetime?
I hope so. I feel we already witnessed a shift since certain cultural movements like MeToo and TimesUp. But it’s still baby steps, there’s so much work to be done in ensuring survivors feel safe, protected and understood coming forward.
I found the track incredibly empowering to listen to.How do you hope your music will make listeners feel?
I’m so glad. That was my intention really, so it’s great to hear that’s what you’ve taken away from it. While obviously it’s a heavy and upsetting subject matter, it’s from the point of view of our collective anger and an attempt to claim back some control. I hope others find empowerment and release whilst listening. Performing the last chorus in the music video was maybe one of the most cathartic moments of my life.
Who are your favourite artists you have found yourselflistening to at the moment? Which musicians inspire you the most?
I’m listening to a lot of Sevdaliza recently, and I’ve always got Laura Marling’s Song For Our Daughter on a heavy rotation.
Any upcoming gigs? Have you missed performing live?
Yes! I’m performing on the 17th November at The Cluny 2 in Newcastle. I’ve missed it so bloody much, performing live is where it all started for me and where I feel most at home, we’re gonna have a right party.
Can you tell us more about your new EP ‘Bloodbag’?
The Bloodbag EP is an in depth exploration of control and deals with themes of womanhood, disability and apathy. I wanted to create a body of work that explored how much agency women have over their own bodies. It’s something that’s haunted my work for a while now, so it felt powerful and important to me to collate 4 songs written at quite different points in my life, to properly understand how these themes change and shape and manifest throughout lived experience. It’s been cathartic for sure.
Why did you choose to make it an audiovisual project?
There’s so many ways to tell a story. Sleeptight for example takes on a new depth of meaning when I put on a suit and perform the song with an almost possessed beaming smile. I think it helps to engage with the songs, and to help the idea that they all exist in the same world, one in which the audience are invited to explore and make a home in themselves.
When I met director Harv Frost, she came in with such enthusiasm and fervour for the tracks and in a couple of minutes convinced me that we could make a whole visual world to accompany the whole EP. For me personally it helped me engage with the songs in new ways and uncover new meaning in my own writing. It was a really special experience.
Last but by no means least, what’s your favourite fruit?
Nectarine