WALL

Some artists demand a bold introduction. However, in the case of Londoner Lyla Foy, better known as WALL, the fanfare approach seems far less fitting.

Since putting up first track “No Secrets” online, Foy has been quietly charming our hearts with the intoxicating glimmer and haunting haze of her poignant minimalism. After gracing the illustrious four walls of the Black Cab Sessions, she was quickly snapped up as the inaugural signing of their label offshoot.

Continuing her blend of delicate timbre with beautiful fug, her textured pop further unfolded with last year’s “Magazine” single, and follow-up EP-proper, Shoestring. Foy possesses the enviable ability to make every whisper feel like sharing a private moment with the listener – that to fully magnify the distant, lightheaded air of the tracks’ ambience, full attention is required. We caught up with Lyla to unpick the process behind her intimate creations, her favourite Sixties classics, and who she’s looking forward to seeing this weekend at End of the Road.

When did you first start making music? Can you remember the first song you wrote?

I started writing songs ages ago, and the first whole song I wrote does stick in my mind, it had quite a dramatic title. I used to record everything into a mini disc player, which sadly I don’t have anymore.

You were the first signing to BCS, the label of Black Cab Sessions, and played their inaugural live show (outside the confines of a taxi). What drew you to working with them?

I really respect what they do and the guys have a strong vision and identity, which is important. There was an energy behind them starting the label which made it a great home for my first single.

Your creative process and style feels very focused and solitary. How do you approach live shows, and working with other people in a live band?

I think when I first tried to integrate the recorded versions into some sort of live set it wasn’t quite right. The first batch of songs I wrote for this project were super introverted pop songs. It’s tricky to get a really intimate sound on stage, but rather than battle with that, I began working on a whole new set. The new tracks have a similar character but I’m pushing myself to come up with more daring compositions, so it’s a lot more dynamic live.

For a relatively new artist, you have an impressively coherent style. Do you have a strict process through which you write your songs?

The last EP was formulaic to a degree – I was consistent with the sounds and writing to bass lines. With the newer material I’m opening it up but I still love writing melodies to a bass line, you strip out all that middle stuff and the implied notes that come from the guitar disappear so you land somewhere unlikely.

What influences your production style? Do you have a clear idea of how you want a song to sound when you start recording it, or are the released versions the result of a more organic development?

The production is important but the song itself really dictates how it turns out. I listen to so much different music, and with my own tracks I like messing around with synthetic sounds mixed with acoustic instruments – that’s what gets me foaming.

What sort of shape is the album taking?

I’ve fallen in love with making this album. Unlike how I normally work, I’ve actually been pretty patient with the process. I’ve done things meticulously, and even worked in a proper studio a few times, which makes a nice change from working at home.

Are there any difficulties in expanding, and sustaining, a minimalist feel across a whole album?

Here’s the thing; it’s not super minimal. But the vocals still sit on top. I’m not going to be upstaged by my band!

You’ve put out your covers of a couple of sixties classics in the past – The Supremes’ “Where Did Our Love Go?” and Karen Dalton’s “Something on Your Mind?” What led you to choosing those songs?

It’s a nice thing to do, you can sit back and get perspective when you’re not the writer. Just being a singer and a producer for a day is fun. Of course you have to love the song, first, which is why I chose those two – they’re both timeless classics. I wanted to draw the romance and the sadness out of them a bit more, so I made some changes from major to minor.

Is their a particular period, musically or culturally, that you feel most affinity with?

Not really. I love listening to classical music and thinking about what it would be like living hundreds of years ago, or the 70s and thinking about my parents when they were young. The 80s were a bit dodgy (in a good way), and I loved the 90s. There’s always a lot of good and equal amounts of bad music at any given time.

Your videos so far have been wonderfully imaginative and thought out – how did the concepts for “Magazine” and “Shoestring” come about?

Me and the Black Cab guys came up with the idea of bored kids in the science lab for Magazine after brainstorming various surrealist ideas. And my friend Oscar Hudson had the vision for and directed the videos for Shoestring and Left to Wonder from the EP. I like giving my input but it can be interesting to get someone else’s take on a song too.

They give off the sense that you are very aware of your overall aesthetic as an artist. Is this the case? If so, how would you describe that aesthetic?

I’m very clear about what I like and what I don’t like. My mind works in a pretty surreal way so that certainly sneaks into my music and videos. I don’t like to give too much away with my lyrics, I’d rather my listener sees something of themselves and makes it their own.

The video for “Shoestring” sees your words being whispered from one person to another, which seems like an apt visualisation for how your music feels. Where do you feel the best place to listen to a WALL song would be?

Whilst moving. In a car, coach, aeroplane or train.

We’re very much looking forward to your performance at End of the Road next weekend – who are you excited to see?

I’m going to watch Eels, Serafina Steer, David Byrne & St Vincent, Sigur Ros, Angel Olsen, Night Beds, PINS, Polica and Daughn Gibson. See you there!

To grab your copy of WALL’s Shoestring EP, head here. She performs this Friday at 12.45 on the Tipi Stage, at End of the Road Festival.