HEY YOU! AUSTEL
WE CAUGHT UP WITH devon born london-based singer/songwriter AUSTEL to talk about her new album, ‘mirror to mine’
You’ve described Mirror To Mine as a return to memories and music made before “too much external influence.” What prompted that reflection, and what did revisiting those dormant memories reveal about yourself as an artist?
I realised that - although I really love my early EPs and first album - I’d been trying for a long time to make music that fit a certain expectation. I wanted to shake free of that and produce a record that felt true to myself, without worrying about commercial success or how the industry might receive it. Ironically, it’s been received pretty well so far!
Both the sonic landscape and lyrical content return to childhood, teenage years, and my early twenties, and I found there was a lot I needed to make sense of. I found the whole process pretty liberating - there was a strong sense of letting things go and being able to find a sense of peace and acceptance.
The album was entirely self-produced, with nylon-string guitar, field recordings and subtle arrangements playing a central role. How did producing the record yourself shape its emotional atmosphere and storytelling?
As a producer, my signature style is naturally quite dreamy and cinematic, but the songs themselves are quite folky. So I think that combination creates a more atmospheric record from the get-go. I used a lot of field recordings across the album - recorded in places that had a particular meaning for certain songs, adding texture and ambience.
There’s a term I discovered while studying my MA - ‘sonic totems’ - which are sound objects that represent a connection between timbre and memories of a specific space or place in time. I’m not sure what the science behind that is, but there’s definitely some kind of deep connection we make with sound, and I’ve tried to use that in a way to enhance the narrative and world-building within the lyrics and arrangement.
I’d like to also thank my incredible band who contributed really beautiful parts to the album - Kai Dudley on cello, Drew Noel on saxophone, Kit Denison on guitar, and Louie Rew Shaw on drums.
Having independently released the album and booked a UK tour yourself, Mirror To Mine feels like a particularly personal achievement. What does success for this record look like to you beyond streams, reviews or ticket sales?
Honestly, just getting to this point feels huge! To have made the sonic shift and have it received with warm support feels amazing. The live shows feel really special - there’s a whole new level of connection. I’ve also received some really personal messages from people sharing what the songs mean to them, and that’s truly the most meaningful, impactful thing.
What's next for Austel?
I’m setting up a new studio soon and am excited to finish off a few other gorgeous production projects I’ve been working on. Austel-wise, I’ve got two more albums written; I just need the resources to make and release them! Much more to come.
The closing track, “Coast To Coast,” reflects on a decade-long journey from leaving home to finding a greater sense of belonging. Looking back, what have been the most significant turning points in that journey?
I wrote Coast To Coast soon after meeting my partner and sent the demo voice note to them, which in hindsight was a pretty bold move! I think I just knew I’d found the person I could be totally myself with, and hadn’t really experienced that before.
I’d met them in August 2020, after spending a few months away from London back home in Devon during lockdown. Returning to the city was pretty anxiety-inducing - I wasn’t sure if I really belonged here anymore. Finding love and a stronger sense of myself made me realise everything had been leading to here - all the loneliness, the bad days. There was a real sense of release, and a new chapter forming.
There’s a secondary thread that reflects on my life in London as an artist. Things didn’t quite turn out how I’d expected, and when I did come back to Devon for lockdown, I was feeling totally burnt out and kinda done with music. I had to re-examine my relationship with it, and it was actually through starting to do more production work that I found joy in it all again. So when I sing, ‘I’ve forced myself out of the bed I made when I left ten years ago’, I think I’m saying I’m done with those expectations - I’ve found a new path.
You’ve built a career that spans songwriting, production and session work, while also advocating for greater inclusion within the music industry. How have those different roles influenced the way you approach your own music today?
Absolutely. I’ve been very intentional about working with a team of female and non-binary engineers, artists, PR and project management. I think if people want to see a more diverse and inclusive industry, they need to put their money where their mouth is and actually hire people. Lip service doesn’t go very far!
I’ve also been a mentor for Fraser T Smith’s Future Producers Academy for the past year, which has been a really fulfilling experience. There are so many incredible, hardworking artists and producers out there who just need that support and a leg up. I really believe in supporting others where possible, and it’s beautiful to see so much more of that among women and underrepresented groups after so many years of being pitted against each other.
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