The final night of my tour for Pastoral culminated in a performance at a cinema in Walthamstow called Mirth, Marvel and Maud. As soon as I walked into the building, I was overcome with an overwhelming sense of pressure change. I felt anxious and strange, and even asked the staff member if the place was haunted.
It was then that I realized that this feeling was not unfamiliar to me. Throughout the years of making and performing Pastoral, I had been struggling with postnatal depression from the birth of my first child in 2016, and had recurring dreams about a ghost that would possess me and levitate my body violently. After that gig in Walthamstow, I chatted with a friend, Alexander Tucker, a.k.a Microcorps, who was telling me a ghost story – completely randomly. It was then that I made the connection between all of these feelings and anxieties and thoughts, and realized that my next album would be something to do with ghosts.
I began researching the technology of ghost-hunting and discovered many connections between the development of audio technology and the spiritualist movement. From there, it led me down a genetic pathway of music going through people like Delia Derbyshire, Daphne Oram and the Radiophonic Workshop – those kinds of sounds and machines that have a heritage in something supernatural. Even women’s rights movement was influenced by early spiritualism because it gave women a platform