Andrew Hung: Under the Influence

Andrew Hung – The Greasy Strangler OST
[Death Waltz Recording Company, 2016]
So I kinda consider this a loose collaboration between myself and Jim [Hosking], the director of the film. He actually gave me complete freedom to do what I wanted but I had some loose themes I'd garnered from our conversations. Anyway, this little episode gave me a lot of confidence and the belief I could make my own record from start to finish. I actually felt there was a bit more exploration to be done with the Strangler music which was the initial impetus to write Realisationship.

However, very quickly it was turning out to be anything but The Greasy Strangler OST part 2! I thought I was going to bosh out Realisationship in 2 months (The Greasy Strangler took 3 weeks!) but no... one-and-a-half-years it took. Not bad I guess, but my expectations got totally smashed.

Beth Orton – Kidsticks
[Anti-, 2016]
Beth was the first collaboration I did outside of Fuck Buttons. For years and years, it was just Fuck Buttons, and then suddenly I was working with a hero of mine. I learnt so much from her which has gone into the way I make music today. This record in particular taught me a lot in terms of process. Process is important with regards to strategising a path to completing an album but it's equally important to adapt and go with what works too. Making decent art requires a great deal of frustration because one is constantly trying to find a method that works but ultimately it comes down to just going through some pain to get to the honey. I guess that process might be easier with a collaborator because you can rely on each other for the support. Writing with Beth was an incredibly sweet time in my life and I'm thankful to have had that experience.

The Clash – Sandinista!
[Epic/Sony Records, 1980]
I actually first listened to this after making the record. The whole entire time I was writing and recording I had no frame of reference when it came to male vocals because I don't listen to them. I kinda have a feeling these guys are going to be torch bearers for my next record. Totally fearless and didn't care what "style" they played in and the singing just makes you feel like you can do what you want. I want my music to make people feel like they can do what they want; make your own rules.

Madonna – The Immaculate Collection
[Warner Bros., 1990]
I was prepping myself for a pop album in Realisationship. I thought it was going to be a wonky pop record. I'd lined up a load of guest vocalists (I had no idea I was going to be singing on it) and yeah... how little did I know. I think the simplicity of Madonna's early music did and still continues to rub off on me. Also it's super fun, I need fun; what's the point otherwise? We're all here to have a laugh.

The Cranberries – Everybody Else is Doing it, So Why Can’t We? & No Need to Argue
[Island, 1993 & 1994]
Sorry I'm not very cool. I KNOW. These two records are just total comfort records for me. Their expression on these two records was hunger and desperation and that comes across so vividly. There's something special about music that comes from insular communities like Iceland, Ireland, Scotland, Australia, etc...

Emmy the Great – Second Love
[Bella Union, 2016]
I've only met up with her twice and we've been writing some music together but I already feel a deep connection with her. She's someone else like Beth [Orton], who's super talented. When you write with these people, just a little bit of their magic rubs off onto you and you feel incredibly brave and strong. I love engaging with people whom even conversation is a collaboration and a truth is arrived at from two perspectives. We particularly resonate because of our similar backgrounds too. She's a very cool cat.

Milly Blue – Hammer Horror
I've known Milly since I was a teenager so it's fair to say she's been a consistently guiding light in my life. I tried to produce one of her songs once (it might have been this one?) but I was full of bravado at the time: Fuck Buttons was at its height, we'd just worked with Weatherall and I thought I AM THE NEXT WEATHERALL. So obviously I thought it was the done thing to completely change someone else's music a la Primal Scream or at least, my perception of the inner workings of Screamadelica. I took everything off her recordings except her voice and redid all the music. Suffice to say that's not the done thing. Still slightly embarrassed by that. 

It's been incredible to watch her music grow in that time and I think she's onto something at the moment. I think a lot of people around me seem to be coming into their own for whatever reason and it's very encouraging to see. 

Luke Abbott – Holkham Drones
[Border Community, 2010]
Luke's a bit of a genius. Holkham Drones was one of the first records in a long time that made me sit up and pay attention. You remember that feeling when you heard something new and it made you FOCUS? I haven't had that in a long while but yeah this album did that. I've since become friends with him and I love gleaning ideas from him. I was round at his house the other day and though he has an emphasis on hardware, he's still firm on the idea being king and not a sonic signature.

Stephen Kerrison – Live Solo Electric Guitar, 08/08/17
[Self-released, 2017]
I first met Stephen when I produced the Zun Zun Egui album [Shackles]. This was my first “successful” production. Since I've found my feet when it comes to producing other people's music, but that was the deep end. Five people with different ideas and trying to herd them into a singular expression is tough. They broke up after that record too which WASN'T MY FAULT.

Stephen is super refreshing to be around, unsullied by cynicism yet extremely experienced. He's a great catalyst for ideas; I'm really looking forward to working with him more in the future.. It's incredibly useful to have someone strong and encouraging when it comes to trying to step out of the norm.

Caribou (originally released as Manitoba) – Up In Flames
[The Leaf Label, 2003]
I was a fan of Dan's [Snaith, aka Caribou] first record and then this record completely changed direction. The feeling that you can do whatever you want when it comes to music is really important to me. It's frightening at the same time but I'd rather take on that state than stick to a singular sonic palette. Learning, innit.