WILLIAM FITZSIMMONS – Intervista sul nuovo album “Mission bell”

Listening to “Mission Bell”,  we can perceive an air of suffering in your songs and, on the other hand, the salvific-cathartic effect that this album had on you. For example, how the song “Lovely” was born?
There is definitely a theme of suffering in this record!  I never sit down and try to intentionally write about such things, I suppose I just always feel drawn to go to those areas when I write.  The story for the song “Lovely” actually came from a heartbreaking documentary I watched called “The Keepers,” about this young nun who was murdered decades ago, most likely because she was trying to protect her young students from abuse.  In a broad sense it’s about the different kinds of abuse that many women go through on a daily basis and wanting to confirm how awful and wrong and tragic it is.  Obviously because I’m a man there is always going to be a masculine energy in most of my writing. On this record I specifically tried to take a more female perspective on many of the songs, that being one of the main ones.
 
Each song is marked by an interesting sound production, without losing passion and spontaneity. Have you produced and mixed all the tracks by yourself?
This record was produced by a brilliant producer, and now friend, named Adam Landry of Nashville, TN.  Sometimes I feel like I need to be the one to produce the songs and every sound, but these songs seemed like they were asking to be taken to a place I couldn’t take them myself.  Adam has such a beautiful sense of melody and ability to make the songs bigger and more powerful, but still incredibly communicative and emotional.  Personally I think largely because of his work it’s the best record I’ve ever made.
 
In this album, you played all the instruments; Which one do you prefer to compose your own music?
I did play quite a few on this record, but actually Adam and a few other guest musicians/singers (Abby Gundersen, Rosie Thomas) did a great deal in terms of other instruments and vocals.  For me, the song always has to be in charge of what happens.  If the songs seems to want me to play everything, I’ll do it, but if it’s saying “let somebody else play it!” I have no problem handing the guitars and microphones to somebody else.  I think in the past I made the mistake of trying to take on too much myself and not let the brilliance of other people influence the work.  For this record, I purposefully tried to write on keyboards and synthesizers way more than usual.  The guitar has been a wonderful friend to me, but if you don’t try to grow and change, the music won’t grow and change either. 
 
We know that part of the recording work was made in Nashville. Could you tell us something about this experience to what’s widely regarded as one of the most important music world capitals?
Well I loved the experience of recording here so much that I actually moved to Nashville!  Honestly I think the thing that makes this city special is unbelievable amount of musical talent you have right at your fingertips.  When I lived in a small town in IL, I was nearly alone in terms of being in a musical community.  Here you meet people at shows or the grocery store who are some of the best musicians you’ll ever know!  It makes collaboration and creativity so much easier.  If I want to write a song with someone, or record a track, it’s only a phone call and a short drive away.  There’s not too many other places like that in the world.
 
What are the artists who currently influence you and your songwriting style?
In terms of lyrical honesty, Mark Kozelek remains probably on top.  The older he gets the more he seems willing and capable of just saying what needs to be said, no matter how hard, or plain, or uncomfortable it is.  He is not always liked for some of his personality quirks and his statements, but I admire his bravery in writing.  A good writer has to be brave at all times.  Musically and production wise I’ve really been loving Andy Shauf’s work.  He’s a young kid from Canada who is like Harry Nielsen reincarnated!  It’s so melodic, interesting, fresh, and yet familiar at the same time.  I can listen to his songs over and over and I’m always just floored by how amazing the sounds and the melodic choices are.
 
What are the albums that inspired you the most, as a musician?
Pink Moon, by Nick Drake for it’s ability to say so much in such a short album.  Full Moon Fever by Tom Petty for it’s perfect, timeless production and it’s polished, efficient songwriting.  And probably Pet Sounds, by The Beach Boys, for proving that pop music can be an important and culturally valuable genre.
 
Have you already presented “Mission Bell” live? Sensations, suggestions, gratifications for a very important record.
I’ve done a few solo tour dates where I played a few of the new songs.  It basically gave me a chance to feel out what works about them live and what doesn’t and to dip my feet into performing live again after a long break.  I’m actually rehearsing with the band now to prepare to the major album touring very soon.  I’m intentionally trying to change up a lot of things because I feel like this is a different sound for me and I want to make the shows different as well.  There’s going to be some synthesizer, much more electric guitar, even a few drum machines!  Honestly I’m certain there will be things that will immediately work great and some things that won’t!  But I’ve got an amazing new band that I can completely trust to do what needs to be done, night after night, to make sure the songs are always moving in the direction they need to go.