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Darren Hayman on Creativity, Songwriting and His Favourite Second-Hand Synths

In this interview with Darren Hayman (Hefner, Hayman, Watkins, Trout and Lee, The French and more) we discuss the recording of the 'Hayman, Watkins, Trout and Lee' album; art that inspired it; releasing music in the late 90s/early 00s compared to releasing music now; what he is enjoying at the moment; charity shop synthesizers; working in electronic music vs indie rock/folk, creativity and more! 

By Eimear O SullivanMusicngear Editor

You can access Darren Hayman's full catalogue here. 

Eimear O Sullivan, Musicngear: I read that the 'Hayman, Watkins, Trout and Lee' album was originally recorded around your kitchen table over the course of two days - could you tell us more about this process? 

We rehearsed the album around that kitchen table in the photos of us and spent a long time there, getting the material together, but we actually recorded it upstairs, in my little spare-room studio. However, that wouldn't have made it any more hi-fi. I don't think I've bought any more microphones since then, so I can hazard a guess as to how we did it.

It was certainly all recorded live, with the four instruments recorded in the room with no separation. The only instrument separated would have been my electric bass, which we would have done with a line. The electric bass was the one 'cheat' from a classic bluegrass lineup. Mine and David Tattersall's (The Wave Pictures) lead vocals were also recorded in the room. The only overdubs were some group backing vocals in a few places. And I think the tiniest bit of percussion in one place. I can hear some ghosting on the vocals in just a couple of places, so I suppose we made a couple of mistakes in the singing that we tried to patch up.

I think at the time I would have had my Yamaha AW 4416 audio recorder, that could record 8 tracks at the same time. The mics I had then and still have are the Shure SM58 LC, Shure Beta 58 A, Shure SM57 LC, AKG C414 XLII, Rode NT2-A Studio Solution Set, and a stereo SE pair. The directional mics would definitely have been used on the vocals: something would have been a room mic. Maybe the stereo pair.

Musicngear: What art from the time that inspired these songs? 

David, who played banjo, was the only true bluegrass aficionado in the band, and Dan Mayfield (Owl & Mouse / Field Glass), on violin, was an expert on English folk, but we were outsiders, looking in. Maybe now I'd be more cautious about this kind of 'cosplay.'

In a way, I think the influences on this record are actually punk and new wave. Certainly, some of the song selections are from that area and informed our approach.

Musicngear: How are you finding releasing music today, compared to the late 90s and early 2000s?

I don't think I've ever released two records the same way. It's always changing. I find it a little harder if I'm honest. I don't do it for money. But money makes some choices easier. I'll never stop making records, though.

Musicngear: During your Hefner years, you got a lot of broken second-hand synths and drum machines from car boot sales and charity shops - what was the strangest synth/drum machine you got, and what was your favourite? 

I'm lucky to have a Prophet 5, which is the one that makes synth nerds gasp. But my favourite is maybe my Moog Rogue. The Yamaha SK series are cheap toy keyboards that can sample sounds through a cheap microphone and then be played. 

Often, the oddest stuff I do that people can't work out what the instrument is, is done on those. A speech therapy machine from a hospital. You can record your voice onto pieces of card that have a magnetic strip on them, and you pull them through. It doesn't make much sense, and I haven't found a use for it yet.

Musicngear: This is thankfully no longer the case, but I think people might not be fully aware that for years, there was a fairly large degree of dismissiveness and snobbery that existed in certain circles regarding using synths and drum machines to make full songs, was this sentiment in the air when you released Dead Media in 2001 (an album I love by the way) even though electronic music was very popular at this time?

I don't think electronic music was looked down upon at all, but I think it was maybe not as popular with my fan base as I thought it might be. Our popularity definitely dropped when that record came out.

And still to this day, when I make an electronic record, I have to expect a smaller reaction.

Musicngear: You recorded your album 'The Shit Piano' all in one day using Casios. Could you talk us through this day and process? (Note: this was a re-recording of the album 'The Ship's Piano')

Oh boy, it's just a blur, really. I'm not sure what I could tell you other than what you've just told me. Sometimes, in retrospect, I find some of these ideas of mine to be showing off. I didn't have to make a shit version of an album on Casios. It was a bit of a flex.

Musicngear: How do you find the creative medium of working with electronic music compared to the more indie rock/folk genres?

I guess there's a certain period of technology that I understand, and there's something about modular synths that I understand. It has a logic that appeals to me and possibly appeals to my autism or ADHD, or something. I like doing it; it's a puzzle to me.

But I do have to concede that possibly, on balance, my best stuff is written on guitars and pianos, and I think I'm coming to terms with that now.

Musicngear: How does your ideal creative day go?

I try and make sure that no day goes past without some creative moment, thought, or idea. I think I work in a way that I rarely come across in other people. That's not to say it's better. Or worse. But it does cause me problems. It's chaotic, and I can't always keep track of things.

Painting and drawing actually gives me a little more peace than music. Which, once again, is not to say that I'm better at it. Just that it's more restful to me.

Musicngear: And finally, what are you watching/listening to/reading at the moment?

I'm pretty much only watching ER on Netflix at the moment. That's all I'm doing. All day. All the time. And writing songs, of course.

Connect with Darren Hayman
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About Eimear O Sullivan

Eimear Ann O Sullivan is a multi-genre music producer, audio engineer and vocalist. After receiving a Masters in Music Technology from the CIT Cork School of Music, she went on to operate as a producer under the name Blakkheart. Her releases have received critical acclaim from Ireland's biggest music publications, such as District Magazine and Nialler9, alongside receiving heavy commercial radio airplay. She currently works in Cork recording studio Flashpoint CC. Previous clients of hers include the likes of Comedy Central’s Dragony Aunt star Candy Warhol, rapper Darce and Outsider YP. (Photo credit @Fabian Boros)

Contact Eimear O Sullivan at eimear.o.sullivan@musicngear.com

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