Sarah Belkner’s album The Apple is one of the most exciting releases of late 2023. While it has been six years in between releases, Belkner never fails to impress with her ability to trust her instincts and embrace the studio process with her unique blend of electronic textures. For those new to Belkner’s music, it’s easy to hear her influences and love for 80s synth pop. But make no mistake she tackles every new project on her own terms. Interestingly her creative process is quite organic, often allowing for moments to tweak things until they sound right. And as part of her effort to fully embody her sound Belkner employs real instruments. As a singer Belkner also knows exactly where her voice shines the most. Her emotive range is one of the reasons why I enjoy her music so much. I once said, “Sarah Belkner is a very smart musician. But how she doesn’t bury herself under layers of emotive lyrics is astonishing.” That said, her new album reveals songs about her and the challenges that have shaped and influenced her life. Moreover there is something beautiful about how Belkner embraces the good with the bad. Through it all the idea of hopefulness is ever present.
I recently caught up with Sarah Belkner about her latest offering. Here is some of what we talked about.
Sarah, on the opener Salt, maybe even despite the terrible personal loss you experienced in the past few years, you begin by offering up this sense of calm and hope. For some reason I really like the lyric “Be here, Be now”. What was it about this concept that was so intriguing to you?
I think we need little anthems. That was what I retrospectively realised I’ve done here. I needed this. I’m proud of this song as it’s very easy especially as I write out of expression to lean into and want to air very difficult feelings. This was actually written well before all the recent craziness and has become even more important to me. When I came back to this song after my father in law and sister in law died it spoke to me more clearly, saying that you really can always find a bit of hope and calm in the chaos. The realisation and allowance of emotions to co-exist is becoming more and more powerful and liberating to me. The worst thing can be happening and you can still feel love or joy at the same time if you are open to it.
The Apple really is an immersive collection of songs. You wrestle with adversity, grief but also optimism for instance. What can you tell me about how the album took shape? Did you start with one particular key track or was there a conceptual framework?
I wrote most of the words first and then would come back off tour and work on the music and then kept tweaking the lyrics. I remember one day when I had all the songs close I jumped on a ferry in circular quay with the lyrics printed out and read and tweaked them all the way up the river and back. It was all about making sure the words are front and centre this time around. That’s why there are even very limited backing vocals etc. I wanted it lean and clear and even a little unnerving in it’s space. I had SALT and ALMOST ON THE INSIDE done first I think and THE APPLE was an early song to be finished. I then have a process where when I can feel the vibe that the group of songs is taking and have some concept for the album overall I scrawl through all my ideas musically and lyrically and then choose which ones I’m going to flesh out and finish to go with what I already have. I’m always collecting then curate the songs into the body of work. I love it. It’s like doing the most satisfying puzzle ever and you’ve got all these little pieces from forever to choose from.
My next question is sort of an extension to the previous one. I understand this time around, you took a different approach to making the record, particularly while travelling and touring, in different spaces and different environments. What compelled you to switch up the process for this album?
I think it happened firstly out of necessity. If I didn’t work on my own material while I was playing with other people then I’d never get to it so I knew I had to figure that out and I knew that sitting at an instrument was the thing that would be hardest to do and I still don’t love writing songs with the computer open first so I just went to the poetry aspect first. It was great. And then secondly I didn’t want to make a big layered album. I really wanted to try and show how the band and I sound, we really got there with that I feel so I’m really happy with it.
I feel like you have really achieved a balance to the sequencing of tracks on the new album. Was it a difficult task?
Thank you, the order took a bit of time. I feel like there are 2 distinct modes with this group of songs that could almost work as 2 EP’s. There’s the HOUDINI band vibrant mode and then the subdued GHOST IN MY MACHINE batch but I wanted to have them sit as an album so feel like I got there in the end.
The shift in sonics and keys is arguably one of your real strengths. I’ve always been interested in how you always seem to make your instruments and synthesisers and electronics sound so emotive. Can we talk about that briefly?
Well I guess the main thing is it’s all played and lots of full takes. It’s also actually all ‘real’ instruments and by that I mean physical keyboards and Matt paying saxophone through a machine it’s not soft synths and samples. And on this album real drums and bass but the way Richie (engineer/co-producer) effects things is really really clever and the sounds we choose I like to lean towards an electronic tone but it’s played. I think LCD Sound System were really good at this as are of course the kings of this – Radiohead.
Houdini is driven by a propulsive beat, it really simmers and moves while you deliver some of the best lines of the album. Firstly, tell us more about the inspiration for the song and what’s your favourite lyric on Houdini and why?
Back to anthems, this is one about perseverance. Using Houdini as a metaphor for this came very naturally, I mean I wrote the words then realised this is what it’s about but it’s fun to realise that’s what is going on. “Been broken into too many times, little chameleon gets tired, changing colour like nine lives” is probably my favourite lyric in this song. I relate to it so heavily, just the constant trying to work it all out and maybe over changing yourself to find your way through the industry. Especially with going into lots of different bands too you are moulding to someone else’s expression and ideas which I do enjoy but it’s really important to try to come back to yourself otherwise you start feeling lost pretty quickly.
Do you have another favourite lyric or moment on this album you can share?
“I’m saving up to get free, a little pocket money for therapy” I can’t even remember where it came from but I really enjoy this lyric more and more. It’s tongue and cheek but deadly serious at the same time.
Do you have any advice for independent musicians who may feel disillusioned or discouraged at times? The reason why I asks, I understand your Sydney studio was sold because of (re)development?
Yeah look I’m obviously well in this independent boat myself ha ha! I think remember if you would hands down do it if you didn’t have to worry about money then you should keep trying and just do it. It’s ok to have to do other things alongside, in fact most people do and to look at redefining what the success of it is for you and then keep expanding it. Just because it does’t chart or get a million streams ( this still doesn’t make you any money anyway ) doesn’t mean it’s not worth making. If it makes you feel like YOU when you are writing and making it and then when people respond to it then keep going. Try not to go broke in the process, pick and choose what you spend money on and then go from there. I’m going to try more and more to start making my music more part of my overall small business. Give it time to try grow financially as well. Little by little.
On I Think That It’s Me you talk about the confusion self doubt can bring and how it can mess with your head. Has that been a recent realisation for you?
Oh yes completely. And you got it! That’s why I think I address it as S.D. in the song. I wanted to treat it like someone who is really messing with you. Someone you need to have a chat with and stand up for yourself and say “Hey I know you think you are trying to help and you can be here if you need to but I’m going to do these other things anyway”. It’s very powerful. This song is very vulnerable for me. It’s really admitting the timidness and confusion I feel about trying to become a functioning creative adult in the world.
Ghost In My Machine is arguably my favorite song on the album. I really like the layered textures and dreamy vocals. Can you tell us more about the song and the meaning of it?
This was born from a tour van conversation “Do you dream about your exes?”. The answer is I have. But more so I was thinking about how someone can get under your skin for a time and then you move on and never think about them and then they come to you in a dream and it totally overtakes your senses. Then the next day the dream is haunting you. My husband had this recently with his dad who passed away. He said he could even smell him. It’s an incredible thing our brain does here.
Beyond music, what are you passionate about? By the way, a very, very belated congratulations on becoming a mother.
Thank you! I am very passionate about my daughter of course. She’s amazing. The growth on her part but then also from becoming a parent is just wild.
And I guess I’m just very passionate about creativity in general. I think it’s so good for us, I’ve been very committed to helping others do it to the top level and also people who have got very stuck. It has been really satisfying being behind the scenes that way. If I can help get someone’s confidence up to do the thing they want to be doing then I’m always happy to help.
Sarah, what’s your favourite city in the world to perform? I feel like you’re going to say Melbourne, right?
Ha! Of course, I love performing in Melbourne but in Australia I’ll go a bit left of field and say Adelaide. I love an Adelaide audience, very artistic minded and warm. And then in the world Edinburgh was pretty great. That was with Minchin and is where he started to become known so it was really special to go back there with him like a bit of a homecoming.
Finally, let’s have a little fun. What’s the last thing you Googled and why?
Ha! You’ll love this, the last thing I googled was in fact ‘Is it synthesiser or synthesizer’ and turns out the Z version is American. I always use an S but started to think I might be getting it wrong. Anyway either is fine. My auto correct here wants to go the S version too so I’m sticking to my guns!
Rearview Mirror 
I’m entirely new to Sarah Belkner. It’s always great to find contemporary music you love.