Hiya Albie, thanks for joining us in the virtual RGM lounge today. Grab a brew and take a seat.
Hello and great to meet you, been looking forward to it.
Thanks for joining us today… Tell us bit about where you are from and how you got into music?
I’m currently in County Durham, North East England but was raised in South Yorkshire. I remember the very first album I bought was “Straight Shooter” by Bad Company. I used to swap albums with a few mates. One of them, Craig, had a massive collection of records, broadly in a rock genre, but some quite alternative. I learned about a lot of different bands from him.
Craig also played guitar and wrote his own tunes. I think that is where I initially felt the desire to join in and contribute. So I bought my first electric guitar, started to work stuff out and we fairly quickly started playing and writing together. What an amazing formative experience that was, something I am still grateful for!
When did you make the transition to a solo artist, and why?
It was around 2001 I think. I had developed into a fully fledged guitar player, been in many bands, and released a couple of collaborative albums. But I’d always shied away from vocals, apart from limited backing vocals.
I’d been writing material since those early days whilst developing my playing style too, and had grown to appreciate those who masterfully combined their instruments with vocals. There are many examples of course but the one which springs to mind right now is Geddy Lee from Rush.
I suppose my experience with bands had been a bit like onion weathering, and had become a repeating pattern. You form a band, things are on the up, you are just starting to get some traction and then disaster strikes. The band splits because of some differences. And more often than not this would involve the vocalist.
So that is when I started to see that if I just indulged the idea that I could overcome the confidence obstacle associated with hating the sound of my own voice and learn to love it a bit more, then maybe, just maybe I could create something on my own that could work?
Anyone we should be looking out for (bar you, of course)?
Well yes, actually there is. My music has attracted the interest of a good few musicians but most notable is the amazing CJ himself, accomplished keyboard player and all round performer, writer and creator. Which leads me on nicely to Anunna Healing. Together, CJ and his wife Chanel represent a collaborative creative force, combining music, voice, and intention across both performance and recorded work.
Chanel is an established vocal artist and hypnotherapist known for her immersive, atmospheric recordings and distinctive voice, delivering material under the name Anunna Healing. Her work can be found on YouTube and Patreon, where she has built a dedicated following through a unique fusion of sound, suggestion, and storytelling.
After I had done a mix on Backstabbers’ Last Show, the upcoming brand new single, it dawned on me that the middle eight section was just crying out for Chanel’s hypnotic voice instead of mine there. I think when you hear the song you’ll agree she’s definitely added some special magic to it. I think it is very fitting that the first brand new official release under a new artist name should be a collaboration.
Do you think its easy to become a victim of of our surroundings sometimes?
Definitely. From my own experience I think a huge influencing factor in this can be peer pressure. Sometimes it can be advantageous if you can be honest enough to be a loner rather than succumb to being in the wrong company. The wrong company can definitely hold you back from reaching your goals, whereas the right company “your tribe” can offer encouragement and support which puts some wind into your sails. And expressing gratitude for that encouragement and support benefits everyone so it’s win-win.
What are your ambitions for the future?
I’m not sure ambitions are what I have. Not right now. More of a sense of responsibility as a curator, like an inner voice saying “you’ve created all this material, some of it carrying very powerful messages, it has always been very well received by audiences, now you have to share it far and wide and reach people. Invite them to feel it as much as you feel it.”
I’m wanting to do the best I can for the single release, whilst at the same time I am keen to get some shows or support slots lined up to get out there again after this creative spell.
We believe its essential to have a presence on Facebook, Instagram and X to introduce yourself to all the different types of audiences out there, what’s your thoughts on that?
I agree, but in the literal sense I guess I’m just getting started with learning how to use these tools to that end. So if anyone has any tips, please reach out, I would be delighted to learn from you!
I kept my account with Facebook during the great compliance test, although I don’t think I logged in once during 2021 because as a corporation for me it had been blatantly complicit in some very ugly stuff, exacerbating trauma for a large number of people. But it is a tool, and tools can be used for good going forwards. I think if you are out there genuinely wanting to contribute and spreading love and positivity, it’s very difficult for anyone to try and shut you down.
I don’t have Instagram yet but it looks to me like Meta is making it easier to link that to Facebook, so that may be worth getting onto. I did get an account on X, but generally at this point don’t have a lot of followers on any platform. If it were an appearance on stage I guess you would describe it as an “intimate” show.
So I’m kind of a hermit just emerging from a bunker regarding social media really, and I’m immensely grateful that this interview offers a chance for me to announce that I am here and I have a lot of material just bursting to be out there contributing to the general scene!
What’s your view on the Music industry today?
Back in the day you simply had to go through the gatekeepers. And the gatekeepers were the ones who controlled the narrative via hidden chains of command and influence. Nowadays it’s totally different because there are so many independent artists, all with the technology to self-record and produce which is empowering for the individual artist or band. But by contrast because of sheer numbers, for each it’s become much harder to cut across the noise and make an impact with their sound.
Whats your thoughts on AI generated music?
I’ve heard some recently sent by a friend who used an app to put some music to words she had written. It sounded very realistic, although the melody and cadence were a little on the obvious side for me. That aspect of it didn’t sound natural. I suppose the technology has been around for quite a long time, it’s just recently been deployed with gusto and made more readily available.
It adds another layer to the rich tapestry; using the juxtaposition of fiction and reality in order to test our discernment perhaps? Or perhaps it could be the bait, the classic “fool’s gold” to expose those who are not authentic?
Whats the biggest thing you have learned recently as you progress with your music?
Live in the now. Try not to allow distractions from past or future to interfere with the flow. One of the things I had noticed as I developed my guitar playing style is that getting control over the mind is vitally important to achieve natural flow. And I found that if I could pass this on to someone through teaching it was transformative.
But my biggest lesson in more recent times was that this applies not only to performing, but in everyday life and decision making. Sometimes I don’t think we realize just how much we are being targeted from all angles with temptations to trick us into making poor decisions or assumptions if we just let the guard down for a second.
What’s currently in your ears and on rotation at the moment?
You mean what do I listen to? Sorry to disappoint, but rarely anything habitually, I do listen to material now and then but it’s more about listening for different exciting sounds and writing styles. I find that my inspiration generally comes when I have the guitar in my hand in a relaxed mood.
And periods of silence in tranquility can offer a wonderful opportunity for strong musical ideas to become embedded too. Like a form of meditation where the mind is quiet and sounds and experiences can appear unchallenged and be appreciated for what they are. Gifts.
What was your worst experience on stage? Any funny stories to share?
Seriously. The first gig when I went out as a solo performer was a baptism of fire. Not funny at all at the time although I can have a chuckle about it now. I had been ok rehearsing and was really looking forward to the show. It was a local gig and I had told plenty of people about it, so a good number turned out, many friends included.
I was slightly nervous but that’s more anticipation and is fairly normal. I was ok for the first song, sort of holding it together but during the second song my throat completely dried up and I lost it a few times. After that it was all about damage limitation and just doing the best I could. The thing I learned from that is to drink plenty of water because you use it up far quicker than you think!
Got any fun, funny stories from life on the road?
Haha – first thing that comes to mind is that old Mercedes van many years ago with a Tyneside band. You couldn’t see in the back of it when it had gear in, because the gear covered up the big holes in the floor which let the daylight in. We always had to tow it to start it on the flat from the storage unit, and we’d try to pick venues where we could park on a hill facing downwards to bump start it, to save taking another car. When it started when all we could see in the mirror was smoke.
One night it was my turn to drive to the gig and we were running a little late. Once we’d got it started on the flat I needed to reverse back to the storage unit to load the gear in. I went for reverse and the whole gear shift fell out in my hand. I honestly can’t remember whether we rang with apologies to cancel, or got there somehow, it was a long time ago.
I hear you have new music. What can you tell us about it?
Oh yes well 2025 was quite productive on that front, three brand new tunes ‘Backstabbers’ Last Show’, ‘Oh we got your Number’ and ‘Flight’, all taken from the workbench to completion and mastering which looking back on it is very pleasant and reassuring. I guess the positive encouragement from finding my tribe is paying off!
‘Flight’ – I guess I’d been beavering around with this one for a couple of years since I came up with the main riff and basic structure but got stuck in and crafted some other sections needed to cap it off in 2025. It’s a very lively number but full of emotion, and adds a nice contrast to ‘Red Square Dance’ as a companion instrumental track.
‘Oh we got your Number’ has quite an anthemic chorus to it and tells a compelling story about the historical hidden hand and its diabolical modes of operation, written as parable in parts to avoid being too dark, graphic and explicit. I like to present the dark followed by the light rather than the other way around because that always leaves the listener in a high, optimistic frame.
And ‘Backstabbers’ Last Show’ is the final icing and decoration on the structural cake which I’d been carrying within as a musical concept for a very long time. I had been waiting for the right subject matter to arrive in order to unleash it. That’s why it is so very special to me and the timing is perfect for its delivery. It has to be now. It’s catchy, guitar-driven, immediate, and just simply says it like it is. Rock with a hint of punk thrown in.
What was the recording process like?
Relaxed, but quite exhilarating and just really feeling it. I think mentally and spiritually once you awake and see the nature of the bigger game that’s really been at play, grow a pair, and know who you are, then distractions that used to hold you back just don’t have the pull that they used to.
For me ‘Backstabbers’ Last Show’ was special. Early in 2025 I joined Anunna Healing over in the Lake District, we hired a big cottage in a remote scenic location over there for a spell. Since I had the wind in my sails and the momentum with me on the song, I packed all my studio gear up and took it over there to set up for recording. I had already got everything down except vocal and guitar, and what better setting to do some special live recording sessions in great company?
Would you change anything now it’s finished?
Not at all. Years ago when I first started recording with my studio I used to be quite anal about things that really don’t matter, like absolute separation. I always used to use the valve mic for the main vocal, performing in the vocal booth. Of course then that means you’re not performing it like you do live and you can tell that when you listen, it’s like fake or forced.
I’ve always much preferred the sound on live albums, it’s so much more raw, real and full of energy. I still use the valve mic for harmonies, because recording good harmonies is all about repetition and they really need a thick creamy sound for the vocal to sit on. But the main vocal and guitar I just use the live kit, dynamic mic and just play the guitar and vocal together like I would do live. I spent a lot of time in 2024 going through the entire set and recording every song this way, and now it’s all in the mastering phase.
Is there anything else you would like to share with the world?
Yes thank you for the interview, I would like to say a few words.
I humbly present the brand new single ‘Backstabbers’ Last Show’, which is due for release on April 25th for streaming and download. If the song really floats your boat, please reach out and follow me on Facebook or X, and please leave a comment.
I also have a Patreon page which I’d like to get off the ground: patreon.com/AlbieBach so please visit me there, you can join for free. I’d like to begin putting some exclusive content up there at some point but for now it’s about building steadily, spreading the word and connecting with folk.
ALSO FOLLOW HIM ON FACEBOOK AND X
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