Hiya KIM LOGAN & THE SILHOUETTES, thanks for joining us in the virtual RGM lounge today. Grab a brew and take a seat.
What was life like for you before you got into music?
I can’t remember much before I started singing and writing and performing. I was 5 when I got my first karaoke machine and I haven’t stopped since.
It seems like being a social media curator has become added to the many jobs of a musician, how do you feel about this?
It’s obviously an issue of epidemic proportions, and the way we have let it run society and rot our brains is super dangerous and sad… but I’ve honestly always been a curator in many ways. A lot of the creative side of what is required of artists on social media feels fun and natural, but beyond the multimedia art part of it, it gets gross and dystopian very quickly. I don’t share too much. I’ve never spoken to the front-facing camera… ever. I try to just see it all now as some type of hyperdrive message-in-a-bottle where I can use colors and words and horror and humor to accompany my art, and try to connect with my despondent but powerful generation about how we’re going to climb out of this terrible Black Mirror/forever-wars era.
What’s your view on the music industry today?
It’s exciting to see such massive waves of boycott and protest against the streaming services for their years of economic oppression and theft. It’s exciting to know that when the AI content bubble pops, people will be extra hungry for human-made art… this is already happening. Physical media is gaining actual sustainable traction… long after the resurgence of vinyl could have easily been its own bubble, but still prevails. Maybe it’s most exciting of all that we’re starting to talk about the stark light thrown by the AI flood on the actual creation of art, and the difference between people who are born with talent and the determination to hone a craft, rather than the generations of people who are now creating from generative prompts, or from simple access to tech and money.
What’s the biggest thing you have learned recently as you progress with your music?
With this new LP “Saturnalia,” I learned that I needed to become a music producer in my own right, in order to keep creative control over the vision for my body of work that I’ve had since I started. That vision needs to regularly evolve, but to be at the reins of that evolution took making that plunge into the deep-end and just getting my hands on DAWs, and different instruments, and both the analog and digital tech for making beats. It’s the most important thing I’ve done as a songwriter and vocalist in a very long time, maybe ever. I’m such a language person… learning the language of music production, and how to use it to create the stuff in my head, has been a journey into a different form of witchcraft from what I’m used to.
What’s currently in your ears and on rotation at the moment?
I’ve been listening to the two new self-titled albums by an amazing band called Drink the Sea, who are a supergroup of musicians from the grunge era and desert rock scenes, like Alain Johannes and Duke Garwood. These guys have been making incredible records for decades… I got the chance to see them live twice this winter and I’ll never forget those shows.
I’m constantly walking around Glasgow and London listening to my dear friend Elisabeth Elektra, whom I just met in 2025… her records Mercurial and Hypersigil are so good, we’re totally cut from the same cloth and share so many musical touchstones… she’s such a magical writer and vocalist.
Then, the mastermind bassist/synth player of the Silhouettes, Paris-based musician/composer Alexis Collard, has just dropped his first releases as Vieillerobe, and they’re beautiful… I will listen to anything and everything he makes forever.
I’m also going through a super fun tour de force of revisiting the Bush-era post-grunge of my early childhood, and how that’s some of the first music and songwriting that influenced me. It’s masc and dark and goofy and serious all at once and I’m having a blast… it will probably show on the next album, I’ve got a lot of rage to get out next.
Tell us something about the band that you think people would be surprised about.
The Silhouettes now has a growing collective of members from the USA, England, Scotland, France, and Greece… and probably a few more if you want to get technical. We have such a kaleidoscopic, clever, kooky, sexy, gifted swirl going on… I’m so thankful for every single Silhouette on the album and on the tours.
I hear you have new music. What can you tell us about it?
Our new LP “Saturnalia” is the body of work I’m most proud of for sure, and it took 5 years of blood, sweat, and tears to make it happen. I often swing viscerally between poles of musical genre, like when I left Nashville after years of adoring it, because the new “country” music had started to make me feel physically ill. I started to feel that way again about 60s and 70s rock music after seeing it beaten to death, and after completely losing the rose-colored glasses about the men who defined the culture of music during that time, who were and are often pedophilic patriarchs.
I wrote the songs on the “Saturnalia” LP while going through the nervous breakdown years of the Covid pandemic, when I dove headfirst into higher education in occult sciences and botany, and picked back up with the dark alt artists I grew up with. I started listening to a lot of Mark Lanegan albums, a lot of European electronic music, and a lot of Portishead and Nine Inch Nails and PJ Harvey and Queens of the Stone Age. I’d strayed from influences like this over the years I spent in Nashville working on country and classic/psych rock, and I’m so glad I eventually found my way back to more modern alternative music.
What was the recording process like?
Producer/guitarist Rex Roulette (Bob Vylan, Eagles of Death Metal) and I worked on it between London and Los Angeles over the course of 2.5 years, making the album amidst both of our back-and-forths as touring and recording musicians with bases in both places. We had so much fun introducing musicians from both of our circles to each other as we brought people in for various sessions on the record, and I think we conjured such a mega cast of players and co-producers. I’m so proud.
What was the biggest learning curve in writing the new tunes?
I started with these songs in my bedrooms in New Hampshire and Scotland. For me to take them to the level of production that I wanted, to break through some of my more traditional influences, I needed to dig into the structures of the songs from a different angle, and Rex helped tremendously with this. I had to put so many of my default settings to the test in order to change them, or to grow them into something more expansive. This process definitely cracked a new crack in my brain, which opens now to collaboration on writing in different ways, which makes the idea of putting the pieces of the puzzle together all that much more exciting for the next time around.
Would you change anything now it’s finished?
I can’t wait to have it mastered for vinyl, so we can put out a physical 12” LP. But no, I wouldn’t change anything about this album or how the creation of it went down. This is why I’m here.
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