Bekki Williams - composer, musician and recording artist.
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About Bekki: Interviews.

We're currently updating this page to include several recent interviews with Bekki. In the meantime, here are a couple of older ones to keep you going while you wait. Click the links below to expand them and read more.
2005: Interview with Paul Baker of ARFM - full interview available to download as an MP3.
On June 19th 2005, the lovely Paul Baker at ARFM featured a whole load of Bekki's music on his show, during which she joined him in the studio for a chat. He played 10 tracks spanning all of Bekki's albums to date, including many of her best-loved pieces. You can download the full interview as an MP3 (27mb zip) absolutely free.
2000: Interview with Tony Catterson of the (now defunct) AD Music Fanzine, FanzADFM.
Bekki, both of your albums have had 'Cultural' themes to them,   i.e., 'Elysian Fields' was based upon Greek Mythology, and 'Shadow of the Wind' was based upon Arabian folklore. Is there a reason for this?
Not at all. Elysian Fields was never a 'concept' album, in so much as the tracks, when originally composed, were never meant to be 'joined' by a single theme. It also took ages to write - two years! The 'concept' of Greek mythology came later, when David Wright and several other people commented that the entire album had a 'feel' to it, as an entity, as opposed to a collection of separate tracks. I always had a 'thing' about Greek mythology and so it kind of just happened! Conversely, Shadow of the Wind came to fruition largely due to a commission from BBC Radio Derby's Ashley Franklin to compose a score for the Valentino silent classic The Son Of The Sheik. Obviously, that HAD to be thematic and cohesive. It wouldn't have worked for the film had it been a collection of unrelated pieces of music.
It's been ages since your last album was released. Why so long?
That's a good one. Actually, it's not taken a particularly long time in the music field - bear in mind that Elysian Fields took two years to complete, and Shadow of the Wind took almost as long. In fact, Elysian Fields was a culmination of several years' ideas.  I've been doing a lot of compilation work and have also been brushing up on my flute/sax live playing skills. But the main reason has been the problems I've had setting my studio up for live instruments - it's not just a case of slapping a microphone in!  I've had a lot of problems with this. Actually, I mentioned to someone that I wanted to use real instruments and they said "but you can't - you do electronic music!" AARRGGHH!

I can tell you right now that if I had the choice, I would NEVER use a synth again in my life; I would use a full orchestra. But as that is financially out of the question, I'm making do with second best. On my next album I'd love to play live flute and sax. Oh, and I'll be playing some keyboards as well, simply because the London Philharmonic wouldn't take a pint and a kebab as payment!

Finally, I'm not prolific at all. I really envy those people who can churn out ten albums a year and make them all GOOD albums. Personally, I'd rather spend that extra time making sure that everything's right.

How does your music fare abroad, and is it well received?
Yes, I feel that it is, mainly because of AD's continuous quest for bigger and better distribution. They do a tremendous job! You have to bear in mind that in this country we have a tendency to 'pigeonhole' different genres of music. For example, here in the UK, a musician writes either ambient, house, techno, dance, rock, classical, or whatever. There's no in-between, no middle ground. Personally, I believe that we would all be a lot better off if we simply accepted good music for what it is - i.e., good music!

In my experience, other countries don't seem to be quite so hung up on categorisation - which is possibly why people working in the same field as myself have a larger audience abroad than we do over here. On a cynical note I have to add that I don't see this changing, certainly not in the near future. Let's just hope instead that everyone on the AD label ends up signing a contract to compose the score to a major Hollywood Blockbuster...

If you stopped enjoying writing, would you consider doing anything else?
Well, in my younger days I wanted to be a vet! But no, I can't imagine doing anything else now. Someone once asked me why I wrote music, and I responded with a quote from Stephen King by saying "Why do you assume that I have a choice?" You see, most musicians don't compose for the money. We don't even do it for recognition. We do it because it's an addiction, just like drugs or alcohol. We do it because to NOT do it would be a form of mental and creative suicide.
Would you like to release an album with another artist?
I'd love to work with some of the 'Greats' - in my eyes, these would include film composers like Danny Elfman, Jerry Goldsmith and Graham Revelle (and of course, Vangelis!) - but then again, to me, great also means a lot of the unsung and unsigned talent that you can find in any city, in any country.
What was the first instrument that you learned   to play, and how old were you?
The recorder, aged 5. I started studying the flute when I was about 10 and went on to play in orchestras as a flautist for several years. I began learning the saxophone and piano (and therefore, keyboards) - when I was about thirteen or fourteen. Those were kind of a 'spur of the moment' thing.
When working on an album, if you end up with extra tracks do you think about using them for future projects?
I never have additional tracks (sigh). I wish I did. It'd be great to build up a library of 'misfit' tunes for compilation albums, but I always seem to have just enough stuff to fill an album with!  I must admit, I wish I were more prolific. But having said that, I suppose quality's more important than quantity, and I'd rather spend that little bit longer getting something right than rushing into lots of different things at once.
Thanks for your time Bekki, and good luck with all of your future projects.
And thanks to you Tony, for the interview!