James Harriman - Love and Faith and Lust
The latest track James Harriman, Love and Faith and Lust, is a masterclass in blending indie pop with alternative rock, resulting in a sound that's both nostalgic and refreshingly modern. The track, assisted by the featuring artists opens with peppy guitar strumming reminiscent of 90s disco-pop, instantly setting a high-energy atmosphere that doesn’t let up. The mix features a vivid dynamic range of the kit, with punchy drums that drive the rhythm forward while allowing the other elements to breathe. This careful balance creates a carefully crafted stereo field that keeps the listener engaged from start to finish. The vocal delivery by James Harriman is a standout, with the vocal interplay of verses adding depth and texture to the narrative. His voice, raw and full of emotion, contrasts beautifully with the polished instrumental backdrop. The chorus is an earworm, the kind of hook that sticks with you long after the song ends. It’s easy to imagine Love and Faith and Lust fitting seamlessly into the indie music scene, its energy and authenticity echoing the ethos of artists who push the boundaries of genre while staying true to their roots. The song would fit perfectly into the soundtracks of romantic comedies like The Half of It or Palm Springs, where the blend of indie charm and rock edge could underscore the complexities of love and relationships with both wit and warmth. In conversation with the artist As one glances through the work that James Harriman has laid before us, one can't help but wonder what inspires him to write such interactive and playful verses? What leads your inspirational journey? When working on a song I find I start with the music. I hear melodies, musical parts, I find that painting a sonic soundscape, however bare bones helps me find inspiration for the song. After I have a melody and chords, I'll start mumbling nonsense until a lead line or catchy phrase comes out. After that It's on to the trusty pen and paper to write something more meaningful. I won't release a song unless I’m happy that the content of the lyrics will mean something to someone. I often write about how I feel at that time. This song came out the back of a breakup of a 'sort of' relationship. I know Chris James (who wrote the verses on this song) has also experienced some emotional relationship moments at some point. So I think this song comes from the heart. Sometimes you have to let out your feelings before you can get over something or someone. This is why you never scorn a musician. For me, other songs have come out of loss, a passion for helping someone, or even something as silly as losing at a battle of the bands and feeling sad about that. But in short, I always start by making a song catchy, and then write around that. It's got to be something you can sing along to! Love and Faith and Lust has a lot of modern pop infused with your usual rock and roll soundscape. The Lo-Fi production complements the silly and happy-go-lucky tone of the track. Walk us through your songwriting and production choices. So, this song is heavily influenced by DIY artists such as Austin Webber and Ginger Root, as well as some of my favourite whimsical sounding comic artists like Jazz Emu and Tom Cardy. I love the way these artists deliver a polished sound that still has this DIY homemade sound to it. Firstly, to emulate this polished sound I wanted to make sure that I was getting a 'vintage and warm' mix. I used a lot of analogue emulation gear such as 'Soundtoys Decapitator' to re-create the sound of an analogue recording and mixing desk. You can't beat that unique subtle saturation of say, the Chandler/EMI TG channel mixer from Abbey Road Studios, which is conveniently re created in that plugin for me to use on my laptop at home. Setting 'E' if you are curious. Production wise, I used a lot of drum loops instead of real drums, something Austin Webber does a Lot. I tend to mix in the box anyway, so this made sense to me. If you listen carefully you can hear the drum machine loops driving the song in different places. I was also heavily inspired by the beat of Blondie’s 'Heart Of Glass', and found a loop of the Iconic CR-78 drum machine used on that track. I found some samples of that machine on splice, and chopped it up to make it fit the song. Folk punk, in its nature is DIY and LOFI in sound. You can use built in computer microphones, phone recorders, whatever you can get your hands on to record the music and get it out there. That's the ethos at the heart of the genre, and why it was so easy for me to dip into the 'Bedroom Pop' sound which also holds a similar ethos. I know, for example, that Chris recorded his vocals on a cheap £40 USB microphone from amazon. This became interesting for me when I had to try to mix my £400 tube microphone to also sound good in the mix. Looking back, I could have saved myself a lot of effort in the mixdown by also just picking up a cheap microphone for myself, that would have a limited frequency range and a DIY sound, assisting in the LOFI sound. Sometimes it's about creating the right sound, not what gear you have. If anything, I overproduce my music. And that's because, back at Uni one of my lecturers pointed out 'if you are releasing music and want it to be successful, it needs to be of the same quality as not only your peers, but also your idols'. Essentially, I am of the belief that if you want to make a song good it needs to stand up next to artists such as Ed Sheeran, Hozier, Noah Kahn. You know, the stars of the charts I look up to. That being said, since 2020 the rise of TikTok artists such as 'Corook' and 'beabadoobee' has changed that. Maybe his advice to his students will have changed since I graduated. Jim, if you are reading this, I’d love to know. In respect to the evolving indie landscape of art and music in Bristol, which prominent artists would an act like James have most in common with? Can your live audience expect any 'unexpected' collabs? I’m always inspired by folk punk legends such as Frank Turner, Will Varley, Beans On Toast, Gaz Brookfield, The Levellers and Black Water County. In fact, I’ve had the pleasure of supporting Black Water County live. It’s every artist’s dream to support their idols, and maybe one day that will happen with the others. Locally we have the likes of Skinny Lister, and Matt Owens great artists that I'de love to play with on a lineup someday! You are right, nowadays it’s easier than ever to collaborate. I’ve worked a lot with Ben Hutcheson before, having been in a band with him many years ago. I’d love to release something with him again someday, perhaps one of our old band’s songs. We shall see… Live, I’m always trying to surprise people. At Bath Pride last weekend Chris James Joined me on stage to perform our new single. The folk punk scene is a very welcoming community. I’m lucky to have become friends with the artists I admire. So you never know, one day something may just happen. After all, I did have the pleasure of joining Nasty Fishmonger for their final song at Outcider Festival’s 10th Anniversary this year, alongside Mexican Dave, FMI Clatters, and many other great artists, who I sadly was too drunk to remember. Maybe a similar thing could happen at their ‘Commoner’s Fair’ on the 5th October in Bristol, probably not, but never say never. From Lighthouse to Politics. With such a dynamic range, does the artist find himself struggling to settle in one end of the spectrum? How has the audience reacted to such tempo fluidity of your setlists so far? Additionally, do you see yourself releasing a studio version of one of your most cherished tracks, Lighthouse, anytime soon? So, there's an art to this. It's called set science. Essentially how can you use your 30-60 minutes on stage to take an audience on a journey. I'll always start with a big in-your-face hard hitter, Like 'Politics' or 'Castaway'. Then I'll settle down hitting something softer but with just as much energy, such as 'What a Way to Spend a Saturday'. Then, once the audience are on my side, I'll play some more intimate songs. Most of these are unreleased at the moment, but will be on my debut album. And after that, I'll break the sad energy I've built up in the room with something like 'Another Song About Drinking (I'll Cheers To That)'. Then build the set to a climax with 'Half Past Two' and the full version of 'Lighthouse'. It's an art, and an art that I think I’m actually quite good at nowadays. Talking of 'Lighthouse', the reason I haven't released the full version is that I can't seem to capture the magic of the song in the studio. The 2019 live at Komedia version is an acoustic version that we played on our tour that year, but most of the time Lighthouse is actually an upbeat bouncy song. I'm sure it will come out one day, but for now, there's other music taking a priority. Because if 5 years in the studio can't fix it, I don't know what can… I do appreciate you asking about it though, it is in the works I promise. My audience is a strange one. I'm sure those who enjoyed 'Snakes and Ladders' will love 'Love and Faith and Lust', but in turn may hate 'Politics' or 'We Can Make It Out Of This Okay'. And vice versa, someone who likes the heartfelt vibe of 'Lighthouse' or 'What a Way to Spend a Saturday', may be less inclined to enjoy something more light-hearted such as 'Another Song About Drinking'. But in the end, I release music I enjoy. I go through phases as an artist. When I’m depressed I write really deep sad songs, when I'm happy I write silly fun songs. Either way, the songs reflect my mental health at the time. There's always heart in my music. And, I think that's what people like, I think that's why they return to my music no matter what I chose to do. In the end, where I shine is in my live shows. I don't think you've experienced my music properly until you've seen it live, in an order I choose carefully, and presented with me telling you what the songs are actually about. I think most of my returning fanbase is made up of people who have seen me live! What comes after Love and Faith and Lust? Is there a secret full-length brewing inside the studios of Harriman Records? Well, 'studios' is a nice way to put it. It's more of a converted bedroom with some soundproofing put on the walls, and a nice set of speakers in a corner. But, yes I am working on something. There is half an album recorded, and it is on it's way, even if I have been saying that for the past 4 years. What can I say, I'm a perfectionist and working alone, I struggle to commit to one idea for too long! Five tracks are down, five to go… That being said, I'm currently working on another Christmas release. Last year's 'Alone On Christmas Eve' performed really well, and people seemed to really resonate with it. So Keep your eyes peeled for my next release 'Between The Seasons' due for release late October (or December if I don't get the final mix finished in time). And If I work quickly enough, there may even be a festive EP out in time for Christmas… I've even put tinsel up in the studio to motivate me. Although my boyfriend and my neighbours aren't fans of this idea… Because you know, to release a Christmas album, you have to start recording in June and have the release ready before October. So they’ve heard festive songs all summer. Either way, there's set to be more music out before the end of the year! What does James Harriman's pedalboard look like? Would you like to mention some of your "go-to's" and "experimental favourites" which act as the foundation of your soundscape? So production wise, I love to use Guitar Rig to create unique guitar tones. I've got a preset called 'JURB ROTATION GUITAR' which is made up of some rotary cabinets, a fender emulation and a light distortion to add some crunch. You can hear that in the choruses of the song. I’d recommend that to anyone who plays guitar, it's only £50 when it is on sale, and can be used as a creative effect on not only guitars, but also vocals, synths and more! Plus, you can use it live if you want to. I don't do that but I know many artists who do! If you have the money, I’d spring for the Native instruments 'Komplete 14 Ultimate Edition'. This software, and it's included instruments make up about 70-90% of the stuff I use when producing. And the instruments are great. I'm using 'Alicia's Keys' for the piano in Love and Faith and Lust' and feeding it through Izotope's Vinyl Pugin (again from the Komplete Bundle) for that wavy lo-fi sound. Soundtoys are also cool particularly for experimental/destructive sounds, and I’d recommend their plugins for anyone who may want a warm analogue sound. Again, I think I’m using their plugins on the piano and guitar. My go to's are Decapitator, Radiator, Little Alter Boy, EchoBoy, and MicroShift. But honestly anything in the 'Effects Rack' bundle can do some really cool experimental stuff. And most of it is great for subtle mixing stuff too, that's what I use it all for the most! I have a range of instruments in my studio, but my most used for recording is my Fender Esquire. Although, you'll rarely see me play it out live, as I use my acoustic guitar through an amp for a unique tone. But it sounds so great. It has Double Duncan designed pickups and a hollow body so can be used for both subtle and super heavy tones. It's so versatile. My Acoustic guitar is a Epiphone EJ-200. It's a jumbo guitar so provides a unique tone, and It's great both in the studio and on stage. It's just got this large warm sound, that combines with my live pedalboard octave and EQ effects, and the strings I use to make something that sounds real nice! Oh and if you're that nerdy that you want ot know what strings I use, I use Elixir nanoweb coated 80/20 bronze strings at the moment. I used to use Diadario Phosphor Bronze strings, but I used to break at least one string a gig. These ones are a lot more resilient, and I haven’t turned back since. I play my guitar tuned a half step down as it suits my voice better, I even tune down to C# for some songs. So thicker strings, that don't break easily are essential. They may be a bit more expensive, but you get what you pay for! If anything, that's the advice I would give to anyone, professional or just starting up. You get what you pay for. All the things I've mentioned in the interview aren't exactly cheap. But see it as an investment. Trust me, you buy cheap you buy twice. Get yourself a nice guitar to play, some good strings that feel right to you and you like the sound of, a decent recording setup, make some music and get it out there. Nowadays it's easier than ever. If I can do it so can you! James Harriman is a welcome addition to indie pop playlists James Harriman’s background as a live performer shines through in this track. His reputation for high-energy shows across the UK is mirrored in the song’s relentless pace and infectious energy. Over the past four years, he has built a dedicated following, and Love and Faith and Lust is a testament to his growth as an artist who can seamlessly blend the old with the new.
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