Exclusive Interview with MY GLASS WORLD/ jamie Telford

The British duo My Glass World transports listeners on a personal musical journey with their eclectic fusion of rock, pop, jazz, and classical music. There is a lot to listen to and consider with a current album catalog of 6.

British duo My Glass World have today released their striking new music video for the single “What We Call Love,” which features scenes from around the world juxtaposed with lyrics about disinformation and the search for what we call love. Check out the exclusive interview below:

1. Did you have any formal training or are you self-taught?

MY GLASS WORLD: I have had a load of tuition over the years: Piano, Bagpipes, Guitar, you name it I’ve probably tried it. Composition lessons too – I’m well prepared. Not the usual route, but I find that expanding your personal horizons gives you all sorts of useful tools for writing and making material with.

2. Who were your first and strongest musical influences and why the name ‘MY GLASS WORLD’?

MY GLASS WORLD: The name comes from a poem by a lesser known Scottish poet called W.S. Graham, who was once part of The New Apocalyptic movement. If that isn’t an endorsement in itself then nothing is.
A first and a lasting influence from way back were the Beatles particularly the “White Album” and “Revolver.” A common enough reference but they showed me that you could write songs about all sorts of things.

3. What do you feel are the key elements in your music that should resonate with listeners, and how would you personally describe your sound?

MY GLASS WORLD: I think I’m trying to synthesise words and music to work with each other and add up to something greater than the individual components. The music could contain anything, but generally its derived from a piano part though you wouldn’t always know it. Hopefully it’s powerful and essential – not flabby.

4. For most artists, originality is first preceded by a phase of learning and, often, emulating others. What was this like for you? How would you describe your own development as an artist and music maker, and the transition towards your own style, which is known as INDIE?

MY GLASS WORLD: Originality is usually preceded by a learning period of conscious imitation. Then comes the unconscious imitative period where you strive to create your own material in your particular way – usually from the same rock everyone else has been whacking away at. I think for me it’s been a long gestation period to the point I’ve managed to create songs that have a personal identity stamped all over them. Whether its “INDIE” or not I don’t know. However, as Indie is surely short for Independent, then I think that’s correct in that the music is idiosyncratically mine and who I’m working with.

5. Could you describe your creative processes? How do usually start, and go about shaping ideas into a completed song? Do you usually start with a tune, a beat, or a narrative in your head? And do you collaborate with others in this process?

MY GLASS WORLD: It can start from a word or a musical hook/noise, or musical sequence, or a drum beat. To get the material hammered into shape I generally don’t collaborate, especially on the lyric. Lately I have worked up some basic musical ideas with Sean (Read) though I find it hard to maintain direction and musical identity with what comes out. The results to date however are pretty decent, though I couldn’t necessarily have judged how the collaborative outcome would work at the start.

6. What’s your view on the role and function of music as political, cultural, spiritual, and/or social vehicles – and do you try and affront any of these themes in your work, or are you purely interested in music as an expression of technical artistry, personal narrative, and entertainment?

MY GLASS WORLD: I’m not purely interested in music as entertainment although I do acknowledge that’s a main part of its function – especially the forms of contemporary “Pop”. Technical artistry matters only a little I think, which for me makes popular music accessible by everyone. I see the form as perfectly suited to address all sorts of areas. Political, social, spiritual – Good Vibrations can also be taken in the literal sense.

7. Do you feel that your music is giving you back just as much fulfilment as the amount of work you are putting into it or are you expecting something more, or different in the future?

MY GLASS WORLD: I am satisfied to be working making music. In itself, it’s almost enough. For the future maybe I’d like some recognition as a decent songwriter, but if that doesn’t happen I’d still be happy. Financially its a black hole but its fulfilling in other ways.

8. What has been the most difficult thing you’ve had to endure in your life or music career so far?

MY GLASS WORLD: Not making music, and having to work in other areas to keep the head above water especially after moving to London from Scotland

9. With social media having a heavy impact on our lives and the music business in general, how do you handle criticism, haters, and/or naysayers in general? Is it something you pay attention to, or simply ignore?

MY GLASS WORLD: I think social media raises all sorts of interesting questions for artists that they might not really have had to face in the past. The good side is that it’s made things more democratic; the bad more intrusive. Best to ignore both the good and the negative commentaries and maintain your own equilibrium as much as you can. Personally I just plough on and try not to get too excited or depressed.

10. Creative work in a studio or home environment, or interaction with a live audience? Which of these two options excites you most, and why?

MY GLASS WORLD: I prefer writing and recording, however the live situation gives you some real feedback on what you’ve made, and if you want to understand how your music is coming across then there’s nothing to beat playing gigs to get the direct answer. I still prefer making the music to playing live, as it’s much more intriguing and the possibilities are endless. There’s a lot of hanging around with gigging.