As We Once Were: The Anchoress Unveils a Rich Tapestry of Generational Threads and Sonic Exploration

Catherine Anne Davies, the acclaimed Welsh artist, producer, and musician known as The Anchoress, is poised to release her highly anticipated new album, "As We Once Were," this August. This latest body of work marks a significant evolution in her decade-long career, delving into profound personal themes and pushing the boundaries of her sonic palette. Davies expresses a palpable nervousness surrounding the release, a sentiment she attributes to the ever-shifting landscape of the music industry. "Partly because the industry is so different, it’s hard to not feel like a content creator at times," she confides. "At the end of the day, I like making records, not videos." This sentiment underscores a dedication to the craft of album creation in an era often dominated by fleeting digital content.

The cultural climate into which "As We Once Were" will be introduced is markedly different from that of her debut album, "Confessions of a Romance Novelist," which was released over ten years ago. The intervening decade has seen seismic shifts in music distribution, the pervasive influence of social media, and significant personal milestones for Davies, including becoming a parent. Navigating these changes, both professionally and personally, initially presented a creative challenge. However, a serendipitous discovery provided the catalyst for the album’s conceptual core: a cassette tape containing her grandmother’s voice.

"This was the key that unlocked the record," Davies explains. "I suddenly realised that the thing I’d been resisting – writing about being a mother – actually informed this album. I realised I was actually exploring connections between the generations, and many of the songs ended up being a conversation between my gran, mum, me, and my daughter." This profound realization transformed the album from a potential exploration of maternal experiences into a rich intergenerational dialogue, weaving together the voices and memories of four women across different eras.

The Genesis of a Generational Dialogue

The journey to "As We Once Were" was not without its hesitations. Davies candidly admits that the prospect of creating a new studio album after her 2021 release, "The Art of Losing," and her 2023 reinterpretations album, "Versions," felt daunting. The demands of motherhood had necessitated a recalibration of her creative workflow, moving away from the immersive studio sessions of previous years to a more constrained schedule. "Versions was a release that came in 2023 and was something I could dip in and out of as the songs were already written," she notes. "It was quite daunting to approach a new studio album, figuring out my process and how my working hours were curtailed in ways they’d never been before. I was also concerned about finding the time for ideas to percolate and ingest enough of the world outside of being a parent that was worth exploring in my music."

Despite initial reservations about directly addressing motherhood, the discovery of her grandmother’s voice on an old cassette tape proved to be a pivotal moment. "I came across a tape at my mum’s house with my grandmother’s voice on it that we’d been looking for for years," she recounts. "I got it back to the studio, the tape was chewed up, and I spent a week working on trying to recover the audio. At first, it was something I was doing for my mum, but then it also helped give shape to the album too." This painstaking restoration process not only honored a familial connection but also unearthed a creative pathway, allowing Davies to explore the themes of memory, legacy, and the enduring bonds of family.

Sonic Evolution and the Echoes of Pete Townshend

"As We Once Were" is characterized by a significant sonic evolution for The Anchoress. While retaining elements of her established sound, Davies has embraced a bolder experimentation with synthesizers and unconventional musical arrangements. Tracks like "Hand to the Tide" feature a surprising math rock solo, a departure from her previous work that highlights her willingness to explore new sonic territories. "I’ve leaned deeply into the corners of the world I’m known for within my sonic palette," she explains, suggesting a continued commitment to her artistic identity while simultaneously expanding its boundaries. The album also incorporates field recordings and intricate synth textures, all interwoven with the spectral presence of her grandmother’s voice, creating a rich and immersive auditory experience.

A particularly transformative element in the album’s creation was Davies’ access to The Townshend Studio at the University of West London. This unique space houses a collection of vintage synthesizers belonging to Pete Townshend of The Who, who entrusted his prized instruments to the university rather than see them relegated to a museum. Townshend’s intention was to make his iconic gear accessible to a new generation of musicians, fostering creativity and innovation. For Davies, this was an unparalleled opportunity. "His synths are now housed in this purpose-built space, and I was really lucky to have the chance to go and play with this kit. It was living the dream for me and unlocked the record," she enthuses.

Davies, a self-professed admirer of Townshend’s groundbreaking work, including his contributions to rock operas like "Quadrophenia," found herself deeply moved by the experience. "It was a playground to delve into, although the first time I walked in, I cried as I was so overwhelmed," she admits. "Partly by the beauty of the instruments, but also the weight of history. Quadrophenia is one of my favourite pieces of music. To have my hands on the same gear that he used was almost a little bit much at times." She was particularly drawn to the ARP Model 2500, a modular synthesizer designed to rival Moog’s systems, and the Moog System 35, which features prominently on the album’s single, "Throw Over Your Man."

The technicality and hands-on nature of working with these vintage modular synthesizers offered a distinct creative advantage. Unlike her own collection of 70s and 80s synths with pre-programmed patches, Townshend’s instruments demanded a more involved approach. "The synths I have from the seventies and eighties have pre-built in patches, so they are plug and play to a certain extent," Davies observes. "With Townshend’s synths, you have to really work to get anything usable, which is challenging but also means you can come up with something completely unique." This process of coaxing sounds from the machines fostered a sense of playful exploration and serendipity, reminding her of her early days in production. "This is something we’ve lost, this idea of one-off moments in the studio," she reflects. "Now everything is recordable and can be rediscovered, but there was so much serendipity in the process. It put me in a playful mindset and reminded me of how I started production – it allowed me to rediscover my love of the recording process."

A Tapestry of Collaborations

"As We Once Were" features a notable four guest vocalists, the highest number on any Anchoress record to date. This expansion of collaboration arose organically from the album’s more playful creative process. Davies welcomed composer Hannah Peel, long-time collaborator James Dean Bradfield of the Manic Street Preachers, and emerging artists Eaves Wilder and Gwenno. She views these contributions not as a dilution of her singular artistic vision but rather as enhancements to an already completed work. "I still enjoy being totally autonomous and in control, so this felt more like bringing someone to the party to join in," she states. "Collaborating for the sake of it doesn’t always push you further forward – sometimes it can lead to compromising, which isn’t creatively satisfying. But I’m also no longer apologising for being a bit of a control freak."

The inclusion of these artists is deeply personal and thematically relevant. Hannah Peel, a close friend, contributes to the album’s sonic richness. James Dean Bradfield, a constant creative presence in Davies’ work, lends his distinctive voice. Eaves Wilder, daughter of author Caitlin Moran, joins on the track "Damsels," reinforcing the album’s intergenerational theme. Gwenno became a friend after Davies sought her advice on balancing the demands of touring with motherhood, a poignant connection to the album’s core narrative.

The Anchoress’s Creative Sanctum and Future Endeavors

The creation of "As We Once Were" was facilitated by Davies’ access to various studios, including Door to the River (owned by the Manic Street Preachers) and her own custom-built "Black Lodge" studio. This personal space, designed with acoustics in mind, reflects her commitment to sonic quality. "I’ve been really lucky to be able to build a bespoke space and make it as multi-purpose as possible," she explains. "The only thing I can’t do here is live drums, but I have a huge desk with all my outboard gear on it with my synths racked up. As a parent, my working hours are nine until three, so I go in and get on with it. I’m amazed at how much time I’ve wasted in the past."

Her previous role as a touring member of Simple Minds provided the financial means to establish her studio. The Black Lodge studio, named partly for its exterior color and partly as a nod to David Lynch’s "Twin Peaks," is a continuously evolving project. Davies also acknowledges the poignant donation of equipment from her late friend, Chris York, a renowned live music promoter. "My dear friend Chris York donated some of his gear to me just before he passed away too," she shares. "It was really difficult; I didn’t want to touch it or rack it up as it felt like I was acknowledging he wasn’t here anymore, so that was hard." York’s encouragement and the support of The Manic Street Preachers have been instrumental in her journey and the development of her creative space.

Beyond the release of "As We Once Were," Catherine Anne Davies remains actively engaged in multiple artistic ventures. She is producing and mixing for other artists, has launched a new podcast exploring motherhood within the contemporary music industry, and lectures at the Institute of Contemporary Music Performance. This academic role provides her with a constant influx of new sounds and perspectives, keeping her creatively stimulated and connected to emerging artists. "Lecturing takes me into a space where I’m constantly bombarded with new inspiration and work I wouldn’t have come across otherwise," she states. "My students might not realise they’re inspiring me; I feel excited by new sounds as opposed to being stuck in my comfort zone."

A Commitment to Quality in a Shifting Industry

Catherine Anne Davies’ career is now a multifaceted entity, yet her fundamental passion for exceptional sound remains unwavering. "I’m obsessed with making the best possible sonic sounding record I can," she asserts. "I’m not interested in compromising the quality of my output, which means I don’t make cheap records, and it takes me a long time too – because to make a record as layered and as complex as what I want to do, there is an inherent cost." This dedication to artistic integrity is a hallmark of her work, a conscious decision to prioritize substance and depth in an industry that often rewards expediency.

As "As We Once Were" prepares for its release, Davies remains hopeful that her commitment to producing art of a high caliber will resonate with audiences. The music industry’s evolution presents both challenges and opportunities, but for The Anchoress, the core mission remains clear: to create music of enduring quality and to foster meaningful connections through her art. The recognition she has received for her efforts is heartening, validating her belief in the power of meticulous craftsmanship and artistic sincerity.