Whatever The Weather: Loraine James Talks

Whatever The Weather is a left turn of sorts for Loraine – the project was first launched back in 2022 in the aftermath of what had been a busy spell for one of the UK’s most exciting new producers following the release of an EP and album on longstanding imprint Hyperdub. The stereotypical ‘Loraine James’ sound is somewhat rooted in the murky undertones of UK club culture – grime, bass, techno and IDM all acted as somewhat chaotic influences upon the music which first made it onto ‘For You and I’ and ‘Reflection’. However, more recent explorations have seen Loraine dabble in a more delicate sound – connecting with the roots of ambient, new age, shoegaze and the fourth world.

When approached by Ghostly International Loraine sought to deliver something different, something which would allow for a detachment of sorts from her typically known musical persona. A chance to reconnect with her own musical nuances and interests without the preconception. She discusses the first outing under Whatever The Weather.

“The first album was kind of a blur – I didn’t really know what I was doing or what I wanted to be. The idea kind of came about whilst I was writing ‘Reflection’ – Ghostly International hit me up and said that they would love to work on a record with me. I’d been a fan of the label for years but didn’t think that a ‘Loraine James’ release would work – it’s a pretty British sound and I just didn’t see it.

At the same time I really wanted to release with Ghostly. I remember when I was younger there was this show called ‘Whatever The Weather’ – it was on after GMTV or something like that and for some reason it got me thinking about doing something which represented that.

Simply something, whatever the weather really.

It’s pretty loose but the idea and that show always stuck with me and there’s something in that – it meant that maybe I could make an ambient record for this one, the next one could be a noise one etc.”

This desire not to be pigeonholed or categorised is something which Loraine has often sought to escape or create distance between.

“I didn’t want people to know that it was me at first. I was worried that because it was me then it would be expected to sound like a ‘Loraine’ record or sound a certain way. People have presumptions and assumptions about it and I didn’t know if I wanted my name attached to it.

At first I didn’t even want to perform or play it out anywhere, then once I did I found that I actually really enjoyed doing it. It’s a nice change – the soundscapes are a bit different and in a way I found that freeing. When people listen to a ‘Loraine’ record or set I guess they have an idea as to what it is or should be. It’s not as deep and it’s nice to be able to show a different side to me.”

There are a number of sides to Loraine James. I read many years ago about her first love of punk rock and emo music as she grew up in London. To some that might seem like a surprise given the preconceptions around her sound and the connection to UK club culture. The pair don’t usually go hand in hand.

However, when you take into consideration the nuances of her music, the abstract soundscapes, the sometimes chaotic drum programming and poetic vocal interludes it is easier than you might imagine to join the dots between her early influences and the music she creates.

“I feel like each album I do there’s a different part from a different stage of my life that will be more prevalent in it. When I was 16 I was trying to infuse all this rock stuff and it was a mess. I can’t play the guitar and I’m very different from the people who made those records – I’m from a different area and I look very different etc. I’m inspired by it but don’t expect to hear Linkin Park or American Football – it’s going to be a different take on it, my take on it.

There’s a couple of songs which I sing on – one or two. I was inspired by Anthony Green and like Chino Moreno from Deftones because those singers have been influential to me. But most of the time it’s really subtle..”

Vocals can often be contested in the somewhat narrow minded world of underground electronic music culture. Should they be there? Should they not? It can be funny to watch people kick up a fuss about something so utterly insignificant. Loraine has learnt to distance herself from such views.

“Whatever the Weather acts as another outlet. It’s funny when people bring up singing on a record as if it’s a controversial thing.

‘Like, oh my god, why are you singing?’

Those IDM spheres, they hate singing, like really hate singing – but i’ve always sang ever since I was a kid. I was always singing in my head or singing really loudly to Paramore or Limp Bizkit when my mum wasn’t home but I never thought I’d actually ever sing to anyone – I’m pretty shy about that kind of stuff.

Somehow it’s become more of a thing, this is it, this is where I am. I’m not a singer and I never said I was a singer. I just like to sing. I think I just became more vulnerable with my work and connected to my emotions and what’s happened, whatever, throughout my life. Sometimes I think it needs my voice.”

Allowing herself to become more vulnerable has been pivotal in the progression and growth of her artistry – taking a step back from the somewhat hyper energetic world of club culture and electronic music to reconcile with herself about her experiences. It’s been a natural progression and whilst not necessarily intentional has allowed for Loraine to explore new avenues.

“I still love deconstructed club music. Back then I was going out to clubs far more often than I do now to be honest and I’d say that I am probably less inspired by club music now in the present. Most of the time I don’t necessarily listen to club music but that also might be because I play more regularly in these spaces now.

Funnily enough the thing I draw most inspiration from now is the weather. The weather and the sky. I think London is great, there’s so much noise. I like noise and I don’t like it when the streets are quiet, it freaks me out. There’s so many sounds from different people here and I do think there is a certain sound. A bit like there is a ‘British’ sound – sometimes when you hear a song I think that you can sometimes tell when it’s been written by a British person or something. I don’t know what it is and I do think my music would sound very different if I moved somewhere else or made it somewhere else.”

Loraine is right. It’s hard to qualify the nature of a ‘London sound’ or a ‘British sound’ but there are nuances and bizare little hints which somehow seem to keep you signposted along the way.

Besides, they do say that the Brits love nothing more than talking about the weather.

Loraine James will host a three day residency at Cafe Oto next month – more info HERE. 

Visit the Whatever The Weather bandcamp HERE.