We recently had a chat with the incredibly talented SHEARS, the electronic maestro hailing from Leith, Edinburgh.
Hailing from Leith, SHEARS navigates the Scottish music scene with a laid-back energy. Her day usually starts with a nudge from her furry alarm clocks around 8 a.m., followed by some morning pilates or yoga to get those creative juices flowing.
Admin tasks are just part of the game before she dives into the studio, cooking up fresh beats or giving tracks a techno twist. And evenings? They’re a mixed bag of gigs, hangs with pals, or cozy movie nights with her trusty cats.
SHEARS’ sound is a cool fusion of influences like Grimes, Caribou, Georgia, and Marina, artists who’ve shaped her hands-on production style. At her Leith home studio, she’s all about the Shure SM7B, AT4033a, and Blue Kiwi mics, along with a Golden Age Premier Pre-573 preamp that adds that special touch to her vocals.
Join us for chat with SHEARS about new collaborations, a new album, good company, and nailing that perfect track.
Happy: What are you up to today?
SHEARS: Today, I’m creating some non-SHEARS music for an ad campaign. I’m very lucky that when I’m not making my own music, I can write, produce and mix for others. After this, I’m going to be finishing off a techno remix of Made To Move that will be out soon.
I’ve never made techno before this track, it’s been fun. Tomorrow I’m going scuba diving in a loch on the west coast of Scotland, so this is a fun week.
Happy: Tell us about where you are from? What’s the scene like in your neck of the woods?
SHEARS: I’m based in Leith, Scotland. The Scottish scene is pretty small, which is nice in a way because you get to know everyone pretty quickly. It’s been getting more inclusive over the last few years, it’s more well known for indie-guitar and singer-songwriter music, but that’s changing gradually.
Happy: Describe an average day?
SHEARS: My cats wake me up every morning around 8am, which is a really useful alarm clock. If I’m not feeling lazy I like to do some pilates or yoga in the morning as it really wakes me up and makes me feel better about sitting in a studio all day!
I’ll usually have some admin or tasks to do for upcoming releases or shows, but if I finish them, I’ll spend the rest of the day creating new music or working on other projects. In the evening I’m either at a show, with friends, or watching movies with my cats.
Happy: Congratulations on your recent releases, “Figure Me Out” and “Made To Move”! Could you tell us more about the inspiration behind these tracks and what they represent for you as an artist?
SHEARS: I wanted to concentrate more on the production side, rather than just thinking about the topline and belting out notes. I listened to a lot of drum n bass, liquid drum n bass, and dance music to help understand the techniques used in these genres a little more, but with that it still ends up my own version of it as I’m making it up as I go.
Happy: You mentioned that “Figure Me Out” is a rare, happy song for you about feeling understood. Can you delve into the creative process behind this track and how you brought this feeling to life through your music?
SHEARS: I wanted to create a track with energy and bounciness that had positive lyrics. The track has a little darkness to it with its minor chord progression and atmospheric sounds, but I felt there was enough lightness in my voice to lift it.
I recorded all of the bass on a Moog Sub-37, and took one channel through the DI, and I put another through a Blackstar Fly guitar amp which was picked up by an Aston Spirit mic. I blended these together to get a nice thick bass underneath the beats.
Happy: Your influences include Grimes, Caribou, Georgia, and Marina. How do you feel these artists have shaped your sound, and in what ways do you strive to bring your unique perspective to the forefront of your music?
SHEARS: I tend to gravitate towards artists that have a very hands-on part in the production process, as I feel I learn a lot from them just by listening.
These acts in particular have definitely been a part of me being slightly bolder with my sound choices as I’ve been learning as a producer, although I think that comes with time and listening to a whole lot of music.
I don’t feel any of these people feel limited to a particular sound or style of music, although they primarily use electronic instruments.
There’s a freedom to it. I’m also pretty fiercely independent, so really keen to learn about sounding as good as I can as I go.
Happy: It’s impressive that you write, record, produce, and mix your music at home in Leith, Edinburgh. Could you share some insights into your home studio setup and how it contributes to your creative process?
SHEARS: At the moment, my favourite mics are a Shure SM7B, AT4033a and a Blue Kiwi. For hardware, I record vocals through a Golden Age Premier Pre-573 preamp and a Looptrotter Emperor 500 into an Apollo Twin Duo MK II Interface.
I use Ableton to produce (it feels like more of a creative space), and Pro Tools to mix (it feels slightly more clinical). I also like using an Ableton Push 2 during production, as I can set it to a random scale and use my ear to pick out notes.
This helps me from choosing the same chord progressions and helps shake things up a little if I’m working on a few different projects.
Happy: Your live shows are a one-woman solo set-up, which is quite unique. How do you manage to seamlessly blend samples, percussion, synths, effects, and live vocals? Do you find performing alone brings a different energy to your shows?
SHEARS: My live setup has evolved over time, so it’s given me space to practice exactly what I need to be doing. I really enjoy performing alone.
I enjoy performing with others as well, but there’s something about getting lost in the performance when you’re the only one on stage. I kind of treat it like a party with the audience and have a dance. One of my favourite shows was earlier this year supporting Crooked Colours – such lovely guys and a chilled out atmosphere at the show.
Happy: You’ve had notable exposure on TV and radio across the UK, including BBC 6 Music and BBC Introducing in Scotland. Could you share a standout moment or experience from your journey so far that has had a significant impact on you as an artist?
SHEARS: I remember getting a text from a friend to say I was being reviewed live on BBC6 Music, and when I listened back I realised it was Simon Raymonde from Cocteau Twins and Clare Grogan from Altered Images rating one of my tracks.
To hear well known Scottish acts talking about me and rating me out of ten was so strange, but ultimately very sweet!
Happy: The remix accompanying “Figure Me Out” and “Made To Move” adds an intriguing dimension to the tracks. What was the thought process behind including remixes, and how do they complement the original compositions?
SHEARS: I wanted to take the opportunity to explore other genres and make something I hadn’t made before. I’ve taken a genre for each song on the EP, and I’m going to create a remix for each one.
So far, I’ve made tech/house inspired, techno, and I’m looking into trying jungle. It’s lots of fun, and I’m learning lots of techniques that will most definitely find their way into my original tracks in the future.
I feel like it’s just pushing the original tracks to the extreme, in a way they would never have been heard.
Happy: Your EP is set to be released in February 2024, with a focus track titled ‘The Way You Like’. What can listeners expect from this upcoming body of work, and how does it fit into the broader narrative of your musical journey?
SHEARS: I feel like this EP is a progression from my previous ones. This is the first EP that I’ve recorded, produced and mixed entirely myself, so I do feel like there’s more of me in this body of work.
There’s also a little more experimentation than before, and a boldness in sound choices. The music is definitely a bit dancier than my previous EP, Superhues. It’s been a huge part of me learning and growing as a producer, and has put me on the path of what I should make next. I’m excited.
Happy: As someone who is deeply involved in the production process, could you share a bit about your approach to mixing and the techniques you employ to create a cohesive sonic experience for your listeners?
SHEARS: I use hardware for tracking, but I mix entirely in the box. I start by putting the Sonimus N-Console on every track, and setting them to fat. I do a rough setting of low/high cuts with this, too.
Then I go into each track and carve out space using the Fab Filter Pro-Q3. I like compressing in stages, using multiple compressors and parallel compression on the side. I’m also a big fan of the Brainworx SSL console plugins.
I use them on my synths to glue them together and make them sound fatter. My Mixbus usually has a UAD SSL G Bus compressor, Massive Passive EQ, Thermionic Culture Vulture (on default setting usually), and a UAD Studer A800.
I love the Valhalla reverbs and Soundtoys Echoboy for delays. I generally use roughly the same process for each track to create a cohesive body of work.
Happy: Looking ahead, what are your aspirations for the future of your music career? Are there any collaborations, projects, or milestones on the horizon that you’re particularly excited about?
SHEARS: I recently joined Hen Hoose, a female and non-binary songwriting collective based in Glasgow. I’ve made some tracks with some very talented people, including Nightwave who is such a great producer.
It’s definitely given me the spark I needed to get through the boys’ club that is the technical side of the music industry.
I’d love to tour a bit further afield and connect with different audiences. I’m also in the midst of creating a whole bunch of tracks that could make themselves into an album.
Happy: Lastly, what makes you happy?
SHEARS: My friends, creating a song that I really like, and that early evening on a crisp Autumn day when you’re wrapped up but you can see the inviting warm lights on in the inside of buildings you pass. So cosy.
