Interview: Gayle Skidmore on Her Journey Through History and Personal Loss in 'The Ashtabula River Railroad Disaster'
We spoke with Gayle Skidmore about the making of her new album, the historical tragedy that inspired it, the gear behind the music, creative challenges, her dream collaborations with Björk, Thom Yorke, and Damien Rice, future plans, and more.
Photo credit: Anastasya photography
Gayle Skidmore is an American singer-songwriter and composer based in San Diego. With a classical background and a career spanning numerous acclaimed releases, she has established herself as a distinctive voice in the modern neoclassical landscape.
Her latest album, The Ashtabula River Railroad Disaster, is an instrumental tour de force; spellbinding, deeply personal, and musically immersive. The record explores the tragic collapse of a railroad bridge in Ashtabula, Ohio, in 1876, a catastrophe that claimed the lives of 92 people, including Skidmore’s own relative, the renowned hymn writer Philip P. Bliss.
In this interview, we discuss the creative process behind her new album, the gear that helped shape its sound, and the personal journey of connecting with such a profound historical event. We also discuss the challenges she has faced in her career, her thoughts on the future of music visuals, her dream collaborations, and much more.
Eugenia Roditis, Musicngear: Your new album, 'The Ashtabula River Railroad Disaster', is not only musically rich but also deeply personal. What was it like to connect so personally with such a tragic historical event, especially one tied to your own family?
It was quite surprising to me to discover a personal connection to the Ashtabula Disaster, and especially surprising to be so affected by the story. I often found myself being brought to tears by some of the original accounts as I researched the tragedy.
It's a deeply moving story, and I think that it is the same for anyone who comes across such a tale. I mean, didn't we all cry at Titanic back in the day? It's one of those stories that strikes a chord because of its humanity and how it makes us wonder about ourselves.
Naturally, having a personal connection to it made me envision the events more vividly, which was profoundly moving.
Musicngear: You recorded most of the album using a Kawai CN29 and the Una Corda VST. What drew you to these particular instruments, and how did they help you express the story's emotional weight?
Kawai pianos are very responsive and feel very close to a real piano, which is important to me as a classically trained pianist. Since it is such an expressive instrument, I was able to create a wide dynamic range for my album, so I felt it was the perfect instrument for this project.
The songs on this album are inspired by an incredibly heavy event, and it was therefore crucial to me to have the emotion come through in my performance.
The Native Instruments Una Corda VST brought out the pensive, moody feeling that I wanted. The Una Corda's sound is unique because it is designed using only one string per note. The minimalism of the sound draws more attention to the composition, and the felts create a sound that is intimate and delicate. Because it was so customizable, I was able to create a sound that both felt like me and expressed the dramatic weight of the disaster.
Musicngear: You worked in Reaper for this project. What role did the DAW and your home studio setup play in shaping the album's final sound? Did working solo offer you more freedom or present new challenges?
When I worked in a jingle house in San Diego as a session musician, the producer I worked with worked in Reaper. I became familiar with it by watching over his shoulder, and when I started working on my own at home, it made the most sense to me to try Reaper. I find it very intuitive, and working with something that is intuitive is key to a smooth recording process.
Anything that helps me focus on creativity instead of troubleshooting is ideal for a recording project. The same goes for the studio environment. My husband built me a studio desk for my home studio that helped to define the space and make setting up easy for me.
Musicngear: The album is entirely instrumental, which marks a shift from your previous work. What inspired you to go this route, and how did your background in classical piano inform your approach?
If you listen to past albums, you'll hear a lot of my classical influences on songs like "Sickle in the Shade," "Make Believe," and "Skeleton Ship Interlude." Since I originally studied classical piano at university in order to pursue a career in that field, every artist I have studied has shaped the way that I play and the way that I hear music in my head. Special techniques and arm movements that I learned while studying Chopin have been most influential in my style. While writing for TV and film, I worked on many projects in this vein.
So, it's not really a departure for me; I just hadn't yet had the time or space to approach a project like this to release under my own name. It has always been on the list of things I'd like to do. When the world shut down for the pandemic and I discovered this crazy story about my relative Philip P. Bliss, I finally felt like it was the right moment to begin this album.
Musicngear: Looking back on your career so far, what has been the biggest obstacle you've faced, and what advice would you give to artists who might be navigating something similar?
Developing a team around my music has been the most challenging thing for me. I'd encourage artists who are dealing with something similar to reach out to their established relationships and go from there.
It's important to look both at what you have to offer and what skills you lack so that you know what you need. I think it's also important to look not only at skill but also potential and drive.
Musicngear: You've mentioned how important your Patreon community was in the development of this record. How has direct fan support shaped your creativity and independence as an artist?
As an independent artist, it has often been tough to keep the ball rolling. When I have needed motivation, encouragement, or to just stop a moment and take stock, my Patreon community has been there. For two years, I released a song every single week to my Patrons. It was such a special experience to share raw recordings, get immediate feedback, and see that there is an audience for whatever style I move into next. They have been invaluable to me, especially during the isolation of the pandemic.
Musicngear: If from now on, you had to choose only one format to release visuals for your music, what would that be? Official music videos or TikToks/Shorts/Reels? And why?
If I had to choose one, it would be music videos. I really enjoy them and feel like they give me the opportunity to share the story of the song, create a vibe and visuals in a way that offers so much more than shorts or reels. When people take the time to watch a music video, they are immersed in the music in a different way, instead of just scrolling past.
Musicngear: Are there any artists, past or present, that you'd love to collaborate with? And what about venues or festivals? Do you have a dream stage you'd love to perform on?
There are tons of artists I'd love to collaborate with. Björk, Thom Yorke, Damien Rice, Jeff Buckley, Lhasa De Sela, Andrew Bird, and My Brightest Diamond are the first that come to mind.
I hope to someday play 30A, Key West, and Glastonbury, and on a smaller scale, I'd really like to play a small theatre tour with grand pianos at every stop.
Musicngear: If you could write a duet with a fictional character (from books, movies, or games), who would it be and what would the song be about?
This might be the most original question I've ever gotten in an interview. I'd have to choose my favorite poet- Alfred Lord Tennyson. I suppose we would write some kind of fantastical epic about some tragical waif that would inevitably turn into an extremely folksy tune on the harp or dulcimer.
Musicngear: If time travel existed and you could perform one of your songs in any era, where and when would you go?
I always thought I might've done well in the 70s, so I'd like to try out that theory.
Musicngear: What are your upcoming plans now that this album is out?
I'll be performing around San Diego quite a bit while I continue working on another album to release this July for my tour in Finland. My cousin from Salla, Finland, and I are writing several songs together in Finnish.
Connect with Gayle Skidmore
Website // Facebook // Instagram // YouTube // Bandcamp // Spotify
About Eugenia Roditis
Eugenia's passion for music was ignited from an early age as she grew up in a family of musicians. She loves attending concerts and festivals, while constantly seeking fresh and exciting new artists across diverse genres. Eugenia joined the MusicnGear team in 2012.
Contact Eugenia Roditis at eugenia.roditis@kinkl.com
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