Alexander Church

British artist Alexander Church talks neuroscience and music, early influences, and Configurations of Self: 29

Configurations of Self label head Alexander Church returns with Everyday Mysteries Part 2. The EP is a continuation of Configuration: 28, released last month and features contributions from label regulars Vincenzo, juSt B and Tim French.

On the surface, Configurations 29 is a well-produced collection of techno-focused tracks that cleverly shifts through a range of melodic textures and haunting worlds – a skill Alex has developed after years of collecting and listening to records as a record store owner in his hometown of Bradford. If you look a little deeper, however, you will see that Alex isn’t merely producing four-to-the-floor dance records – but sonic externalisations of his own psyche.

Half Finished Sentences layers Herner Werzog’s famous speech over a menacing, dark techno-robotic soundscape, reflecting Church and Vincenzo’s thoughts on the state of a war-torn and chaotic world. Alternatively, Man of Immediacy is built around another exert, this time from Danish philosopher Søren Kierkegaard. Kerkegaard’s message around the absurdity of tying one’s self-worth to the external is melancholily recited by juSt B in their collaboration.

These themes around internal and external perception aren’t just an elaborate attempt to sound edgy. Alex’s relationship with the mind is much more pure and sincere. As a qualified psychotherapist, Alex uses his music as a form of self-therapy, a juxtaposition to his day job helping others through their mental woes. Throughout this record, and pretty much his entire catalogue, Alexander Church uses his art to try and connect the dots between sound and thought in an ungimmicky and satisfying way.

Your relationship with electronic music began back in the ’90s. What is still keeping you fascinated in 2024?

From 1997 to 2008, I owned an electronic music vinyl shop. During this period, I had access to a vast array of genres. The diversity of sounds and styles has kept me engaged to this day. Access to vinyl not only created a foundation to my interest in music but also in the artwork and presentation of the labels. I loved buying and building my vinyl collection, and I used to DJ for hours in my bedroom. Eventually, I started getting bookings at UK raves and underground clubs, playing a mix of UK & French techno. Around 1997-1999, I was particularly hooked on the underground hardcore techno scene coming out of France. I felt part of the movement, and the production from artists like Laurent Ho and Daniel Tecault was so ahead of its time. My curiosity about psychology also grew during this time, as I wondered what drove producers to make music. Were they communicating themselves through their music or not? This question has always fascinated me. During that period, I also started to experiment with production myself and I have collected synthesisers and drum machines ever since.

Talk to us about the origins of Configurations of Self. What made you start the label?

I started the label in 2019, just as I had qualified as a psychotherapist. At that time, I had started volunteering with an organisation that supported individuals and families affected by severe mental health issues, as well as cancer. Coming home from sessions with clients who were terminally ill or were suffering from anxiety and distress, I began to process these experiences by writing music in my studio and going for walks with my camera. As I created tracks and took pictures, I realised this was my way of processing the therapy I did with clients. I started releasing the tracks through the label. Looking back, it was a way of connecting my creative hobbies with my work with clients and my fascination with psychology and social sciences.

What are some of the ways you are linking your background in therapy with music? How are these two passions affecting one another?

The music I create is a way of processing the therapy in my brain. It is my way of self-care. Music evokes feelings that create a sense of calm and peace in me, which allows me to process my life and the therapy with the clients I work with. The more I process the more able I am to offer the best support to those I work with in Therapy.

I’ve read that you are a bit of a traveller, almost a nomad of sorts. What are some of the things you have seen that have inspired you on your journey?

Experiencing different environments is very important to me, I travel as much as I can and really enjoy immersing myself in different cultures and places. I love walking with my camera and capturing moments in time, whether in rural or urban settings. I feel most inspired to write music after visiting rural places, especially the Lake District in the UK, where I spend many weekends in the mountains or by the lakes. I try to record sounds there with my field recorder to include in my productions.

Let’s talk about the latest compilation on COS. What is the story behind the record?

The compilation “Everyday Mysteries” was inspired by the book by Emmy Van Deurzen. I think Emmy is an amazing human being, sharing so much knowledge and wisdom with the world. I plan to release ten EPs in the “Everyday Mysteries” series, each one having a theme based on the philosophical learning from the book, with some cognitive theory thrown in for good measure. Each release carries a message that inspired the creation of the music, offering learning and wisdom to those that read it. I also discuss the process of the tracks, the artists that have contributed, and the synths and instruments used on each release. I like to mention the synths because they are an integral part of the creation process for me. However, I firmly believe it’s not the gear but the person using it that gets the results—unless you are using a Buchla Music Easel, which seems to work the other way round.

Can you describe your creative process? What does a day in the studio look like?

I usually work with different setups, and what I am not using is kept in storage. Currently, I am using a Make Noise Modular system, Soma Terra, Erica Perkons, and a Moog Model D, all running through an SSL desk. I usually start with the Make Noise and hit record on Ableton while I noodle and enhance the patch. Then I edit the audio and play some drums over the top from the Erica, and if needed, I add some more bottom end from the Moog. Once I have a foundation, I start to arrange it and then add more melodic elements along with FX from the Terra. I do very little processing in the computer and record everything I play directly into audio.

You have an interest in the link between neuroscience and music. What has your research revealed to you?

I have been studying neuroscience for the past year or so and am fascinated with how our brain affects our behaviour and can almost affect our reality based on our experiences from the past. There’s a famous story about a builder who fell off a ladder, and a nail went through his shoe. He experienced tremendous pain, but at the hospital, they found the nail had gone between his toes. His brain had seen the nail go through his shoe and anticipated the pain that was not there. So many stories like this I have researched, and it made me think about the relationship our brain has with music.

My interest in music and neuroscience also revolves around how we can attach music to moments in our lives and almost replay our memories. I’ve spoken to many people who tell me, “Every track tells a story.” This could be in a club, reminding them of people or places, or triggering memories from childhood or of friends and family that have passed away. The brain does not understand time or age; it stores our memories inside billions of neurons. Music is a great way of accessing these memories and creating connections between neurons. In terms of my own research, I sometimes wear an EEG mask when producing music to track my brain movements. This is with a view to understanding my emotional regulation and how much the music I am producing supports my brain in processing memories, situations, and experiences, especially those arising from my therapy work.

What’s next for Alexander Church?

Musically, I would like to continue enjoying the creative process and experimenting with sound. I hope to start a Doctorate in Counselling Psychology soon, which will further support my research and understanding into the connections between the brain, behaviour, and music.