Alexander Church: "I often help people accept who they are rather than what they do"
Alexander Church, a producer and sound designer active since the '90s, creates music ranging from melodic soundscapes to industrial techno. His 2019 project, Configurations of Self, combines music, psychology, and visual arts. He has released 12 EPs in under two years and, in January 2021, launches the sub-label Life Scripts with James Welsh, focused on ambient and breakbeat.
How does your music and your support for mental health intertwine in your life and work?
Electronic music has been a huge part of my life since around 1996. I found a sense of identity in music when I was younger. Going to raves, DJing, learning about production, collecting vinyl, and making tracks became part of who I thought I was. However, as I began my studies in therapy and psychology, I realised that my music persona was more a mask for my insecurities and lack of identity than a healthy interest or hobby.
I was diagnosed with ADHD about three years ago, which answered many questions regarding my hyperfocus. This self-exploration enabled me to work on myself and become more comfortable with who I am, without needing music as a mask. I can now enjoy the music-making process as a genuine interest and hobby, without the negative feelings that used to be associated with it.
I believe that DJing, producing, or simply listening to music can give us a dopamine high and trigger positive memories and emotions. However, we need to be aware of the anxiety, sadness, and feelings of inadequacy that can also be triggered if we use our relationship with music to define who we are. In my work as a therapist, I often help people accept who they are rather than what they do.
This applies not just to music but also to the external validation people seek instead of self-acceptance.
What are your main sources of inspiration when creating music, and how do you maintain motivation in your studio work?
I create music for several reasons, with the main one being that music helps me process the work I do as a therapist. Additionally, I love the network of producers who contribute to underground electronic music and enjoy connecting with them. I also take inspiration from nature and the outdoors, often taking photos of my experiences, which I then link to my music. Each EP on my label is presented as both an audio and visual story, with the artwork reflecting the experiences that inspired the tracks.
The EPs become like a virtual bookshelf in my mind, storing past experiences and moments I can recall when I hear the release or see the artwork. Another significant inspiration behind the label is the message I try to send about mental well-being, which, in some ways, feels even more important than the music itself.
Can you tell us about some of the artists you work with under your label, Configurations of Self, and how you manage the creative process and collaboration with them?
I try to bring artists into the label who I personally connect with or whose sound fits with the style of the label. The way I work with each artist varies; it might be through collaborations, remixes, or sometimes them providing original tracks.
I don’t run the label for commercial incentives or as a way to "get into the scene." It's something I do for fun, alongside the message I’m trying to convey. Because of my ADHD, I sometimes hyperfocus on a particular artist. Last year, Nolan created some great breakbeat versions of my originals, so I had him do quite a few because I loved how he transformed my stories into his own.
This year, I’ve been working similarly with Ranj Kaler and Tim French, who are doing excellent interpretations of my tracks. Chris Cargo and Vincenzo are two other producers I collaborate with frequently. I’m also excited about working with Chris Scott, someone I admired when I was younger.
I used to obsess over his releases and was fascinated by his attention to detail and production techniques.
What equipment and techniques do you use for music production, and how has your creative process evolved over time?
In addition to working with the artists on the label, I also support boutique synth companies. These are often small businesses filled with brilliant people creating instruments that are fantastic to use. I collect a lot of synths, and I love not only playing them but also appreciating their design.
A turning point for me, though it didn’t seem like it at the time, was when my studio in the cellar flooded last year. Luckily, none of my equipment was damaged, but I had to store most of it and only use a limited setup in a spare room.
Surprisingly, this small setup – a few synths and a drum machine – was far more productive for me than the overwhelming amount of gear in my previous studio. My approach to production hasn’t really changed. I always start with melodies, then add drums, often using field recordings and found sounds.
In recent years, I’ve even taken synths and a generator outdoors to record melodies by lakes early in the morning, which I then bring back to my DAW. I work with audio rather than MIDI, playing melodies directly into the DAW and chopping them up. I also use only a few plugins, mostly reverb and delay, as I find too many effects can sometimes drown the sound.
I have, however, recently bought some CDJs after years of being loyal to vinyl. Playing on them has made me realise that my tracks were sometimes overly complex and not particularly DJ-friendly. I’ve tried to simplify them, so they mix better in my sets at home.
How does your experience as a therapist influence your music, and how do you balance your therapeutic work with music production and your role at the label?
Having both received therapy and worked as a therapist has helped me foster a more positive relationship with music production. I used to disconnect from the world when making music, losing hours in an unhealthy, negative way.
Now, I timebox my sessions, focusing on specific tasks like recording a melody or creating drums. I also agree with my partner on studio time, ensuring a balance between making music and spending time together, such as watching MasterChef.
If I keep music in balance with family life, going to the gym, and photography, it feels integrated rather than overwhelming. I also have a rule: if I sit down to make music and it’s not happening, I switch it off and do something else. I used to push through, but that wasn’t healthy.
With the label, I don’t have a strict routine, but I tend to release music monthly up until October, then stop for November, December, and January, before starting again in February. There’s no reason for this, but it has become a pattern I follow.
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