Award-winning Cardiff artist Ani Glass returns with her new album, ‘Phantasmagoria’, launching September 26th. Known for her dynamic evolution since her debut LP ‘Mirores’, Ani’s journey has been marked by creative growth, pop influences from her time with The Pipettes and Genie Queen, and inspiration from icons like Giorgio Moroder and Jean-Michel Jarre. Following a life-changing health diagnosis in 2020, Ani’s latest release is a lush, introspective exploration of resilience and transformation. We caught up to discuss her life and the importance of music.
Ani Glass, thank you for taking the time to answer a few questions. Can you tell us about your earliest memories of music and what inspired you to pursue a creative path initially?
My mum has been a member of the socialist street choir Côr Cochion Caerdydd (Cardiff Reds) for over four decades. They sing and campaign every Saturday and Tuesday morning outside the market, and when I was younger, I used to go with her, so I learnt all the songs. This instilled in me the power and impact that singing for a cause can have. I was also an Irish dancer for 15 years, so from an early age, music also meant dancing and movement. So, I think those two things combined, the idea of making music with meaning and purpose, as well as making music to dance to, has been very influential.
Who were your first musical mentors or influences growing up, and how did they shape your early approach to songwriting and performance?
When I was really young, my uncle taught me the piano. I wanted to be good, but I was too lazy to practise. So, it wasn’t actually until I was in the group The Pipettes that I really met my first musical mentor, and that was Martin Rushent – our incredible producer. From him, I learnt a lot about song structure and production, and the art of recording and getting the best performance from an artist.
You’ve cited 1980s icons like Giorgio Moroder, Vangelis, Jean-Michel Jarre, and Arthur Russell as inspirations. How did their work impact your development as an artist and your decision to learn new instruments, like the cello?
I think my particular love for 1980s synth music has been a key driver for me in making music. I’m often driven by the work of producers, sometimes more than artists, and so, I tend to follow their work a lot more. But, I’ve always been drawn to the creative scene in New York during the late 70s and early 80s, with musicians and artists like Laurie Anderson, Philip Glass, Steve Reich, and Arthur Russell, etc. You may not hear their music directly in my music, it’s more about presenting that sense of curiosity and creativity – those are elements that really inspire me.
Your debut album ‘Mirores’ was your first step into self-taught recording and production. What motivated you to take on this challenge, and what were the biggest lessons you learned from the process?
Before I made my first album, I can’t remember being particularly drawn to the art and process of production. For me, it was something that I fell into more out of necessity than anything else, but I had reached a point where I was listening to music differently. I started to pay more attention to the broader sonic landscapes, the sounds, the synths, and to the finer details. In essence, production made me listen to music differently.
Just before the release of ‘Mirores’, you were diagnosed with a rare benign brain tumour. How did that diagnosis and the journey that followed shape your perspective on life and music?
I think that each time we are faced with a life-changing event, it always influences how we approach anything, and that includes how you express yourself creatively. It wasn’t something that I had noticed immediately, but I would say that for me, bleak and challenging times make you appreciate the arts even more.
‘Phantasmagoria’ is described as a deeply personal and introspective album. How did your experiences over the past few years influence the themes, lyrics, and sound of the record?
Once I released my album in March 2020, and then when COVID hit us all, I just kept collecting thoughts, sounds, and ideas for a new body of work. It was through this process of learning about new things and digesting a lot of new information that I was able to begin articulating all the changes that had happened not only in my life but for everyone. It was a very strange and surreal time for us all, and I wanted to capture that mood in the record, and for it also to reach a place of hope and joy. I’m quite instinctive with the way I make art, and so the sounds and sentiments that I present in each song simply reflect how I felt at that particular moment.
The album incorporates multiple languages and even British Sign Language. What inspired you to bring such a diverse range of languages and media into your work, and how do you hope this resonates with your audience?
I don’t tend to be too prescriptive in terms of which languages I use; I just react to the music and whichever language comes out then so be it. But in terms of incorporating BSL and captioning into live shows – this is intentional. My daughter, who is now 18 months old, was born profoundly deaf and so her first language is British Sign language. After we found out that she was deaf, I felt that I couldn’t present my music in the same way anymore. I wanted to create a space where she could feel included. It’s all work in progress, and I’ll keep developing how I do this, but it’s now a really important part of my performance.
The production of ‘Phantasmagoria’ is intricate and lush. Can you walk us through your creative process in the studio—were there any particular challenges or breakthroughs that stand out?
Thank you very much, that’s really kind. I don’t think I have a particular routine, but the process generally begins with me playing around on the keys or the cello, trying to find a melody. I tend to start most songs with the melody as the foundation. There’s one song on the album that had around 20 mixes because I wasn’t happy with how it was sounding! Although working like this can be quite exhausting, none of that process is a waste of time for me because I always learn something along the way. I played cello on this album for the first time, and so working with a new instrument, having just learnt to play, was really exciting and made the whole process far more dynamic and interesting. I co-produced this album with Iwan Morgan – working with him has been an absolute blessing. He’s the kind of person who just really understands how to interpret your creative ideas – he knows how to get the best out of a creative situation so you always end up with something better than you thought you would or could. I’m really grateful for that experience – diolch Iwan.
As a woman in the music industry, what obstacles have you faced—both professionally and personally—and how have you overcome them?
Most uncomfortable situations for me have happened before, during, or after live shows. When I first started the Ani Glass project, I would often have men, and only men, come to talk to me after my shows to tell me about the equipment that I was using. I would be told how I should use them, what I was doing wrong and how they themselves would use them. As someone embarking on a new creative project, it was just really annoying more than anything, but far from being intimidated, it just really pissed me off. But that doesn’t really happen nearly as often as it did, thankfully.
Your live performances are known for their immersive and multi-sensory elements. How do you approach translating the album’s themes to the stage, and what do you hope audiences experience at your shows?
Every single element of this album; from the music to the artwork to the videos and the merchandise, all form part of one vision. The live shows are of course an integral part of that vision, and this is the time when I get to bring this world to life. I’m working with a video director called Aled Victor (who filmed and edited my recent music videos) to create visuals which will include captioning so that deaf audiences can feel included when they come to my shows. I want it to feel quite theatrical and immersive, sort of like an escape and a retreat from the outside world. I want people to leave the show feeling happier and lighter.
With ‘Phantasmagoria’ launching and new projects on the horizon, what can fans look forward to next—are there any upcoming concerts, collaborations, or creative directions you’re excited to share?
I’m launching my album on the 26th of September, and I’ll be playing a show in my hometown of Cardiff on that date. I’ll also be playing shows in London, Carmarthen, Aberystwyth, Wrexham, and Swansea with other dates TBC. This album has been a labour of love for over 5 years and what with releasing the record myself, most of my energy is spent doing my best to promote my new body of work. But I can’t wait to play these new songs to a live audience with a cellist and the new visuals – it’s going to be fantastic.
For further information on the artist, please visit the following links:
- https://aniglass.bandcamp.com/
- https://www.instagram.com/ani_glass/
- https://www.facebook.com/aniglassmusic
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