FMA

Australian singer-songwriter Grace Sewell has released her debut album, FMA, today on RCA Records/Interscope. The 18 year old burst onto the charts last year with a cover of Lesley Gore’s 1960’s classic ‘You Don’t Own Me’, featuring Bay area rapper, and Miloco client, G-Eazy.

Collaborating with writers and producers from around the world, Grace spent a lot of time in London working on this record, holding sessions in Miloco’s The Church, Sleeper Sounds, The Bridge, The Red Room London, and Westpoint, attended by Ben Thackery, Lewis Chapman, Eddie Serafica and Joseph Rodgers.

Grace’s Miloco studio of choice turned out to be north London’s Livingston 1 where she worked alongside British producer Parker Ighile, and engineer Joel Peters. Miloco engineer Billy Halliday and Livingston’s assistant Tom Archer were on hand for these sessions, working on music that has appeared both on Grace’s 2015 Memo EP, and FMA.

Tom Archer spent a month or so with Grace in Studio 1 over the course of just a few weeks, on what he says are by far the longest sessions he has worked on to date, and crediting the entire team with their incredible work ethic, particularly engineer Joel Peters. “Joel’s one of the most efficient engineers I’m fortunate to work under,” says Tom. “He’s got an incredible mix of efficiency, stamina and drive – mixing and editing in every spare moment.”

Grace and her team in Livingston Studio 1

As well as recording piano and guitar, emphasis was placed on vocal recording for many of the album tracks, including the album’s lead single ‘Hope You Understand’.  Grace’s vocal chain was Livingston’s Sony C-800 tube condenser, into a Chandler TG2 pre-amp, then through aTubetech CL1B compressor. “The C-800 is an incredible microphone for clarity and presence,” Tom says, after hearing the final tracks.”It’s great for pop vocals and I’m thrilled we’ve got one here as part of our arsenal. The TG2 adds further full-bodied richness and airy tops. The Tubetech (last in the chain) was controlling Grace’s belts and is a very smooth, clean, forgiving compressor.”

Grace & Labrinth working in Livingston 1’s live room

Speaking on the production process, Tom had high praise for Parker, “he was great to work with. He had his ‘station’ by the desk, working on different beats on FruityLoops – a prime example that it really doesn’t matter what DAW you use. He’d sit there quietly working away for 20 minutes, then present this crazy beat to the room which they’d start work on arrangement and vocals almost straight away.”

You can buy FMA on iTunes by clicking the badge in the header, or stream on Spotify below.