Fieldings (aka Lucinda Hearn, formerly The Understudy) is a producer/singer from Sydney. She is concerned with small movements and repeating patterns – those moments where the mundane becomes sublime. We were lucky enough to have a chat with Fieldings and feature her as this weeks All I’ve Heard Muse.

Fieldings came to life in 2014, with electro/tweet performance called Feed (for Art Month 2014) and an EP released in June (Wild Release, Vol I). In September, Fieldings released her second EP (Wild Release, Vol II) and was selected to play at BigSound, alongside D.D Dumbo, Holy Holy, Bad // Dreems & DMAs.

1. Your latest track ‘A Pleasant Stutter’ has been described as super cinematic and worth a careful listen, how would you describe it?

You know, this song (to my mind) threatens to reveal a little bit too much about my slimy underbelly. I’ve said before that there’s something intoxicating about other people’s intimacy – or at least the act of wondering about it. A Pleasant Stutter is an exhortation in the direction of that idea. 

2. How did Fieldings come about and what is the background behind it?

Fieldings is part tender living-room project, part mild revolt against the omnipresent male producer in women’s music, and part experiment in how much you can do with the Garageband flute sound.  

3. What does Fieldings have planned for the year ahead?

In July/August I’m moving to NYC for a time. I have a couple of exciting collabs lined-up over there and I’ll also be finishing my album. In the immediate future there’s also a weird pop night I’ve curated called Strange Cuts, and a great show coming up with Seja and Alyx Dennison

4. On a typical Sunday what does Fieldings get up to?

On Sundays I spend too much time in bed, watch too much BBC on Netflix and (because I am a grown-ass woman) I do my laundry  –  that’s the general vibe. This past Sunday I added “visit cemetery in Bowral” and “eat too much pot brownie” to the list. 

5. Where do you draw inspiration from whilst writing?

All sorts. Lots of rather small inconsequential things. Often I hear a snippet of conversation or bit of podcast and taken out of context it becomes aesthetically pleasing and sort of profound and a song will build out from there. More and more I try to focus on very specific, little things that spill over into something that might hit you in the solar-plexus if you’re facing the right way: A walk to a subway stop with some new love, or day time nap I woke up from too slowly and hallucinated.   

6. Who would you love to collaborate with in the future?

In the realm of absolute no possibility I think it would be amazing to work with Frank Ocean. He’s such a singular lyricist, and his sense of melody is really unexpected. In the realm of some possibility, I’ve talked with Anatole about lending my vocals to a track, and also tabled writing with Kira Puru at some point. I’d love to make sure those things happen this year. 

7. Which artist are you currently listening to on repeat?

Sufjan Stevens’ Carrie and Lowell is the standout for me so far this year. Also, Leapling’s Vacant Page and Down Time by Totally Mild. 

8. Do you have a hidden talent that no one knows about?

If ever I am good at something, there is no way I don’t tell people about it. As far as talents that aren’t related to my various day and night jobs … I am really good telling how long it will take me to get from one place to another without using Google Maps.

9. What’s the weirdest interview question you’ve ever been asked?

Once in an interview on air for ABC 1233 in Newcastle I was asked if I was a ‘little bit batty’. Awkward for all. 

10. If you were at Coachella right now who would you be rocking out to?

Let’s be clear, I haven’t rocked out since maybe the mid-aughts. That said, I would love to see Perfume Genius, and I’d love to see Mac DeMarco