At the weekend I had the pleasure of releasing 'Let One Bird Sing', the second collaborative album between David Cordero and Anthéne. It follows their debut 'Lost Under the Sea' on Home Normal back in 2023 and is a further example of an album created through patience and intuition. For this blog post, I asked David and Brad Deschamps (Anthéne) a few interview questions to dive a little deeper into their work.

You can learn all about Let One Bird Sing from the artists, as the pair reflect on their creative process and the influences that informed their work together. There are a few tracks to check out as you read via the embedded Bandcamp players along with imagery from the packaging too.

If you like what you see and hear, there's a Bandcamp link at the bottom of the page!

This is your second full-length collaboration together after Lost Under The Sea on Home Normal. How did your creative relationship evolve in making Let One Bird Sing?

DC: With Lost Under The Sea we discovered a very natural connection - a calm and patient way of building sound together. On Let One Bird Sing, that connection felt even more direct and intuitive. We understood each other better this time, so everything flowed in a more organic, comfortable, and genuine way.

BD: I think we understand what we both bring to the table and have a better sense of what kind of ideas we should share that would complement each other. We definitely left plenty of space in these recordings to allow the pieces to still be minimal, while still containing melody and texture

You worked by exchanging small musical sketches; a patient and subtle process. Can you describe how a typical piece would begin and take shape between you?

DC: We usually send each other short ideas or fragments, and then each of us continues working on the other’s material. Over time, those pieces evolve - we add, remove, transform... until they slowly become finished tracks. It’s a slow and delicate process, almost like having a wordless conversation.

BD: One of us normally shares an idea - could be a few layers, could just be a simple loop and then the other person takes it from there to add their own ideas. From there we might add or remove layers after some discussion, or tweak/manipulate things. Autumn Song definitely had a few variations and ended up quite a bit longer than it originally was. The minimal kind of stretched out ending was something that came later.

The album is deeply reflective and organic as many expressed at the recent listening party. How do you balance the electronic sounds with the warmth and intimacy of guitar textures and field recordings?

DC: I always try to make electronic sounds feel alive - soft, a little imperfect, full of small movements. I tend to work with many layers and textures, allowing them to interact and breathe together. The idea isn’t to hide the electronic side, but to let everything coexist naturally, as if the sounds were quietly conversing with each other.

BD: For me the electronics and guitar kind of blend together - I'm often unsure when I listen back later if the original source was guitar or electronics anyway! I think even when David is playing a modular synth or an electronic instrument it sounds organic and warm. Subtle melodies and textures, it works so well with anything I might do on guitar.

David, your music often draws inspiration from nature and daily life, as can be heard in Manto where you’d recorded seagulls in Cadíz. What’s it like living in this city and how does it influence your music?

DC: Cádiz is a peaceful and beautiful place, surrounded by the sea. The sound of waves and seagulls is part of my everyday life, so it naturally finds its way into my recordings. The city’s rhythm is calm and serene, which helps me stay connected to small details and to silence. I think that’s where much of my music comes from.

Brad, you’ve said the title was inspired by a line in a poem by Faiz Ahmad Faiz. Could you tell us more about that connection? How did you discover Faiz’ work and could you expand on the impact it had on you?

DC: I came across his work by accident - David and I were discussing the theme for the album and I was looking into some poetry for inspiration. Someone I look to a lot is Rainer Maria Rilke and somehow that led me to this poem When Autumn Came and the final lines "Give some tree the gift of green again. Let one bird sing." really resonated and felt apt for this autumnal feeling album.

Do you each have a favourite moment or track from the record? One which captures the essence of your collaboration?

DC: For me, Manto represents that essence. It feels like a quiet conversation between two distant places - fragile, yet full of light.

BD: For me the last two pieces Manto and Canopy are my favourite pieces. They both are slow moving but still melodic and build subtly. Particularly Canopy - I knew it should be the final song on the album as soon as we finished it.

Having now worked together across two full albums, do you see future collaborations on the horizon? And could you tell us a bit about what other projects you’ve got on the way?

DC: I’m sure we’ll work together again; everything with Brad happens very naturally. For now, I’m finishing a new solo album for my label, Noray, which will be released later this year. It’s a very minimal and personal work that I’ve been shaping slowly over many months. I’m also preparing several digital singles and EPs with other musicians, and there are more releases planned with Home Normal for 2026.

BD: I'm sure we'll connect again for another collaboration, it's lovely working with David! It all comes together really naturally. I have a collaboration with Ian Hawgood (as Rosales) out in November and a couple other things lined up for next year. Been doing some more live stuff as well which has been fun!

'Let One Bird Sing' is available in a limited repress of 100 gatefold vinyl-effect CDrs, as well as a digital option in a range of high quality format options. You can take a listen to the album in full or buy a copy HERE!