Allen Farmelo has begun to call himself a “recordmaker”.”We all do everything these days,” he says, “and the old terms like producer, engineer, mixer, carry so many assumptions that aren’t really accurate these days. They have their roots in a much more ordered hierarchy that’s rarely true today.” As a record maker, Allen has worked intimately with everyone from Ian Gillan of Deep Purple to The Cinematic Orchestra. Allen has also worked with a slew of rather huge pop artists that he doesn’t put on his discography because, as he puts it, “Fattening up one’s discography with incidental big-name sessions doesn’t tell the real story. I just put the stuff on there that’s really got my fingerprints all over it. That way people know what I’m truly inclined make.” Restlessly pushing for the return of high fidelity as a popular interest, fighting to raise the female participation in our field beyond 5% with his publication Pink Noise (co-edited with Catherine Vericolli), writing classic essays about recording like his “Sonic Varnish” piece (he coined the term), building one of the most beautiful recording consoles ever with François Chambard of UM Project, launching Elska, which is known as Bjork for Children, with his life-partner, and now running the decidedly artsy record label Butterscotch Records, Allen has eschewed the temptations of mainstream success (including a nicely salaried position at one of the Big Three) to pursue endeavors on the fringes where he seems to thrive. He recently bought a one room schoolhouse built-in 1873. About an hour from New York City, and has relocated home and studio to the schoolhouse where he’s become obsessed with gardening.

Photo by Evelin Cheugn (taken at The Bunker Studio in Williamsburg, Brooklyn NYC)

WCA #031 with Allen Farmelo