Orchid Mantis is the experimental bedroom pop project of Atlanta-based artist Thomas Howard. Since the project’s start in 2014, Howard’s signature lo-fi sound has beautifully inhabited the space that separates ambient compositional structures and pop songwriting, frequently utilizing obscure samples and unique recording techniques. Overall, his sound evokes the same nostalgia as that of old photographs and precious, irreplaceable mementos, of dust-covered records and linens bleached by the sun; each thoughtful track proves that these melodies and narratives have arguably always been within Howard’s subconscious.
How Long Will It Take is Howard’s seventh full length album, primarily about the reality of loss as well as the often lengthy and painful process of letting go; but yet, just like Howard’s past discography, there’s still an expanse of hope that lies just under the surface of somber wistfulness, radiating outwards in all directions like light caught under ice. Ultimately, the album is a sublime oscillation, looking back to the past as well as towards the future. However, at the same time, HLWIT is aware that it’s hovering within the vast, boundless ether of the present – and that this, too, can be an origin point for epiphany.
We were lucky enough to interview Howard about How Long Will It Take. Read while listening to a few of our favorite tracks below.
Kid With A Vinyl: First, it is an honor to interview you again! Our first interview was back in 2020, right before the release of your stunning fifth album Far From This World. So, our first question, while admittedly a simple one, is an important one too, given all the chaos that has unfurled in the world since then: How have you been?
Orchid Mantis: These last 2 years have probably been the most eventful of my entire life, but I don’t want to ramble too much. I’ve been traveling a lot, handling a lot of ups and downs. I nearly moved to a different country! I had a lot to process with this album, but those events are in the past now & lately I’ve been happier than I’ve ever been. I have a lot to be grateful for – including the fact that, to my continued surprise, so many people seem to have connected with my music. That really motivates me to stay focused and productive, to make something deserving of the audience I have.
KWAV: Congratulations on the upcoming release of your seventh album! In what way(s) does How Long Will It Take differ from your 2021 album Visitations? Your discography as a whole?
OM: Musically, I think my previous album Visitations is a little bit more consistent in sound – I tried to do something different by sticking mostly to acoustic guitar instead of electric. It’s a pretty low-key album, whereas with this one I was going as maximalist as I could. Pretty much every song sounds different from the other. The lyrics to both albums are very conceptual, Visitations focusing in on a new relationship, while HLWIT processes its dissolution. I also worked with a mixing engineer for the first time, which I really think elevated the clarity of these songs. It was way more frictionless than I thought, mostly due to Conor being endlessly understanding about all the small tweaks and revisions I wanted – we were in constant communication about what was working & what needed to change. I was probably frustratingly particular but we’re both so happy with the finished product. It paid off in the end!
KWAV: Movement, memory, and temporality continue to be heavy themes in your music. How do you go about portraying these abstract ideas through sound? Do you ever feel limited by this medium?
OM: I think it’s accidental in that I don’t set out to explore those themes, my brain might just be fixated on it. I’ve talked in past interviews about the relationship between the obscured, blurry textures of my music & lyrics focused on past memories. They go hand in hand, reflecting each other – I’m trying to create a sonic equivalent to that feeling of being only able to recall something vaguely. Movement was a big deal on this album, I think maybe that’s why the songs are super inconsistent in sound. I have a lot of field recordings from different locations throughout, and tried to write songs around different places I had stayed and certain moments in time. I wouldn’t say I feel limited by music, there’s millions of sounds and approaches I haven’t tried yet. That said, I do have a strong interest in the strengths & unique qualities of other mediums like film photography, video, games. Especially games, I’m working on a really short project right now that is honestly first priority for me. Certain ideas I have just don’t work in music, but I have to get them out somehow so I’m trying to expand to other forms of art for sure. It’s all the same thing to me, as long as I’m creating something it’ll be enjoyable. Music will always be my favorite though, because you can write and record so quickly. It’s like instant creative gratification, haha.
KWAV: Your bio on Bandcamp says that you make songs about “forgetting,” a sentiment that feels lighthearted given the immense thought and care you put into preserving certain feelings, memories, and imagery. What does the process of “remembering to forget” mean to you when it comes to periods of time asterisked by grief or loss?
OM: Hmm. I guess the intended goal is to remember, process, preserve and then forget. It might seem contradictory to that preservation element, but I have a poor memory in general so I’m always worried about forgetting. Making music about a particular time in my life lets me turn the memory into something truly permanent, and thereby allow myself to forget without fear.
KWAV: We could easily talk about the frustrations during composition/recording, but alternatively, what brought you the most joy during this process?
OM: Honestly, I’m always having the most fun when I’m starting the album. Just creating new projects & getting into a state of not questioning myself, seeing how much of a song I can put together from scratch in 2 hours. Obviously there’s a lot of development after that, which is the painstaking part. But just seeing a chord progression evolve into a whole world and hearing the vocal melody click into place in real time is magical. That’s the part I’ll never get tired of. It’s actually even better now that I’m more deliberate about my intentions with each song; I used to just experiment and sorta wing it every time, now I have some vision in place & most times I fail completely to achieve it but on occasion I’ll surprise myself.
KWAV: What is your favorite track from How Long Will It Take, or, rather, what are one or two tracks in particular that you hope the listener has a connection with, and why?
OM: I think the two tracks that mean the most to me are “Time Flows” and “It Will Be Alright,” with the title track in close third. This happens often when I’m recording, but Time Flows really felt strongly like it came from an unconscious place. I had some of the lyrics before the instrumental was written, it grew naturally and rapidly out of a drum loop & a bare bones guitar part. I figured out the skeleton of the song over just a few hours. I really don’t know how to describe what I’m trying to say. My favorite songs always feel timeless, like they don’t even belong to the band that made them, like they’ve been around forever. At the risk of sounding conceited, I’ll say for maybe the first time in my entire discography that song really felt timeless to me. The verse melody is my favorite melody I’ve ever written. I don’t know how I made it, for once the lyrics fit perfectly into place and I was able to say exactly what I wanted to say. To describe the confluence of this place I was in overseas, where I knew no one and no one knew me – in the midst of a dissolving relationship, and this strange bliss that hit me on rare occasions. It’s a song describing the few moments of blissful clarity found while processing a really difficult period of life. It’s something about the contrast, like a ray of light breaking through storm clouds.
“It Will Be Alright” has a similar feeling to me of just having really gotten across what I wanted to. The song is supposed to express very directly this true peace I feel having reached the light at the end of this tunnel I had to pass through. It was truly therapy for me writing the lyrics to this album – a lot of lines are just reminding myself there were better times coming, that this was temporary and it would pass. This song ends the album for a reason – after all the angst and existential worry of the rest of the album, this song is supposed to be like a beautiful oasis. I’m so proud of that piano part. It was originally for the game I’m working on, but I had to hear how it sounded with guitar and vocals and at that point it had become an Orchid Mantis song. I’m honestly new to this feeling of actually having something specific to say, and then feeling like it came through clearly. That’s not how I used to record, it was all experimental.
KWAV: What advice can you give to other artists wanting to break into the lo-fi dream pop scene? What have you learned in your years within this same scene/community?
OM: Try to figure out what you, uniquely, can offer. What’s weird about your taste. And then try to make sure you stand out. I know so many artists who are clearly so much more talented than I am and make incredibly well-produced and thought-out songs but somehow they haven’t gotten as much attention. I think one thing that’s really benefited me is I’d like to believe I’ve offered some unusual sounds & interesting choices with audio fidelity, sampling, introducing ambient sections into my songs, etc. The most common complaint I get from people about my music (from people who otherwise enjoy it) is that something I’ve produced is starting to sound too generic. So that should really be an indicator that it’s not about perfecting the genre you like, but instead trying to take it in new directions, even if it’s imperfect and experimental. Don’t be afraid to be weird, that can really be a strength if you combine it with something really accessible. That’s what I’m always trying to do.
KWAV: Speaking about place: if you could pick anywhere in the world for your listener to sit while they listen to this album, where would that be?
OM: On a train or a subway for sure. That’s my strongest visual for this entire album. Doesn’t matter where, as long as you’re heading back home.
KWAV: Finally, what have you been listening to lately? Any recommendations?
OM: A lot of Aphex Twin and similar ambient electronica. I honestly haven’t been listening to much in general, listening to a lot of podcasts and video essays instead. I did recently relisten to Attic Abasement’s Dancing Is Depressing & remembered just how much I love that album so maybe that’s my recommendation. Just an incredible songwriter – Australia is one of the best songs ever written!!
A huge thank you to Thomas for speaking with us!
How Long Will It Take is out now. Today is Bandcamp Friday, so might I suggest buying it there?
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kid with a vinyl 