By Andrew Bansal
Los Angeles based cellist and music composer Alison Chesley, also known by her stage moniker Helen Money, recently released her third full-length solo album called ‘Arriving Angels’ on Profound Lore Records. You must be wondering, why is a cellist being featured on this website? But trust me, the music this woman composes on her cello is heavy and intense in its own unique way, something different from the norm but still the kind of music rock and metal fans can enjoy, provided they are receptive and open-minded enough. Besides her three-album solo career she has worked with a ton of bands and musicians including Anthrax, Russian Circles, Yakuza and her previous band Verbow. A few days ago, I talked to her about all these things in an interview which is posted below. Check it out, and if you’re in the Los Angeles area, make sure you attend her show tomorrow July 17 at the Five Star Bar ($10 cover, 8 PM, ages 21+).
Firstly I’d like to talk about your latest album Arriving Angels. For people who haven’t heard it yet, how would you describe it?
I would say it’s dark, and at times it sounds like a cello, other times it sounds like a guitar. It’s emotional, visceral and heavy. I’m sorry, I have a hard time describing my music (laughs).
Since the release of the album, how have you dealt with playing the new songs live?
It’s been going great! I really love playing these songs live. They’re really intense but I enjoy that and I feel like when I play for the audiences that I’ve been playing for, they really dig it. The songs have found a connection with people, so the shows have been really good.
And I believe you have shows coming up as well, including the Los Angeles show at the Five Star Bar on July 17?
Yeah! I’m really looking forward to that one at the Five Star Bar. It’s with Lycus, Lake Ov Blood and Trapped Within Burning Machinery. So that will be a lot of fun and it’ll be nice to play a metal show. I’ve got another one on August 9th at this place called Sanctuary in Santa Monica, and I’m going to be doing a show in Chicago with this band Mamiffer. So yeah, I’ve got a bunch of different things happening and probably some touring later in the fall.
That’s great. So, basically what I mainly wanted to ask you is, what is it like doing your own albums as compared to the various session gigs that you’ve done so much of over the years?
Well, I primarily do my own stuff and that requires a lot more energy. It’s harder, you have to generate all of the material from the beginning. So that’s the main challenge. When I’m working with somebody else, they’ve already conceived the music and I’m just adding something to it. But that’s kind of fun to see what other people come up with and to see how I can enhance it or make it even more what they wanted it to be, just add a little something. Sometimes people have ideas for me and I always enjoy that. I also love being in the studio and recording. I just love it. I love tracking, I like working with people, and the whole of it. So the two processes are just very different. One is very intense and personal because it’s just me, and working with other people is more of a fun thing.
Your solo career is still relatively young, I’d say. Arriving Angels is your third album and the first one came out in 2007, even though you’ve been a musician for a lot longer than that.
Yeah, well I was in this band called Verbow. I started working with the guitar player on that in ’93, and then I was pretty committed to that all the way up till 2001. After that, we called it quits and I started working on developing my own thing. So I was doing my own thing and it was kind of all germinating and happening before I recorded anything. I feel like I’ve been doing the solo thing for a while now. It doesn’t feel very new to me, but there also was a long period when I was a member of a band and wasn’t doing solo stuff. I didn’t see myself ever doing solo stuff. It just kind of happened.
So, do you miss being part of a band?
Yeah! I do, actually. I’m kind of looking forward to playing with other people again and I’m starting to think about making that happen. It’s nice to work with other people and bounce ideas off each other. It’s good to have their company, and to share stuff with them that comes with being a musician, like booking shows and traveling together. I did this tour last March on the East Coast and I was by myself the whole time. Driving to the gig by yourself and making sure everything is in order, that’s a lot of work. I mean, I love being able to play my music to people and the fact that it’s just me. It’s very personal and intense and I really like that. But I also miss having the company of other musicians (laughs).
Other than your solo shows, do you have anything set in stone for the near future in terms of working with other bands or musicians?
Not at the moment! I don’t have anything but I’m thinking about it and I’m taking my time with it. I’m not in a rush and I’ll do something that absolutely feels right. I’m not worried about it. And also, I just moved from Chicago a couple of years ago so I’m still getting to know people out here in Los Angeles. That takes time too.
Coming back to your live show, again for people who aren’t familiar with it, what is it like?
It’s just me, playing my cello through my pedals and an amp. It’s pretty full-sounding. I’m able to generate a big sound with some distortion phases and looping pedals. Basically it’s just me and my cello (laughs).
That’s very unique and I would urge people to see your live show. In the world of rock and metal, have you come across any good use of cello? The band Apocalyptica from Finland is the only one I can think of.
Yeah, most people know that one, but there’s a ton of really wonderful string players. I can’t think of them all and I don’t know them all, but for instance Julia Kent, who’s in New York. She’s not a metal player. I think there’s a band in the Bay Area that has a cellist, kind of a metal band but I can’t remember their name at the moment. But there are many more than you would think. I feel like string players don’t want to just express themselves through classical music anymore, so they are exploring other genre.
You mentioned that you moved from Chicago to Los Angeles. What’s that transition been like for you?
I lived in Chicago for about 20 years but I actually grew up in Los Angles and moved to Chicago in ’92. So I really feel like I’m a Chicago person now because that city is really where I became a rock musician. I have strong ties there, but I moved back here a couple of years ago to kind of be closer to my parents who are elderly now. So I just wanted to help my brother and sister in taking care of them. So it’s hard to uproot yourself from a city where you lived for 20 years, and the older you get, the harder it is (laughs). I miss Chicago a lot, but I’m open to Los Angeles. At first it’s hard to get a handle on, and can take some time. So I’m trying to just explore a little and be patient. I know there are great musicians out here. Some of my favorite musicians came from LA, specially in the punk scene. So yeah, it’s just different and I’m trying to accept it (laughs).
Your mention of Chicago also reminded me of a band you’ve worked with, Yakuza. I really love their music.
Oh yeah, they’re great guys. Their music is really intense, they’re really committed to it, and they’re amazing players. I played with them a few times live and recorded on a couple of their albums. They’re all great guys and Bruce Lamont is really quite the entrepreneur. He’s involved in a lot of different things. I think he started a new label with Sanford Parker and they have a new band too, called Corrections House. That whole scene there is really cool, vibrant and thriving. It was nice to be a part of it and I still feel like I’m a part of it in a way even though I’m here.
Final thing I wanted to ask you is, you’ve composed music for other artistic fields like film and theatre. Has that taught you something that you could bring back to your rock music?
Yeah, actually. I remember this one project in which I was writing music for this dance company. I came up with an idea and that turned into a song on my second record. I think doing stuff with filmmakers and people in other disciplines is interesting, because you get to see how they think about things. So I feel like that always makes me generate ideas that I otherwise wouldn’t be able to come up with. So yeah, I totally learned from those experiences.