Curly Mouth’s Watermelon & Ginger arrives less like a conventional album release and more like the culmination of a long, unfolding process—one shaped by patience, relocation, experimentation, and an almost stubborn commitment to letting songs reveal themselves on their own terms. Spanning five years of writing, revisiting, and reworking, the record sits in that rare space where time becomes part of the composition itself, quietly embedded in every arrangement and lyrical turn. Across this conversation, Curly Mouth reflects on an approach to songwriting that resists urgency in favour of intuition, where genre fluidity, lyrical discovery, and self-produced craft all feed into a larger sense of artistic evolution. From bedroom beginnings to a more expansive studio environment, Watermelon & Ginger ultimately feels like a document of becoming—both musically and personally—anchored by a belief that the only real constant is forward motion.
Watermelon & Ginger has been described as a five-year journey—what kept you returning to it over that time?
I was determined to hone my guitar skills and develop a style that I felt would take my writing to a new place. As I got deeper into writing the songs, I realised I would need to be patient and record the songs only when I was ready to do them justice. The lyrics took a long time to reveal themselves and I am happy I took the time to find the right words rather than trying to rush into anything.
How would you define the core identity of Curly Mouth at this stage of your career?
At this stage of my life/career I would describe Curly Mouth’s core identity as hungrier than ever to create and grow as a songwriter and composer whilst making a conscious effort to enjoy and thrive within the process of it all. Having matured in the last few years and now being settled into a new phase of my life, I feel clear headed and focused on my future musical pursuits.
The album blends folk, jazz, rock, and experimental textures—how intentional is that genre fluidity?
I love blending genres – the commitment to exploring and mixing genres is very intentional, but as to the outcome of the individual songs – it’s all about following my instincts and trusting my ideas. I don’t have expectations, just a willingness to explore.
What does your songwriting process look like from first idea to final arrangement?
My ideas always develop from chords and melodies I sing whilst I play my guitar. I play them on repeat and slowly imagine the song with arrangements. I quite happily keep this up for months (sometimes years) until I feel the itch to commit to recording the songs. By the time the song is completed with its full arrangements it just feels like a very natural progression. It’s a really lovely feeling listening back to a song that only existed in your head for so long.
How did the transition from bedroom production to a professional studio affect your sound?
I would say it allowed me to get the most out of my instruments. I am really pleased with the drum recordings and how full they sound in the mix. I feel like all my previous albums have been sketches and illustrations and with this album the songs are all canvases framed and hung on a gallery wall. The studio didn’t necessarily change my style, it just helped illuminate the individual instrumentation and overall clarity of my sound.
Were there any moments during recording where you felt the album “click” into place?
I record pretty much everything myself, and so it was very administrative. I laid down all the guitars for each song, followed by drums and then bass. Once I had the holy trinity of guitar, bass and drums I really felt the momentum shift and I could focus on the textures and decoration of each song. This is the exciting part of recording – but you have to put the work in first – you can’t decorate a cake without baking it.
The record feels very movement-driven—was travel or relocation a conscious influence?
It was just the nature of what was happening at that stage of my life. I think, for me, relocating was not a conscious influence on the music but the consequences of moving about certainly were. I was feeling exceedingly isolated over the years of making this album and I was getting further away from the person I was. At times of uncertainty and change I came to confide in my songs because they were the only thing that kept me focused and in tune with my subconscious.
How do lyrics and instrumentation interact in your creative process—does one lead the other?
I care deeply about lyrics. I always write melodies first. As I sing my melodies I will often just make up lyrics as placeholders so I can get an idea for the structure and the feel of a song. What was interesting in this album is that I quite often grew to enjoy my ‘placeholder’ lyrics and I searched for meaning in them and developed the lyrics from there. The vocal melodies certainly influenced the movement and rhythm I wanted from the lyrics and the instrumental arrangements.
Which artists or records shaped the sonic direction of Watermelon & Ginger?
A big influence for this album was Brazilian music. I loved the fleeting chord movements of bossa nova guitar and wanted to see if I could find such buoyancy and rhythm in my own writing. An album that stands out during the early developments of this period of writing is Brasil by Joao Gilberto, Caetano Veloso and Gilberto Gil.
What role does nostalgia play in your music, if any?
I tend to put a lot of effort into not getting too nostalgic as a person but it takes a lot of energy out of you trying to avoid it I think. I try to move forward and focus on the now. Perhaps this anti-nostalgia attitude stopped me settlling anywhere for too long over the last few years. I am sure it also led to me feeling burnt-out and tired too hahaha.
How do you maintain cohesion across such a stylistically diverse album?
I think the playful nature with which I come at my songs helps to tie everything together. I think expression at its essence is a very personal thing and I’d like to think that I always express myself through my songs. Whether it’s a lyric, a chord or a melody – it’s come from somewhere within me and I don’t shy away from it – I hold onto it and believe in it.
Were there any tracks that were especially difficult to finish or let go of?
The song ‘The Flu’ was hands down the toughest song to finish and let go of. From the moment I wrote the chords and melody, I knew that lyrics would have to be deeply personal and emotive. I waited many years to find the right words. The words were honest and truly conveyed how I was feeling. I am proud of that song.
How do you want Curly Mouth to evolve after this release?
For me it’s not important how I evolve, it’s just important that I am evolving. I just want to continually be shaped by my environment, my routine and my curiosity. As long as I feed that part of me, the rest will take care of itself. I write songs and compose music simply because I need to. It’s a commitment to myself and a lifestyle.
What does this album represent for you personally beyond the music itself?
For me, this album is a demonstration of a commitment to and an execution of an idea no matter how long it takes or what obstacles come in the way. This album truly taught me patience and persistence. Time reveals things to you slowly, it can’t be rushed.
If someone discovers Curly Mouth for the first time through this record, what do you hope they understand about your work?
I just hope they understand that my music can change genres and styles but it will always be written with intent, sincerity and a playful nature.
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