Paula’s debut, Relaxed Fit, is an album that you pay what you want for, it’s out on Movie Star Records and we bloody love it. The man behind the name is David Carriere (yes we ask him what that’s all about) and we are still listening to this record weeks after its release. So before, or after, you read this interview you might wanna head here and get some instant gratification.

Bowlegs: The record has a raw production quality, where do you record?

David: I have a dedicated room in my apartment where I record music. There is also a kitchen, bathroom and some other people in my house too. I like to push the instruments and drums hard against each other so they fight for first place.

Bowlegs: Do you find it harder being a solo artist in respect to knowing when a track is finished, as in done, as in it needs no more tweaking, fiddling, extra synth-lines or anything else?

David: It is easy to spend too much time messing with a song. When it is done, it’s done forever, it is not yours anymore, so you have to be ready for that. I play in a band called TOPS and doing the music with other people is a total other thing.

Bowlegs: We can hear a real hardcore love for 80s synth-pop throughout the record: what bands from that era do you feel are still relevant and worth checking out or re-visiting?

David: I like big songs like Madonna or MJ hits, but Romeo Void, Go Go’s, Lizzy Mercier Descloux, stuff like that too.

Bowlegs: What’s behind the Paula Moniker?

David: I like when girls sing songs, and then they are like, “Yeah, my name is Suzanne or Linda” or something. People ask if I named it after one of the real Paulas I know, but why would I do that? It stands for Phantom Access ULA (ohh la la).

Bowlegs: What’s your favourite piece of musical equipment?

David: All of the guitar on the record I did with an early 60s solid-body Kay brand. They were the kind you could order in a Sears catalogue. It weighs like nothing and is undersized, so I usually am wearing it when I am home.

Bowlegs: We found it refreshing to hear an album with such a strong sense of melody, what’s the song-writing process?

David: Melodies are super important. I like when everything is arranged around some kind of voice. I am disenchanted by noncommittal ghost singing on top of computer beats. It feels like Jacob Marley is in my fireplace. Usually I start by laying out where I want the ground of a song to go harmonically, from there I put what I want on top, step back and trim.

Bowlegs: Are these songs written from personal experience?

David: Yes. Most of the time it probably seems vague or unclear what the songs are about. When I sing about somebody I know or thing that happened, as a rule I put a cloak over it. If I feel disconnected, I use that disconnection as a tool. I don’t want to preach to anybody. The idea of ‘song-writing’ is cool to me, so sometimes I just write something that sounds like a song I would listen to.

Bowlegs: How did hooking up with Cadence Weapon for the track Change the Subject happen? Was it good to hear rapping across the track?

David: I have lived with Roland for the past two years, but for some stupid reason we never did a track together until Change the Subject. I just had to cross the hall to get at him and it was worth it – third verse rap in a pop song is dope!

Bowlegs: What is the plan for 2012?

David: TOPS is putting out our first record, Tender Opposites, at the end of February, so we are going to tour for a while. I am recording another Paula record right now. I want to put it out this summer.

Bowlegs: Name a few records you’ve been highly impressed with of late?

David: Roberto Cacciapaglia’s The Ann Steel Album; Stevie Wonder’s Songs in the Key of Life; and Romeo Void’s Warm in Your Coat.