As a member of Ekova, Dierdre had come to worldwide renown for her imaginative, wordless vocal flights of fancy, set against music that combined old-world textures with new-world technology, bridging the gaps between ancient and modern, East and West. "After ten years of working in a band situation, we'd all grown in different directions," Dierdre says of Ekova's split. "We'd all been really focused on this one project for a long time, and we'd learned a lot from each other. But we'd all matured, and the time had come for each of us to try something new, something more personal."
For Dierdre, creative freedom provided the opportunity to wholeheartedly embrace the electronica that had gradually become an important part of Ekova's eclectic musical mix. In a sense, it was actually a return to her roots: "Before I came to Europe, I was a Goth hippie!" she explains, laughing. "I was clubbing three times a week, if not more, and just dancing. Then when I started making music, I just gave myself completely to it. And now, making more danceable music and being onstage with electronic music, I'm dancing more and more. I feel like I'm going back to being more myself. And electronic music is really part of who I am, even though I set it aside for a while to learn other things."
Where her earlier songs were often born from a spark created with acoustic guitar or cello, on One , Dierdre generated much of her material with sequences she developed on a computer. "I did a lot of the programming myself," she says, noting that the writing process itself was actually much the same. "It always starts as something very simple and minimal, with a lot of space. For me, that's the ideal situation for composing vocals."
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