This November is witnessing something quite rare in music.

Braille Face, the musician and songwriter from Melbourne, Australia otherwise known as Jordan White, is releasing a full-length album every day during the first two weeks of the month - a musical task that would seem practically impossible to most musicians. In 2015, White gave himself the challenge of writing and recording one album per month for the year. This intense way of working came during a relationship break-up while also seeking the antithesis of how his previous band, Playwrite, took three years to record their debut album.

His personal challenge resulted in twelve records of material focused and crafted his perspective as a solo musician, releasing his first album Kōya in August this year which contains songs selected from each of the twelve albums. Kōya's achievement is its multifaceted layers from contemplative piano pieces to abstract electronic productions by which he learned the music recording software, Ableton Live. Jordan spoke to Andrew Darley to explain the method behind his determined way of working and why he has decided to release them all this month.

Making an album every month in 2015, did you want to test yourself as an individual after working in a band for so long?

Absolutely, it took me three years with the band to make one album made of twelve songs and that destroyed a lot of the passion and energy in making music for me. I wanted to do something that was the furthest away from that process and challenge myself in a way that I knew was kind of crazy but would ultimately serve me in the best development of my music and my own pursuit of what being a musician meant.

How did setting a pace like that impact your writing style?

I think a lot of it was down to fear. What got in the way of making music as a band, especially in Australia, was the idea of Triple J (national radio station), and the way a band has to permeate the space in Australia. In a band context you quickly start to get into the headspace of how to get it onto the radio. The moment that enters the creative space it kills it. My process as a solo artist is about eliminating that fear through my own impulse and trusting it; forgetting whether or not it's the right sound or decision and knowing that it was right in the moment. It doesn't define everything I do.

With each month and every album did your ideas become more focused?

I think so. I started out not knowing how to use Ableton Live so that was a big limitation and another challenge I set for myself. I was learning how to use this program as I was writing. There was a whole bunch of other learning things that I needed to go through too. By the sixth record I had a good workflow that allowed me to say what I wanted to say then.

Were you afraid the muse would ever run out?

Totally but I think that's a really good place to work from. I had a conversation at the start of year about whether to sit on all this material for the next five years and really hone and chisel away at them to make up my next ten releases. The idea for me is to push forward rather than using all this ammunition that I have up my sleeve. It was interesting to work in this way and not know if I have anything left.

You've said that your relationship ended at the time of making the album. Would you say it was a way of giving yourself a focus?

Music was a way of escape in asking myself really big questions that was going in on my life. Working in this way allowed me to process things that were going on in my relationship, as well as being 25 and in the world at the moment dealing with the shitstorm that's happening in the Western world.

How did you refine what made the main album, Kōya?

There wasn't really an arc, so to speak, it was more about what resonated the strongest immediately. Everything was about impulse so it came from that place. I think the arc really is that this beautiful, unexpected thing happened because of the fact I wrote twelve albums successively over twelve months.

'Because' and 'Tear' stood out for me in how introspective their lyrics and mood are. Would you say it's an introverted by nature?

Very much so. My family are extremely extroverted; both my parents are actors and dancers and met during Cats The Musical so we're a very performance-driven family. I'm very cerebral and contemplative and I do sit in myself a lot. It's funny because I've done television and theatre myself but I've receded back into this shell over the years.

'Oscillations' comes halfway through the album. Was it intended to be an interlude in some way?

It actually opens one of the other records. I've always been a singer and voice is my main instrument. The first two records I made were completely instrumental and I didn't sing on any of them. It was really about learning to manipulate my voice in a way that didn't sound like me as I didn't enjoy the sound of my own voice. It's a self-consciousness thing that came about making a record for three years with the band. I wanted to overcome was not liking the sound of my own voice. By the end of the twelve records I'm more present vocally.

What did you want to represent in the artwork?

Max Löffler is a beautiful artist I discovered in Germany. His approach is about digital art using organic processes. Similarly, Ableton Live is a music process that was very organic yet set in a digital world which allowed me to make things so quickly. Also, Kōya is a place in Japan that I visited years ago that I've never really left in my mind - it's always stayed with me. I feel solace and peace when I think about it. The album is about returning to a place of calmness and composure.

There is definitely a sense from the songs that's it's about holding your own and being okay in your own space. Has working as a solo artist allowed you to look at your life in a new way?

It's funny I remember being in a band and being on tour and always knowing when I was on tour with someone who was a solo artist because they seemed self-assured, very confident, almost to the point of being arrogant. That was something I really never wanted to be and for me music has always been about a process with other people and remaining humble in the face of having recognition. I still make things with a lot of people and really value collaboration.

Do you see these twelve albums as a clear statement of who you are as an artist?

Not anymore. I realised that no one thing is the thing that you're defined by. I became more aware of it as I moved through multiple things. That was my intention as well, I didn't want to stick to one thing. I listen to every corner of music that anyone exposes me to. To be defined by one thing I don't think is necessary anymore.

Kōya is out now and you can find all twelve albums on his official Bandcamp.