Showing posts with label Interview. Show all posts
Showing posts with label Interview. Show all posts

Monday, March 5, 2012

INTERVIEW// Being There

Enchanting quartet Being There is James Robinson, Nick Orlenshaw, Tom Rapanakis and lead singer Sam Lewis. After loving both the band's split single and their latest track '17', I jumped at the chance to send Lewis some questions. In the short interview below, we chat about his varied influences, style plans and even some possible future sounds! It reveals an artist and musician as humble and individual as his nostalgic music portrays. Read the interview below, then find my original review of Being There's split single 'The Radio' here! Thanks to everyone at Young and Lost Club and to Mr Lewis for answering the questions!

Music Dissection: How did you all meet, and what's behind the band's name?

Sam Lewis: We met at University, then moved down to London together and started taking playing music more seriously. As for the name, I wanted something that wasn't a 'The' or a 'And The' kind of name, and I just liked the phrase Being There.

MD: What are your influences and inspirations both musically and lyrically?

SL: Musically I love songwriters like Bradford Cox, Kurt Vile and Jeremy Earls, as well as bands like Duckatils, Yo La Tengo and Guided by Voices. Lyrically I like songwriters who have a slightly abstract approach, like Cox and Robert Pollard. Pollard especially has an amazing kind of collage approach to lyrics, with all these disparate images that amount to more than the sum of their parts. I love the honesty of Jeffrey Lewis and Jonathan Richman too. But my all time favourites are probably Bob Dylan and Arthur Russell.

MD: We loved your split single and track '17', so what are your plans album-wise?

SL: Thanks! Our debut record will come out on Young and Lost in late May. Exciting!

MD: Your brand of summer melancholia is distinctly nostalgic. Are we going to here an evolution from that style in the future?

SL: Hmm it's hard to say really...good question. I think nostalgia is a totally valid form of expression, and most of my favourite things are based on nostalgia - Woody Allen's films like Zelig, Annie Hall or Broadway Danny Rose. Bergman's Wild Strawberries. Gondry's Eternal Sunshine. Tolstoy's Ivan Illych and Flaubert's Sentimental Eductation...Sebald's books like The Rings of Saturn, and Nabakov's Speak, Memory. Tarkovsky even made a film called Nostalgia. And then there's the Ethiopian blues, which aren't called the blues but Tizita, which translates as memory or nostaliga. Some of the Tizita songs are so beautiful, like this one by Getachew Kassa, or this by Emahoy Tsegue-Maryam Guebrou. These are all things I love. I think nostalgia has this amazing mixture of sadness and joy, sadness at the passing of time and the happiness of remembrance....so to answer your question, I think I'd find it hard to move away from it altogether.

MD: Are there any instruments or sounds you want to record with in the future?

SL: I'd like to have more electronica in our sound in the future, more computerised beats and samples and keyboards.

MD: Who are you all listening to at the moment?

SL: I've been enjoying the new Lambchop album, Atlas Sound's Bedroom Databank albums, The Clams Casino instrumental record, the last Tiny Vipers album and Jonathan Richman's poem about turning 60.

MD: You were recently selected as one of NME's bands to watch in 2012. First off, congratulations! Did you ever think Being There would get as big as it has?

SL: Thanks, but I think we're some way off being big yet! But being in NME is very cool.

MD: You also toured with Noah and the Whale, which must have been pretty amazing! What did you learn from your time with them, and has the experience made you more confident performing?

SL: I think playing in front of so many people every night can only make you more confident on stage, which is a good thing. As for what we learnt, I think the key is just to keep playing...they're always touring and on the road, so a good show for them is just second nature, they don't even think about it or get nervous, as far as I can tell anyway.

MD: Finally, what is your favorite album and why?

SL: Blood on the Tracks by Dylan. Its got everything for me, lyrics, music, songs? Perfect!

Thanks again to Sam Lewis for answering Music Dissection's questions, and to everyone at London's Young and Lost Club for arranging the interview. I'm certainly looking forward to hearing Being There's debut full-length in May, but until then I'm satisfied with their split single and the melancholic '17'! Find coverage of both by clicking the 'Being There' label below, then, when you have the time, check out The Young and Lost Club's website here!

Friday, February 10, 2012

INTERVIEW// Frid

After reviewing and loving Frid's EP 'Serving Time' I was thrilled at the opportunity to throw a few questions his way. Born in York and based in the Manchester, Frid's down-to-earth nature has resulted in a fantastically unpretentious and unassuming interview, revealing a man humble and honest and quietly aspirational. "An introspective and passion-fuelled lyrical conquest", his debut EP set about laying foundations for an undeniably long career in hip hop and one Music Dissection will be following all the way! Read the interview below and check out the EP afterwards. Thanks to Frid, and the team at Wenlock Music for making this interview possible and for executing it in the most graceful of manners! 

Music Dissection: First lets get the usual questions out of the way! How did you get into the music industry, and who or what inspired you to do so?

Frid: I have written poetry since I was at school and it's pretty much the only thing I enjoyed about school. The poems started becoming a little 'edgier' the more that went on in my home and personal life and without even realising, when I started getting more and more into Hip Hop, they naturally started becoming more like bars with a hip hop influence and it snowballed from there, really. My whole life inspired me to start writing verses and songs and then, later, recording them. The people around me in everyday life continue to inspire me. My little girl is only 8 months old and she is why I do this mainly. When I'm in the studio and start feeling tired, or frustrated that I'm not hitting a verse correctly or whatever, I just think about her and remember that I'm doing all this for her, and things seem to fall back into place again. She's a massive driving force. I just keep working to make sure that when she's 18 she is like; "Yeah, Dad made some awesome tunes when he was younger", rather than "That's properly fucking embarrassing!" [laughs]

MD: Would you say those inspirations influence your work? If not, who or what does?

Frid: Oh, without question. I mean, there is so much personal content on the last EP, that it's pretty much an audio autobiography, just, in reverse chronological order - which was intentional, by the way. There are so many references in the content of that project to things that have played a massive part in me becoming the person that I am, that it's pretty impossible to say my inspirations don't influence my work. Maybe they do a little too much sometimes, but I'm a passionate person and I wear my heart on my sleeve, so I have no problem with being 100% honest in my music. It's the way I vent, and sometimes things happen to me in my life and I'm like; "okay, if I don't speak about this, I'm going to go insane". I like that people find it easy to relate to elements, too. I got a tweet the other week from a fan who is having a hard time of things and she said that my song 'Hold On' was a real inspiration to her at that point and that it was helping her stay strong for her little girl... that kind of thing means more to me than any album sale, any money that comes my way, whatever. That there is real life stuff, and to be reaching someone on a level like that is incredible.

MD: Who are you listening to at the moment?

Frid: Well, I know this is going to sound stupidly self-obsessed, but I'm listening a lot to myself at the moment. Inbetween every project, I leave the project for 2 or 3 months and don't listen to it once, and then come back to it and listen solidly for like a month. That way, it's easier to spot where I maybe could have done something a little better or how I'm going to improve on things and expand as an artist for the next project. I know roughly where the next project is going already. I'm also listening to things that are in the works still; my guest spot on my mucker Uppacut's new album, etc. I've been honoured enough to have been played some of the new music he has coming, and people do not want to miss out on it, because it's ridiculously good. Aside from stuff that I'm involved in, I've recently re-ignited my love affair with 3 Doors Down, who are one of my most favourite bands ever. I never know how to answer this kind of question properly though, because I listen to a lot of stuff really.

MD: What are your plans, album-wise?

Frid: Well, The 'Serving Time' EP still needs promoting, and we are about to start filming for the videos for the singles from that, so there will probably be 3 singles to emerge yet. I've got a collaboration project with 7 Deadly from Grand Rapids which I've recently started working on, but that might take a little while because we want to make sure that we make the most of both the UK and US elements and approach it right. More immediately, I'm already working on a new, shorter EP which I intend to be the closing off of the Serving Time EP - almost the credits to the movie, if you know what I mean? Also, myself and Uppacut have started work on a joint EP which I think will probably be ready to drop around the half year point of 2012. I've been writing for it properly for three weeks and there are already probably four keepers in the locker. I'm starting to get very excited about that. Of course, Music Dissection will be the first to know about it, because you are so ontop of the game. In fact, I was shocked to hear you ask me, rather than already know before even I did! [laughs]

MD: We at Music Dissection loved your EP 'Serving Time'. Are we going to hear an evolution from that passionate and very immediate sound in the future?

Frid: Thank you, it was certainly an incredible and overwhelming review. Erm, [pauses], no, you're never going to hear me move away from a passionate approach, because I have too much passion for what I do. I mean, I could write a song about something completely fucking random, and it would probably be garbage, but I write about things that I love, so I have no choice but to pour everything I have into it. That said though, you will certainly hear an evolution with the Frid and Uppacut release, and maybe even slightly more so with the Frid and 7 Deadly release, because I've upped my game lyrically. I was talking to Uppa about this just a few days ago, and we're both keen to try a couple of 'experimental' things with the joint release, and I'm learning more about actual song construction, not just song writing. You know, more how to actually compose a piece, like, normally I might say "right, there's the verse, I'm happy with that, so we go into the chorus" but now I'm looking at a bigger picture and rather than just going with it, I'm assessing it like "Hmm, maybe we don't just go into the hook, maybe this is a bridge section?", you know what I mean? Maybe I haven't explained that very well, but either way, there is certainly an amount of evolution, but my fans don't need to worry about me 'doing a Black Eyed Peas'... I'm hip hop now, and always will be.

MD: Are there any new ideas, lyrically or musically, that you want to explore in the future?

Frid: Yes. but I don't really want to tell you what they are just yet because a lot of ideas I have sound amazing in my head, but actually, in reality, are really terrible. But, you'll hear the final product of the better ideas soon enough, of that I assure you.

MD: Is there anything on your EP that you dislike, or would like to change given the opportunity to revisit it?

Frid: No, not dislike. Never. I'd have scrapped it before it saw the light of day if that were the case. The only thing that I do wish, is that I had maybe been in a position to do it to that standard a few years ago, because, I truly believe that I'm the sharpest I've ever been now, and I can only improve from here, but it concerns me that I should maybe have been hitting this place two or three years ago, because there is going to come a time when I can't or won't do this anymore, and there is so, so much which I want to get off my chest and get out there that it's untrue. I can't rap forever, which is why I work so hard - I'd never be able to forgive myself if I got to 60 and thought; "Bollocks! I meant to try and tackle that such and such topic!"

MD: Flipping that on its head, what was your favourite moment recording 'Serving Time'? A collaboration you particularly enjoyed?

Frid: Wow, that's a massive question. Um, there is a hell of a lot about the EP that could be placed in the category of 'favourite moment', but there are a few stand outs. When we recorded 'Dear Daddy', I sat in the studio listening back to the vocals for the first time, and for the first time heard all the elements in one place, other than my head, and I just started to well up and got more than a little choked up. That song is 20-odd years of pain that I've never spoken about in the wider audiencce, and it took a lot for me to get it down on paper and then even more to put it out. But I knew that when it was, that particular subject in my life was boxed off that little bit more - never forgotten, but could be put to one side now. I think one of the other favourite moments was during the recording of 'Set it Off'. I ripped through the third verse and just stood there almost in a trance, like a fighter psyching himself up, the adrenaline was flowing big time and I was taking a minute to bring myself back. Then I heard the sound engineer's voice through my headphones and he just said, "Frid, that was a little bit special. you've found your sound...". I knew then we were onto a winner. As for collaborations, probably everything I've done with Uppacut. He and I bounce off each other so well - you know, we like the same music, similar artists, similar sense of humour, we're from the same City, his kids play with my kid etc, and that makes a massive difference to the music. Everything just feels more natural, and we're in a position where if I send him a new track, or run an idea by him or vice versa, we're comfotable enough with each other to just be like, "no, that's really wank mate", and that helps the music be the best it can be.

MD: What are your aspirations?

Frid: To be respected by my peers and to continue to be creative. I don't neccessarily want a huge fanbase and the riches of stardom - although I might not actually turn that down if you offered it to me - no, to me, the respect of peers and fans from keeping my musical integrity is the most important thing. That, alongside continuing to grow and push myself are the most vital things to me.

MD: Finally, we're very fond of the question: If you weren't an artist, what would you be and why?

Frid: I'd be what I am now - just an ordinary, working class guy. I'd still be my baby's Daddy, I'd still go down the pub once in a while to watch the football, I'd still get excited over stupid stuff like the release of the new FIFA every year, I'd just be 'Steven' on a full time basis. I'd actually like to think that if I wasn't behind this microphone, I'd be behind a different one, doing what you do, reviewing music and interviewing artists... I'd like to think I'd still be involved in music somehow, because, simply, I love it too much to not be. And I hope that comes across in my music to the listener, because it means a hell of a lot to me!

Find my original review of 'Serving Time' over here, and the nine-track EP itself over here!

Thursday, January 19, 2012

INTERVIEW// Richard Walters


A few days ago I reviewed Richard Walter's EP 'Young Trees', a collection of tracks worthy of my unprecedented, incomparable praise. The five numbers recall the loss of happiness and Walters' determination to recover from the deprivation of such. It's humble and honest and truly heartfelt, a retrospective yearning pulling the songs into harmonious unity. Given my unparalleled adulation for 'Young Trees', I jumped at the chance to throw this talented Oxonian some questions! Read the interview below and find a link to my review at the end of it. I'd thank Richard Walters, for enduring our following dissection with the utmost grace!
 
Music Dissection: How did you get into music? Who inspired you to do so?

Richard Walters: I started playing guitar in a band at school called Odd? when I was about 13. We were playing Supergrass and Oasis covers, and not very well. That's around the time I began toying with songwriting, little two minute things. I didn't find myself singing until around 16, and even then I wasn't sure how to present myself. I had that ridiculous artistic awakening that happens to teenagers when the hormones kick in - I discovered poetry, books and obscure indie music, and thought I was the first person in the world to really get it. I guess everyone does that, everyone has had that moment of discovery and built on it.

MD: On your Facebook page, you filled in the information for record label with 'Why?' What are your feelings towards being signed?

RW: I've been signed and worked with two major and one indie label - the problem was always that I would write what I thought was a real treasure (in fact 'Regretless' from the new EP is one of those tracks), a song that you have so much faith in; you bowl into the label office, play it to your man and he says 'hmmm, yeah - it's not a single is it, bit meandering' and it's shattering.

MD: You are in the process of writing your third album. Are we going to hear an evolution to your previous sound? Are there any themes lyrically or musically you want to explore more in the future?

RW: I've worked with a couple of personal heroes for two songs on this record, so a new collaborative element adds something to the whole. The poet Simon Armitage wrote the lyrics to one track, and the singer and producer Joe Henry for another. It was so exciting to have that opportunity, to build bricks on someone elses foundations. Sonically I think the album is a lot richer sounding, more gospel almost, and a majority of the tracks are piano based now.

MD: Who are you listening to at the moment?

RW: The new Ryan Adams record is just beautiful. I Break Horses are also getting many many plays in the house. My girlfriend bought me a lovely vintage record player (with a small built in speaker) for Christmas, so I've been blasting 'Darkness on the Edge of Town' by Springsteen, 'Red Letter Day' by Buffalo Tom and 'Happy/Sad' by Tim Buckley lots.

MD: Your songs have been featured in a few television programmes. Did you ever imagine your music would become this popular? Have you any aspirations for the future?

RW: I find it ridiculously exciting to see one of my songs placed - it makes it feel solid and big. Just knowing millions of people have been tricked into hearing my song...I just hope it sticks in peoples heads when the shows finish. I haven't had a song used in a feature film yet, and I would love to see that happen - to go to the cinema and just hear one of the songs in sync with a 20 ft image would be incredible.

MD: On the topic of television programmes, are there any out there that you're an avid fan of?

RW: Mad Men - I'm a massive Richard Yates fan, and that show embodies everything I love about his writing!

MD: How would you define your sound?

RW: Gospel folk.

MD: For me, the whole of 'Young Trees' is very emotional. Did you find recording it an emotional strain? Are there any songs that have brought you to tears? If so, which?

RW: The songs on the EP were all written in a period of change and movement, and I guess that was a very emotional period too. But the recording felt like a huge relief, I bottled it all up and then put it down. Every track on the EP is a single, live vocal take - no cuts or fixes - and I do remember recording Infinity Street (in a hotel room in Manchester) a bit drunk, a bit tired, and almost cracking...it's that line 'I have ordered all the words'...it was frustration more than anything else. Frustrated that I was able to say in a song what I couldn't say in person I suppose.

MD: Finally, if you weren't a musician, what would you be and why?

RW: Worse off. Real answer - I just don't know. I'd rather not think about it!

Thanks again to Richard for taking the time to answer our questions, and I seriously urge you to purchase a copy of 'Young Tree's. The five tracks retained within it are nothing but pure, uncontested beauty. Emotional moments captured in sound, they'll hold a spot in my heart, for a very long time! Read my review here, then buy the EP at the Bandcamp, here!