Interview
Discover French Avant-Garde Pop Artist SARASARA And Her New Imaginative Album ‘ELIXIR’
28 March 2024
SARASARA is a compelling French singer-songwriter/producer and programmer
who started her musical career in the United Kingdom. She released her debut
album Amor Fati in 2017, and her sophomore one Ongone in 2019.
The songstress just launched full-length number three. It’s called ELIXIR.
A wayward, imaginative, emotive and arresting avant-garde pop record.
“The album’s potent mix of cultural ideas fuses with dark industrial synths
and gothic atmospherics to shape her intoxicating, cinematic sophisti-pop.
Enthralling, groove-laden compositions recall the likes of David Bowie and Jehnny Beth,
but Sarasara found more influence in political writers Bell Hooks, the distinguished professor of race and class, Pierre-Joseph Proudhon, a French socialist, and the first person to declare himself an anarchist, and the French novelist Édith Thomas and bisexual pioneer of women’s history, among others.”
Meet the artist Sarasara herself, speaking about her new longplayer and more with TUTV. But as usual, we start an interview with a slice of music. Enjoy Warrior, one of the album’s top tracks.
Hello Sarah,
When did you start making music and
what or who triggered you to do so, Sarah?
“I guess I always had a creative mind. Not just music. I was going to the cinema twice
a week when I was little. I have always been reading a lot. I was very curious about everything. I went to the Music Conservatoire in my small town though, learned how
read it, never really liked it. I was not really fitting in. It was boring.
I have always been into experimenting and teaching myself things. I had a girl band when
I was little, with one of my best friends, Cyrielle, we were translating English songs and writing ours, sing them at school. I never spoke of this to anyone, she reminded me of it not so long ago and we laughed. I guess it was my very first experience with songwriting.”
Any specific reason why you picked SARASARA as your musical moniker?
“It’s just a nickname my friends had for me when I was younger, I don’t really remember who started it. I thought it would work as an artist name. I didn’t feel like using my real name, not that it’s a secret. I guess it was subconscious, a way to separate private life and work life.”
Which track would you play to people who never heard of you?
“Flatline from the second album, Orgone, and Poison from Elixir. I think those two are
the favourite songs I wrote. They feel like fully matured and finished. Probably because
I had enough time to work on them properly.
They feel balanced in terms of text, music, and space because of this, like a harmonious feeling to them. I am proud of the lyrics too. I wrote Orgone in English, the French translation came second, there is a recorded version of the album in English. I think
both deserved to be given a chance and should have been singles, but this was not
my decision.”
You just released your new album, named ELIXIR. What does the title stand for?
“There is a long definition at the back of the record’s artwork. Whether it be the Elixir of youth, the Philosopher’s stone or the Graal, I think it’s about finding answers, keys, and remedies to the poison. I guess that’s what I was doing at that time, trying to navigate my way through toxic people and behaviours that were affecting me.
Poison comes in many forms, it can be obvious or subtle, it can come from others but also from yourself sometimes. I guess this album is a part of me going through that process, and I thought that word was a beautiful way to sum it up.”
What do you want to express with the album’s
impressive artwork and who designed it?
“Thank you. I don’t want to intellectualise it too much as I think it is raw, spontaneous and it speaks for itself. I would just say that it is about an accumulation of anger and the growing urge to speak up about the feminine condition in the world as regards to events that were happening at that time, from America with women’s abortion rights revocation to radical Islam enslaving, torturing, raping women, extreme violent oppression coming from everywhere.
There is also my experience of the music industry as a woman over the years, you are the woman so you have a thing for the guy, you’re not making your music, you should perform like FKA Twigs (read normalise hyper sexualisation of women, no thanks), if you want your career to take off, you should go out with a footballer, I can introduce you to a couple.
Those are literal words pronounced to me. I write all the music I make, I have a PhD in Philosophy, what else should I do ? Do you know what I mean? Show me some respect. Microviolence as the norm is the worse, I was just done with it. I have a zero-tolerance policy now.”
Where you listening to other artists, for inspiration,
while writing/composing the record, Sarah?
“Actually, people like Johnny Cash, a lot of Delta Blues, Cajun music, I got interested in guitars and raw naked sounds. Blues lyrics and the use of text and words. Also people like Odetta, Billie Holiday, Gil Scott Heron. I was feeling like we have lost the human touch and the human component in the music that is made today somehow.”
“With everything that is happening with Ai, streaming, the tendency to aim at something uniform, driven by the profit component. There’s an artlessness about the music that is produced today, heading towards annihilation, there’s no point, no value to it. I guess I those music genres helped me remember why I loved to write in the first place.”
Are the songs in some way connected, or do they all stand on their own?
“From the Poison to the Elixir. They were written in the order that is on the record
apart from The Horrible Things, which came as an addition to the original group of
songs. A couple of other songs didn’t make the record also.
I guess you could say they are connected to each other, at least in time and intent,
but they are also separate and you could see them as each one representing its own universe and having its own script, like different scenes in a movie for instance.”
THE HORRIBLE THINGS is one of the album’s singles. What’s the song about?
“I guess it’s a song about seeing dysfunctional and unhealthy patterns in yourself
or in others and managing it by setting up boundaries and prepping for the worse.
If something does not feel right, it is most certainly because there is something wrong,
so stop ignoring the red flags.”
THE CALL is another highlight (actually my favourite), probably the most upbeat track of this new full-length. A different vibe from the other songs. Any specific reason for that, Sarah?
“This is one of my favourite too. It was upbeat from the start and it took a very cool punky vibe turn in the end. There is absolutely no specific reason for it. I believe that when you write a song it becomes its own thing, you have to trust the inspiration and your own work to lead you where it needs to be. As we were unpacking this one in the studio, that’s where it wanted to go, so we just followed and it took us there.”
Suppose the album would be the soundtrack
for a movie, which one would it be?
“I am not sure, maybe something between a Maya Deren Documentary and
a 70’s Pulp Horror. I have been thinking about making a film for it actually, we’ll
see how things go for the record this year.”
If you had the opportunity to work with another artist
on future music, who would you pick and why?
“I have been thinking about going back to French music and doing more things over there.
I love people like Benjamin Biolay, Pascal Obispo or Zazie, Magyd Cherfy, MC Solaar who just released a new album, they are all incredible writers. Maybe one day…”
What’s the next step for Sarasara?
“I feel emotionally exhausted and creatively dry after this record and I am not entirely sure what’s next, for it or for myself in general. It’s been all on me and I have not received much support for it.
Some gigs later this year and maybe a film, but nothing is crystallised. I just want to let it
have a life of its own and we’ll see what the universe makes of it. In the meantime, I’m going to live a little, I just want to enjoy spring and summer at home.
I just got back to France, recovering from 7 years travelling, taking it slow.”
Thank you, Sarah, for this interview.
May the road rise with Sarasara.
STREAM ELIXIR
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BUY ELIXIR
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Sarasara: Linktree
INTERVIEW – Meet Belgian Up And Coming Songsmith SIMON LE MA
16 January 2024
If you’re looking for an up-and-coming singer-songwriter
to start 2024, I have a notable one for you.
Belgian artist SIMON LE MA, blessed with a bewitching voice, who released his
excellent debut album THE HOUSEWARMING LP last November should get your
aural attention if you’re a fan of captivating musings.
Le Ma‘s musical taste is pretty eclectic. Funky songs, jazzy songs, poppy songs, even
some flamenco vibes here and there. Expect echoes of Father John Misty, and the
acoustic beauty of Bonnie Prince Billy. Cool, right? You betcha (my trained ears never
fail me, except on a hangover off-day).
All that said I’ll give the word to Simon. But first, as usual
with a TUTV interview, a slice of music to warm up.
Hello Simon,
What or who influenced you to pick up a guitar and start to play music?
“Without my friends in high school, I would have never picked up the guitar. My friends have all been brought up on classic rock bands such as the Beatles, Led Zeppelin and the Pixies, whereas I come from a household of almost total musical silence. I remember a ‘Radio 2 Greatest Hits’ CD in the car with some Robbie Williams and Tina Turner, but that was about as far as it went in terms of musical upbringing.
As a result, I never took an interest in music, until my friends introduced me to bands
like QOTSA, Arctic Monkeys and the Black Keys at the age of 16. Being the insecure teenager I was, I wanted to be able to follow their conversations at school, so I absolutely CONSUMED those artists’ albums.
My friends convinced me to play the bass and form a band, which we did. Unfortunately, we had different musical ambitions so we don’t play together anymore, but I cherish those memories and I will be forever grateful to them for introducing me to music.”
Which track would you play to the people who never heard of you?
“I would play ‘Decision Making‘, the first song on my album. I think the song leaves enough space in the beginning to focus on the lyrics, which introduce the story of the album quite well. Musically, it builds nicely to a climax which is one of my favourite moments. It always makes me happy, especially when people sing along when I play it live.”
Your debut album is out. It’s titled ‘THE HOUSE WARMING LP’.
What is it that you want to express with the title?
“‘The Housewarming LP’ is a chronological concept album about a housewarming party that goes from bad to worse. If you listen closely to the lyrics, you’ll hear evening turn into night as the awkward initial conversations make way for desperate monologues.”
What’s the story behind the cover image?
“Last summer, I played a wedding gig somewhere in West-Vlaanderen with Anly Lippens,
a friend and terrific singer. After soundcheck, we had a lot of time left and I stumbled upon a large room with a dance floor and some weird-looking mirror balls. I asked Anly if she could take some pictures for “online content”.
She has a great vision and feeling for aesthetics and placed a white balloon next to me
on the floor. I really like that detail because it adds to the underlying idea of the album.”
Do you write the music and the lyrics yourself, Simon?
“I do. In the final week of 2021, I isolated myself in an apartment in Oostend and recorded nine demos. I usually start with a general story for each song, which fits the theme of the album. Once I have a clear direction, I start writing some vague lyrical ideas, mostly just some sentences that flash through my head or that I picked up somewhere.
I then start making grooves and progressions to match those lyrics and keep building until I’m ready to make songs and record demos. The demos for the album were later refined and mixed by Xavier De Clercq at Poolside Studio, so he had a great impact on the music.
Jan Joos and Freddie Webber also created some epic guitar solos for ‘Socrates‘ and ‘Distance‘ respectively. They also sang backing vocals for several songs together with Anly Lippens, Christoph Goossens and Siebe Puynen.”
Were you listening to other records/artists while writing the album?
“I listened a lot to my ‘Discover Weekly‘ playlist, a weekly algorithmic list made by
Spotify with 30 new songs based on your listening habits. I like to hear fresh ideas
when I’m in the writing phase to keep me inspired.
I had also just discovered José González’ classic album ‘Veneer‘. He certainly inspired me to aim for a warm and acoustic vibe. Finally, I was also listening heavily to Yong Yello‘s album ‘Marcel en het Magnetisme van de Goot’. He inspired me to make a concept album.”
Are all songs in some way connected or do they all stand on their own?
“All songs are connected. The album is a musical translation of the feeling you get when you had a rough week at work, your social batteries are depleted and you realise that you should have stayed at home. The housewarming party is just too much to handle. As a result, you get irritable, jealous and cold. You act weird and out of sync and you eventually end up hurting the people you love the most.”
Suppose the album would be the soundtrack for a movie,
which one would it be, Simon?
“Good question! I’m sure there are some movies out there about home parties going wrong, but I don’t have anything in mind. I’m a big fan of animation though, so I guess
it would be funny to see Shrek or Monsters Inc. with some of my music in it.”
You did an album launch show recently. Which artist/band
would you love to tour with?
“I’m a big fan of Warhaus. His latest album ‘Ha Ha Heartbreak’ is one of my all-time favourites. I broke down in tears when he played ‘Time Bomb‘ during his show at AB
last year. His musical vision, style and lyrics really speak to me.
Also, I’m sort of in love with Tamino and his music. I think you could say that he’s
my male crush. However, I don’t know if it would be a good idea if I was to tour with
him, since I probably would just be in awe around him all the time.”
Warhaus, Ghent – Pic by Turn Up the Volume
What are your musical ambitions for the future?
“I dream of playing a few support gigs in a really cool venue such as ‘De Vooruit in Genth or ‘Trix‘ in Antwerp. Besides that, I just want to continue to make concept albums, funny music videos and have people sing along to my songs when I perform them live. I really like that feeling.”
Playing the blues in Ghent, 2023 – photo by Turn Up The Volume
Your favorite track and album of 2023?
Track: ‘Há-de sarar’ by ‘MARO’.
Album: ‘Hortelã’
Why? I don’t understand a word of what she’s singing
in Portugese, but the woman touches my soul.
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What may we expect in 2024, Simon?
“Musically, my goal is to release a follow-up album after the summer. I already
finished nine demos and booked some time at Poolside Studio in the coming months.
In the meantime, I’m going to keep promoting ‘The Housewarming LP’.
Personally, even though I feel like I’ve already come a long way, I would like to keep learning how to be a better listener, how to stop judging others and how to love myself
a little better at times when that seems difficult.”
Another Ma quality: a great sense of humour
Thank you Simon for this interview.
May the road rise with you in 2024
STREAM ALBUM
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SIMON LE MA: Facebook – Instagram
INTERVIEW – How Was 2023 For British Rap Wordsmith JODIE LANGFORD?
19 December 2023
JODIE LANGFORD is an up-and-coming young artist from Hull, UK. Not just
the umpteenth one. She’s a kick-ass hip-rap-hop poet that thrilled Turn Up
The Volume‘s ears for the first time with her arousing debut single I Miss It
back in 2021.
Langford is notable for her open-mindedness, her critical, head-on outspokenness,
her faster-than-a-riot-gun ranting, and her detailed daily life observations. And she embeds her razzle-dazzle rhymes in head-spinning and hyperkinetic tunes. All of
which you can experience on her 2023 debut EP Chaos Of Time EP and brand new
ripper Foefetti. I’m sure The Streets’ Mike Skinner would love it all.
From here on, Jodie will do the talking and tell us about
herself, her music, her mum, and this past year
Hello Jodie,
Welcome,
What/who inspired you to start your musical
journey, Jodie, and why did you go for rap music?
“At the age of 16, I developed an interest for having thought-provoking conversations with people (if you can call that an interest?). This started out as just ranting and discussing with people about the government or state of society, later it turned into introducing live acts and bands on stage at local music events and festivals, and then shortly after that I found a passion for spoken word.
I always loved music but could never play an instrument or sing very well so I think that’s why I loved the rhythm and lyricism of spoken word. As a young teen, I had the lyrics from all my favourite songs printed out and stuck on my bedroom wall, so words have always been important to me and are at the heart of what I do.”
Which track would you play to people who never heard of you?
“I would recommend that they listen to Foefetti. I think this track will bring people up to my speed on my current musical direction and has a nice blend of punk vibes, spoken word elements and foolishness! It may not be a lyrical masterpiece, but it is one of my faves.”
Your rad 2021 debut single ‘I MISS IT’ reflected perfectly how so many young people felt during lockdown. How do you look back now on that song and that somber period?
“Thanks for calling it rad! I Miss It is a song that I still have a lot of love for. It was the song that kickstarted my musical journey. As the world was entering the unknown so was I, but the unknown for me was this musical path that I hadn’t really explored yet.
What is nice to see is that the song is still relevant for many people in different ways. It can be for people that remember the tough time of restrictions and lack of social interaction or for people that want to relive their memories and messy night out shenanigans without getting involved in the real thing.”
You named your debut EP ‘CHAOS OF TIME’.
Why? What did you want to express with it?
“The words ‘CHAOS OF TIME’ encapsulate how I feel when I’m trapped in a state of overthinking. At around the time that was written, I felt as though endless stream of thoughts wouldn’t stop biting at me and I found it hard to shut off from that.
With the song, we wanted to replicate that feeling and so it has an unrestrained vibe where you feel like you’re falling down a rabbit hole of uncertainty. I decided to name the EP after the song as the EP explores a range of emotions and experiences I felt throughout that period.”
How’s life post-Brexit?
“It’s weird man. There is so much fear, anger and division in this country. I do think that some people are finally starting to realise how they were manipulated and lied to which inevitably led them to vote leave in the first place. People are struggling and don’t feel supported and don’t know who to trust. We’re even more anxious and fearful than when discussions were first opening about leaving the EU and the future is so uncertain.
I suppose it’s also hard balancing being passionate about change, being there for others and calling out the powers that be, whilst also making sure you’re not burning yourself out to the point where you make yourself sick.
You just gotta look out for people in times like these.
The world is in bits and we’re a part of that.
Maybe this is a daft question, but I still wonder and always did how
long it takes for rap artists to memorize their word-waterfall stories?
“I can’t put a timeframe on how long it takes to memorise my lyrics, sometimes I can memorise a whole song in a very short space of time. With others, I have to listen to my own recordings and demos repeatedly until I’m sick of my own voice so that it truly sticks with me. Oddly, I find the longer the verses the easier it is for me to. I tend to have no problems with songs like Take Your Money or TV Or Not TV.”
Never had a writer’s block, Jodie?
“I’ve struggled a lot with writer’s block, but I think that ‘block’ mainly comes down
to being preoccupied with other things and when I sit down and dedicate a time
and space to writing I can overcome that.
I was watching a Ted Talk recently by Pages Matam where he explained that a good
friend once told him “Writer’s block is not the absence of imagination and inspiration, but
it is a surplus of judgement,” and I think that’s a really interesting point.”
Your work is also musically very rich in orchestration.
Do you write the music yourself?
“All the lyrics to my music are written by me, however I am fortunate enough to work
with an incredibly talented producer and DJ called Endoflevelbaddie. He produces all the beats and creates all the music to bring my words to life. As I’ve never pursued music in educational settings, I don’t know much about the production side of things.
He has the magic and skill to turn all my visions into a reality. And often he creates something wayyyy better than what I had in mind in the first place. You should check
out his solo stuff too, it’s sick. If you ever get the chance to see a Baddie set live, you’re
in for a right jamboree.”
Do you play instruments, Jodie?
“Over the years I’ve tried to play violin, ukulele, guitar and drums and I’ve always
given up within weeks. I can grasp the basics of most things, but then I give up when
moving on from that.
I hope that one day I will pick up an instrument, I would love to learn how
to drum again. But right now I’m enjoying just playing around with my voice.”
New single FOEFETTI is a blast. Sounds like your
6th birthday was really special. Was it?
“My 6th birthday was bloody ace. Cake, princess dresses & pin the tail on the donkey- what a time to be alive! Any excuse to be a little silly, be around good friends, and act/look like a princess all day sounds sweet to me. I thought that it would be funny to include the clips of my 6th birthday party in Foefetti.
The innocence of the tiny little voices in the clips is so wholesome, then you contrast it with a 24-year old me being radgey as hell yet still holding that princess-esque entitlement. Just a bit of a laugh, innit.”
Your favourite track and album of 2023?
“My favourite album of 2023 is House Party by Keaton Henson, it’s beautiful. I always listen
to him when I need a good cry and his music is there crying with me, creating a space for me to just feel everything. My favourite track of 2023 is ‘ECDYSIS’ by Yard and YINYANG, I would love to see YINYANG live.”
Prick of the year?
“I mean Rishi Sunak (note: British conservative politician) is the obvious choice. But I’m going for the little kid who stole my seat in a busy food market on 2nd December 2023.
I was carrying around my tofu stir fry for ages whilst waiting for a seat in this lovely food court called Trinity Market in Hull, and as I was walking to a chair that had just become available the unthinkable happened- a little gremlin had run in front of me and stole my seat.
He didn’t even buy any food, so he didn’t deserve that spot. It’s frowned
upon to argue with a child, so I just had to move on with my life… GRRR!!!”
Hero(ine) of the year?
“My mum. Sorry if that sounds a bit wet (Note TUTV: It doesn’t) but she’s conquered a lot this year and she’s powered through despite all the difficulties life has thrown at her. Her strength inspires me every day and her efforts/time spent helping those around her hasn’t gone unnoticed.
She deserves so much peace and love and I hope that one day she’ll have a nice house
in some place gentle and calm where she can cuddle up with Kiko, our dog, on the sofa, sipping rose wine and have plenty of space to work on all her vibrant paintings. 2024 better treat her well- OR ELSE!”
What track will/would you play at midnight on 31st December?
“I’m spending New Year at a club in Amsterdam this year, so I unfortunately
don’t get to dictate what song will play. However, I would probably go with
Since U Been Gone by Kelly Clarkson. I just love it, no matter the occasion.”
What musical and or personal plans do you have for 2024, Jodie?
“I don’t have many plans for 2024 as of yet, I totally overbooked myself this year with various occasions so I’m fearful of doing that again. I want to go on a sunny holiday somewhere as I’ve not had many of those, that would be nice.
I hope to do plenty more gigs this year and it would be ace if a few festival slots were chucked my way too. Aside from that, I’ll keep writing and making tunes in the studio
with Baddie!”
Thank you very much for this interview, Jodie.
Have a splendid Xmas and an amazing 2024.
CHAOS OF TIME
Stream/buy
INTERVIEW – Swedish Cultural Warriors MORLOCKS Call To Arms On Their New Jawdropping Album ‘PRAISE THE ICONOLAST’
13 December 2023
2023 photo by Krichan Wihlbor
Swedish post-punk-Goth turbo MORLOCKS were formed last century by mastermind J.Strauss, and had several line-ups over the years. The trio operate around the borderlines between the collective subconscious, paradoxical multiverses and the bad conscience of the world, as we know it.
They care about humanity, they haunt everybody who doesn’t care, and they
embed their anger, frustration and hope in titanic, intimidating and cast iron
industrial bombast with loud and clear messages. Think Rammstein and NIN
having a sonic fight with riot guns.
They travel either like sinister prowlers through the shadows, or like a raging
bulldozer, sneaking and bolting through and between the Cold War, radioactive wastelands, the catacombs of Rome and unspeakable dimensions beyond
the Unknown Kadath.
Morlocks released their new jawdropping album PRAISE THE ICONOCLAST
last October. A call to arms. A call for action before our messed-up world
destroys itself.
Commander-in-chief, and cultural warrior J. Strauss will tell us anyting you need
to know about his band and the new LP. But first, as usual, we start and interview
with a slice of music.
Get your ears ready the longplayers’ standout haymaker Dicks In Tanks.
Hello,
thank you for taking
the time for this chat
When/how did MORLOCKS start their journey?
“Unclear. A project with that name and me in it started out in the early 90’s,
but apart from that there are no similarities with the band of today.
We’ve put ourselves on ice several times and spend dormant years on hiatus, had several changes of lineup and didn’t even decide what sound to aim for until ten years ago. It’s a totally different ensemble these days, with a different mission – and I am happy that we found our voice, sound and goal now and not before.”
Which track would you play to people who never heard of you?
“That would be Mean World Syndrome. It sort of embodies the whole concept: catchy tunes, male/female vocals, heavy riffing, perky synth sounds, orchestral parts and lyrics that kicks you in the groin, yet something you want to sing along with.”
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The brand new album is titled PRAISE THE ICONOCLAST.
What do you want to express with that title?
“Let’s just say it’s a call to arms and an instigation to start fuck things up. We need more cultural warriors who can challenge the conservatives, the fundamentalists, the greedy banksters, the sexist scum, the corrupt preachers, the reactionairies, the warmongers,
and every other numbskull who has no problems to destroy absolutely anything as long
as there is some personal gain in the process.
Desecrating symbols is a great way to start, because if you do it right you may rip the system to shreds without spilling any blood. Or, so we would like it to be. It isn’t though, alas. But you have to start somewhere.”
The album’s cover is impressively creepy. What do you
want to visualise with that image?
“The cover itself illustrates the concept of the album! Not too far into the future, or maybe today, a little nameless guy is living in constant frustration, fear and anger, while being meticulously monitored by the powers that be – i.e, the market forces, politicians and people with big guns (mostly one and the same people these days) who will literally walk over corpses to maximize profit and control.
Consume, conform, obey! It’s a big oil painting done by a very talented
friend of ours who only needed to listen to the songs. The guy knows more
about bleak, dystopian sci-fi and cyberpunk than we do, and that is certainly
not common.”
The opening track ‘Naš Tretji Uvod’ (Our Third Introduction) is like the calm before the storm and resonates at times a bit like the soundtrack of classic western ‘Once Upon A Time In The West’. What effect, sonically, did you want to obtain here?
“Precisely that! A cinematic mainframe has always been important to us. We tell stories, sometimes intertwined, sometimes stand alone, but yet somehow connected – so it only comes natural to think in movie terms. If we had the resources, we’d go for matching visuals as well (and we will, when the stars are right).
We wouldn’t mind making our very own “The Wall” one day, so to speak. Also, movie soundtracks have always been a huge musical inspiration. Those tunes can really set the atmosphere without any lyrics needed, so it’s a great tool to emphasize the settings and environment for the message.”
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To my ears, the album’s sonority is intimidating, aggressive
and combative. Did you want to make a record to get to war with?
“Indeed. We consider ourselves cultural warriors, and our weapons of choice are kick ass riffs, heavy synthetic waveforms and bombastic epicness combined with lyrics that are part angry punk and part sophisticated academic fuckery and part outlandish literature.
We sort of come from those worlds, all of us, and we are equally comfortable in a condemned squat, drinking moonshine, as we are in the dusty corridors of a university
or in a conference room of some sassy media outlet.
But yeah, we are inherently anti-violent as such, and prefer to go to war with audio, imagery and poetry. Not only the pen is mightier than the sword, but also guitar strings. And swords are not good for anything these days anyway. So there is that.”
Who’s the enemy?
“The ignorant! Or to be precise, the ignorant who also are in power.
Those who are deliberately uniformed, or they know but simply don’t
care because they are more about power and money than the future
existence of the planet.”
How are politics in Sweden?
“One word: Polarized. Regardless of where you stand, the people in charge are more interested in name calling, excuses and blaming each other than doing what we pay
them for. There is also a lot of really unpleasant extremism growing in the shadows, both politically and religious.
Our representatives in the parliament are obviously not fit to deal with all this, so we are not too positive about the future. But then again, this is happening all over Europe too, so we’re not unique in that regard.”
The album features lots of female vocals. Who’s the spellbinding voice?
“Most of it is our very own Lamashtu, also on the electric bass, but the lead on The Golden Goddess is guest vocals from the Swedish ambient pop star Karin My, an old friend and very talented artist. Check her out!”
How did you compose the titanic orchestration of the LP?
“We are all classically trained musicians, and I (Strauss) played the trumpet for years in my youth, both big band jazz and symphony orchestras. That’s where I learned most my skills as a musician, rather than the more common path of most rock artists. I did not spend my teens in a rehearsal room, but an orchestral ditch, reading score sheets and such fancy stuff.
I was always a fan of really epic orchestrations, and when I heard Laibach the first time in the late 80’s, I was totally blown away. I knew that I wanted to do something like that… well, we found our own sound instead, but without them, we wouldn’t be here today. Either way, it took a while before the technology caught up, but the sample banks of today really do the trick. It still takes a huge effort to arrange it into a plausible orchestral sound, but I do believe I have the background and experience for it.
I worked with musicals for a couple of years, which was insanely educational, and I was also one of the producers behind Alphaville’s recent classical tour. The latter was the very first time a real, proper orchestra performed my work, and even if our samples banks are amazingly good, that certainly was something extra.”
Suppose the album was the soundtrack of a movie. Which one would it be?
“A yet unmade crossover between Blade Runner, Mad Max and Alien, written by Robert Anton Wilson and H.P Lovecraft, produced by David Cronenberg, designed by Fritz Lang
and directed by David Lynch. Starring Humprey Bogart and Michelle Yeoh.
MORLOCKS’ New Year’s wishes?
“Peace on Earth, the reintroduction of the space race, the news that the last idiot has been born and that the US authorities will hurry up with our Visa applications so we can do the US tour we’ve been invited to.”
Thank your for this interview.
May the road rise with Morlocks.
STREAM ALBUM
.
BUY ALBUM
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MORLOCKS: Instagram – Facebook
TUTV: Facebook – Instagram – Twitter
Power To The People – Discover Swirling Indonesian Dance Pop Duo CAMLANN Who Have Their 3rd Album ‘DISMANTLE!’ Out
7 December 2023
They’re young, still students, they have a new socialist revolution vision and
they embed their power to the people views in swirling, energetic dance pop
tunes as they did again with their new, 3rd album DISMANTLE!. They operate
artistically under the moniker of CAMLANN.
It’s 2023, but history keeps on repeating itself. Intolerance, governmental oppression, belligerent world leaders dominate our world again and again, the poor getting poorer
and the rich getting richer. It all sounds like we’re talking about the past. Unfortunately,
it’s today’s reality and there’s not a light shining at the end of the tunnel so far.
Therefore, we need young people to get up, stand up and fight for their right to have a peaceful future. That’s what Calmann is about as human beings and outspoken musicians.
It’s great to have Ony Godfrey and Fauzan Pratama for a chat about it all.
Hello Ony, hello Fauzan,
Welcome,
What/who inspired you to start your musical journey?
“We were 15 when we started Camlann, we used to idolize a lot of goth bands
both from the modern times and from the 80’s. Sisters of Mercy, Joy Division, and
Drab Majesty were the first bands that inspired us to start our journey.”
Which track would you play to people who never heard of you?
“Definitely “Your Death Is My Glory”, “The Sacred Sacrifice”, and “Charming Deceiver”.
You’re pretty productive. Every year since 2020 you released an album.
Definitely no writer’s block. Do you write songs that easily?
“Thankfully, we never really experienced writer’s blog and new ideas are always coming into our minds all the time. It’s probably because we’re still university students and have no other job but studying. It definitely gives us more time to explore our music.”
Your 2023 album is named DISMANTLE! What do you want to express with it?
“Through this album, we are contributing to the liberation of the proletariat class by releasing songs that talk about the struggles that the proletariat endures. Songs like “False Consciousness”, “Proletariat Wishes”, and “Alienated” showcase the proletariat’s hopes and struggles through a Marxist perspective. Not only that, this album is also our weapon on critisizing the hypocrisy of some high ranked politicians both from the present and the past.
Songs like “Your Death Is My Glory” and “Politician Superstar” are full of satire on the lyrics, mocking and exposing the bourgeoisie class that has been oppressing the working class for centuries. “DISMANTLE!” is our first step in using music and visual art as a weapon to express our socialist ideas to the world. Like it or not, we won’t stop voicing the working class through our art.
This album is just the beginning of our journey as a dark disco Marxist duo, we will
keep serving you revolutionary tunes in the future! POWER TO THE PEOPLE!”
The album’s artwork is quite intriguing. What’s the story behind it?
“We were thinking of making an artwork that has soviet poster elements to it.
So we communicated our ideas with the artist who’s working with our current
label, Oberwave Records.
We showed them the references we have, mostly inspired by early soviet constructivism art and also vintage soviet posters, and the result of the artwork really matches our vision.”
I discovered you with this year’s fantastic single YOUR DEATH IS MY GLORY.
What is it about and how did the song came together?
“As we previously briefly explained, this song is a mockery of the hypocrisy
of the bourgeoisie politicians who rule with manipulation, lies, and hunger
for power.
This song tells you a story of a power-hungry bourgeoisie dictator who arranged the assassination of the former president of a fictional country we made for this song.
If you watch the music video (definitely check it out, since the audience will understand the whole message through the storyline of the music video), the bourgeoisie dictator, played by Ony), got what he deserved and got assassinated by the people and the country is finally back under the control of the proletariat of the country.
The former president’s legacy, played by Fauzan), remains in the people’s hearts and they continue to build their country by following in his footsteps. This song serves you an aggressive satire of the ruling class but also empowers the working class by reminding them that even if you are currently suffering under oppression, remember that there’s always hope for the future. Things will get better and keep fighting for your rights as a human being and as a citizen of your country.”
Are you playing the music yourself and/or do
you work with other musicians in the studio?
“We recorded, wrote, and composed our music by ourselves, but we have been
working with a Czech producer and musician, David Novotny since our 3rd album,
“Train To 86th Street”. We are currently working with him on our upcoming
5th album that will be released at the beginning of 2025.
Both “Train to 86th Street” and “DISMANTLE!” are all produced, mixed, and mastered
by David. Aside from the production and musical engineering, we do everything by ourselves.”
.
Suppose DISMANTLE! Is the soundtrack for a movie, which one would it be?
“DISMANTLE!” would be a great soundtrack for a historical biopic, especially biopics
or documentary films related to the struggle of the working class, Marxist or Socialist revolution, etc. Movies like Che (2008), biopic of Che Guevara, or Stalingrad (2013) would
be a great fit for this album.
The past decade Indonesian rock/pop really boomed?
What made that happen ?
“It seems that the youth has become more enthusiastic about music, especially the ones that are influenced by western indie and alternative music. Many indie and alternative bands from Indonesia have reached international attention since the late 2010’s.
And lately, it seems that Darkwave and Post-Punk have reached the interest of Indonesian youths too. A lot of Darkwave and Post-Punk influenced bands have been appearing in the scene lately, which is amazing.”
What do you think about AI? Good or bad for music?
“AI can be very useful for us, but AI music is definitely harmful for music. We see a lot
of AI cover of songs that are currently trending and the sad thing is, the AI cover got more attention than the original song which is very sad and disrespectful for the artist of the song.
Take example Mitski’s song “My Love Is Mine All Mine”, the AI cover of the song
got famous and some people who didn’t know that it was made by Mitski, thought
that it was made by another more popular artist that is created by the AI.
As we said before, AI can be very helpful in various aspects
but not in music, since it causes more harm than good.”
What’s your favourite album of 2023
Here are our favourite albums of 2023:
1. Fanfare – Dorian Electra
2. My 21st Century Blues – RAYE
3. Zig – Poppy
4. The Fear Of Fear – Spiritbox
5. Starfucker – Slayyyter
What was for you the most important event of the year?
“The release day of our 4th album “Dismantle!” will be our most
important event of this year. Our first mini-tour would be the second
most memorable and important event of 2023.”
Which song will/would you play at midnight on 31 December?
“This will definitely be “Your Death Is My Glory”
What musical and or personal plans do you have for 2024?
“We will be releasing the remix of “Dismantle!” on February 2024 via
Oberwave Records.
And we will be releasing some music videos from the album, continue
the Indonesian tour, and release a new single at the end of 2024 as a sign
of our next era.”
Thank you for this interview, Ony and Fauzan.
Have a fantastic 2024.
Stream DISMANTLE!
.
Buy DISMANTLE!
.
CAMLANN: Instagram
INTERVIEW With Boston’s Electronic Music Explorers VIOLET NOX Who Have Their Brand New Fascinating Album ‘VORTEX AND VOICES’ Out
2 November 2023
Electronic sound explorers VIOLET NOX – Dez DeCarlo (synth, effect pedals,
vocal samples), Andrew Abrahamson (synthesis, samples and clocked machines)
and new singer Noell Dorsey – from Boston have their new, 6th album, titled
VORTEX AND VOICES out.
An intriguing and fascinating work where ambient, electronic, atmospheric
and dream pop symphonies merge and create a wondrous world where
surreality and reality fuse and impact your subconsciousness.
Dez, Andrew and Noell will tell us more about the new opus, their Arrow of Time
universe, self-transformation, and the enrichment of their sound with their new
vocalist, but also about musical geniuses such as John Coltrane and Prince.
But first, as usual with Turn Up The Volume interviews, we start with
a slice of music. Enjoy one of the standout pieces, named ‘Seznor‘.
Hello Dez, Andrew and Joell,
Thank you for taking time
for this Q & A,
When and how was VIOLET NOX conceived?
DEZ: “Violet Nox was originally formed from many nights of intense listening
to avante-jazz and in particular John Coltrane. One night while blasting Coltrane
I got a complete download and felt his music very deeply.
I understood the insanity of his screaming notes talking to me.
At that moment I knew I wanted to start an improvisational music project
combining electronic elements. I didn’t know how I was going to get there.
Then Violet Nox was born, with early members Karen Zanes on guitar, myself
Dez DeCarlo-guitar and Eric Jackson on electronic drums. In the beginning, we
were very experimental, noisy, ambient and drone.”
What’s the story behind the band’s name?
DEZ: “The name Violet Nox comes from the color Violet
representing creativity, the future, dreams, healing
and magic.
Nox came from the word “Equinox” representing change,
transformation, Roman goddess of the night, new beginnings.”
What or who is it that attracts you so much to electronic music?
ANDREW: “I think ‘electronic music’ frequently implies sequenced music. I prefer to think in terms of music that is produced using electronic instrumentation. The borders are much fuzzier with that definition and, to me, more interesting. Sun Ra played a synthesizer.
But he wouldn’t be called an electronic musician even without other musicians playing acoustics because nothing is sequenced. Prince sequenced many of the drum patterns
on Purple Rain.
He could easily have played those parts himself but he didn’t. I think he wanted
the electronic drum sound but also the stiffness of the sequencing. I am drawn to
the broad possibilities of electronic sounds but it is the interplay between played
and sequenced music that I find most rewarding.”
You just added album #6 to your résumé. What does that mean for you?
Do you look back at what you’ve already achieved or is it about the present
and the future?
DEZ: “I personally try very hard to never look back. I’m a very present and fast forward moving person. I think each album represents a reflection of moments in time, our feelings, thoughts passing through us, sounds entering then leaving.”
My sonic perception of VIOLET NOX is one of wandering through space, but more in the direction of the moon than the sun, more exploring darkness than brightness. Even more so on the new LP. What do you think of that perception?
ANDREW: “That fits. What we see as the moon is the reflected light of the sun.
Look at the sun for a while and you’ll go blind. Look toward the moon for as long
as you feel the desire. It’s the same light.
The moon is a good choice if you want to take your time wandering among reflections.
But for me it’s not capital S space – extraterrestrial space. It’s the analogs of physical space that the mind constructs in the perception of sound. I want to be able to close my eyes and walk through the music. And I want room in there to move and explore.
That’s minimalism to me. Space to think, to breathe and to be.”
Are all songs connected in some way or do they all stand on their own?
DEZ: “Most of the songs from the album were written for a dance visual sold out performance “Arrow of Time” that we co-produced at the Museum of Science in Boston, March 23rd, 2023. We wrote all the music for our choreographer friend Callie Chapman. Many of the songs had a particular theme to them for the show and were very long.
Later we ended up recording the songs again and shortening them for the record.
A new version of the song “Senzor is on the “Vortex & Voices” album. The original
tune was from a German compilation we were included on in 2022 “Empire of the
Four Moons, on Gruselthon Records.”
ANDREW: To build on what Dez said, five of the seven songs grew up together as part
of the writing for Arrow of Time. Each was part of the thematic arc from calm into chaos, manifestation, reflection and ascent. Two of the tracks take their names from these stages.
It was a broad metaphor of transformation of the self, of ideas and of the world.
Callie had also worked in the idea of these transformations as alchemy – that what
is left after the transformation is more than just a reconfiguration of the original
pieces.
It’s something entirely new. I think Noell picked up on some of these and
then expanded on and refined them as we reworked the long form music
for an album format.”
Andrew and Dez
It’s the first time that vocals are so prominent and so upfront. To my ears
it’s a great enrichment for the VN sound. What made you decide to make this turn?
DEZ: I heard Noell sing a few years ago at
a venue and knew at that moment I wanted to collaborate with her!
In the beginning of the pandemic we wrote a song called “Selene” guitar
drone, haunting organ and electronic drums all recorded remotely.
We sent it to Noell to add vocals. When we got the track back it was so good!
We knew then it was very magical and we continued to record together on
the next 3 albums.”
Who writes the lyrics? And is there any direct tie to the music itself?
NOELL: I wrote the lyrics inspired by the Museum of Science’s “Arrow of Time”
multimedia project we collaborated on. I improvised the vocals, and the lyrics
came about very organically. It was a mix of stream-of-consciousness word
patchwork and focused poetry.
“Loki” just wrote itself. It felt very seamless and straightforward how all the music came together. “Chaos” was more improvisational and started with extended vocal technique, but words started to slip in, and then, there they were!
The main lyrical content is about breaking through. I use a lot of ocean imagery, especially in ‘Ascent‘. The ocean is peaceful and chaotic, a rich ecosystem that’s life-sustaining but can also be dangerous. I’m moved by the complexity and duality of multiple things being true simultaneously. It is hard to grasp at first, but it is an inherent part of us. We can be both scared and excited, in love but hesitant, angry and relieved, etc,
All of us are transient beings. We will all experience so much uncertainty in life that we must move through these moments gracefully. Despite our short time here, we somehow bring so much fear to our lives that we can sometimes become paralyzed. This is because our “story” has been set for us in so many ways through society’s ideals, traditions, patriarchy, and religion.
I finally see that despite whatever story we carry,
we must set it aside to embark on a new path.”
What did you want to express with the album’s artwork?
“Our collab mate Alexis Desjardins, who now lives in Switzerland designed
the artwork for the cover. “It was one of many spontaneous designs I created
and selected because it worked best with the typography.”
Is the album’s title ‘VORTEX and VOICES’ related to the music?
ANDREW: ‘Vortex and Voices’ was a communal, spontaneous
poetry that struck us all as capturing the music we were making.
NOELL: “We were doing an improvisation and it was very connected. When we were finished one of us mentioned that it felt we had gone through a vortex because we
were so blissed out.
It was like we had partaken in a sound bath. Not sure how the ‘voices’ ended up with it but one of us said ‘Vortex and Voices’ and Dez said, ‘That’s the name for the album! So it stuck”.
ANDREW: “I think the voices were there all along…we just happened to be hearing them.”
Noell
Are new visuals created to go along with
the new music for live shows?
DEZ: “We have visuals at just about all our shows. Luckily we have
a very cool friend group of artists that we collaborate with on visuals,
videos and design work.”
What’s the ultimate ambition of VN
DEZ: “We are writing for album 7 now so definitely we will release another record. We are also working on a couple new videos for “Chaos” and “Loki.”. We probably will do a remix in the next few months too. We hope to continue to explore and experiment with our music and tour in 2024.”
ANDREW: “Change has been the constant with Violet Nox. From my perspective the ‘ultimate ambition’ is simply an ongoing ambition. That is, to hold a clear vision of where change is headed, to have a sense of how and when to steer, and to have a loose enough intent to listen to it when it is speaking.”
Thank you Dez, Andrew and Noell for this interview.
May the road rise with Violet Nox.
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VIOLET NOX: Instagram – Linktree
TUTV: Facebook – Instagram – Twitter
Smells Like Indonesian Pop Punk Spirit – Quick Chat With GRRL GANG Frontwoman ANGEE About The Trio’s Debut Album ‘SPUNKY!’
27 October 2023
Fascinating and fast-rising Indonesian trio GRRL GANG are on a world-conquering
roll after releasing their critically acclaimed debut LP, titled SPUNKY! A swirling
collection of glam and glitter pop exaltation, irresistible fuzz and buzz tunes, with
hungry guitars flying all over the place and jumpy vocals/harmonies to spice it up.
The sassy spirit of Bikini Kill and 10 spiky crackers,
not longer than an average Ramones song.
Recently frontwoman Angeeta Sentana talked in-dept with legendary British
music bible NME about all things good but also about all bad things from the
past, like mental health problems, alcohol abuse and writer’s block.
“I thought, ‘I’ve gone through so much shit in my life.
If I overcame that, I can overcome anything’”
Read the full feature here.
Despite drawing anybody’s attention – indie and mainstream – right now,
and a big Southeast Asia tour starting this weekend Angee took the time for
a quick chat. Totally fabulous! But as usual, we start a Q & A with a slice
of music. We picked one of the rad singles from the longplayer.
Hello Angee,
When and how did GRRRL GANG got together?
“We first got together in 2016 at Jogja when the three of us were
still in college. I think each of us really wanted to form a band, and
I’m always grateful that we met at the right place at the right time.”
What’s the story behind the band’s name?
“It came from a jacket that I bought that had the name, “Girl Gang”, on it.”
Which track would you play to the people who never heard of you?
“I think “Spunky!” is a good start for most people.”
Your debut album SPUNKY! is out now. What does the title stands for, Angee?
“The title essentially describes what we want to convey in the album, which
is that you need to have a little bit of a “spunky” attitude to get through life.”
What did you want to express with the
album’s artwork and who developed it?
“So, we teamed up with Tiny Studio, our longtime collaborators, to design the album artwork. We just sent them the song files and asked them to visually interpret the songs.
We didn’t give them any prompts or references for it. What Tiny Studio wanted to express through the artwork is the emotional turbulences and inner turmoil that a young girl experiences.”
Were all three of you involved in the writing process?
“Yes, we planned to meet up at least once a week to sit down and
write the album together. I remember how hectic it was, especially
trying to work out each person’s schedules.”
Which music/artists inspired you when writing/making the record?
“The Go-Go’s and Sleater-Kinney inspired me
with their vocals, while Hole with their lyrics.”
Do all songs are in some way connected or do they all stand on their own?
“They are all connected in a single narrative, but I also wanted for the songs to
be able to stand on its own. Each song was based on a single event that I personally experienced, but we wanted to tie them all together and tell a story of how you can
find hope.”
RUDE AWAKENING is one of my favorite tracks.
What’s the song about and where was the video shot?
“Thank you! “Rude Awakening” is about realizing that you’re always
the odd one out, and how lonely it feels after said realization.
We shot the music video at Tiny Studio’s—the people
that worked on our artwork—compound.”
Suppose the album would be the soundtrack
for a movie, which want would it be?
“Shrek 2.”
What’s your ultimate goal, Angee
“To be able to buy a nice house from music.”
Thank you very much for taking the time for this Q & A, Angee.
May the road rise with Grrl Gang.
STREAM SPUNKY!
.
BUY SPUNKY!
.
GG: Instagram – Facebook
Brussels’ Versatile Pop 4-Piece S O R O R Have Their Debut Album ‘NEW BORN’ Out – Let’s Talk About It
19 October 2023
Photo by @vanessarusso
S O R O R is a versatile pop act from Bruxelles founded 5 years ago by
soulsisters Alice Ably (vocals) and Sophie Chiaramont (bass/vocals). Last month
they launched their new first-born album related to a new born baby within
the band.
NEW BORN is a versatile record mixing dream pop, guitar pop, trip-hop, funky-bluesy
and jazzy pop. Different vibes for different moods. An ideal longplayer for shadowy winter nights celebrating new life and new music in a relaxing atmosphere.
We invited soulful voice Alice to tell us more about the album. But first, as usual,
we start an interview with a slice of music. Shake your hips to New Born‘s opening
track Copy Of You.
When and how did S O R O R got together?
“Soror was formed after I met Sophie (note: bass/vocals) at café Central in Brussels
5 years ago, we immediately got along and decided to make music together.”
What’s the story behind the band’s name?
“We both come from families with lots of sisters and both had launched
online vintage clothing startups called Sister’s Vintage, and SIXSOEURS
that we had created with our sisters.
When we had to choose our name it directly came to us as self evident.
And it keeps on getting more and more sense as we carry on with this band
because our connection as soulmates gets stronger and also we found strength
and ground identifying with the notion of solidarity between women: sorority.
Which track would you play to
people who never heard of you?
“NEW BORN”.
It took more than 5 years to record/release
your debut album? Was that the plan?
“We released our first EP in 2020, mixed by Koen Gisen, which unfortunately
came out 3 days before Covid lock down. That was not the plan and I had
a baby!”
.
The album is titled NEW BORN. Who or what is new born?
“New Born is our first album and also my first child. The album is named
after the song, New Born, in which the lyrics and the music describe step
by step the long process of delivery.
Obviously, that song works as a metaphor for
the laborious process of making an album.”
What do you want to express with the album’s
impressive artwork and who designed it?
“We chose to use a child’s drawings to express the infantine dimension of New
Born. Sophie’s niece is a very good drawer and she has a particular style that
matched perfectly with our idea.
We wanted something both dark and colorful to reflect our contradictory civilization
and generation. Anxiety/hope, peace/war, cities/ecology, nature/technology.”
Which music/artists inspired the band
when writing/making the record.
“Portishead and Radiohead.”
Were all four of you involved in the writing process?
“Yes! Sophie usually brings a new idea she shares with me. We make a quick
version of a track together and then we develop with Thibaut and Theo in order
to make the entire song all together.”
Do all songs are in some way connected or do they all stand on their own?
“We love to write and think all songs different cause it’s important for us to give
to our listener the feeling that he/she would leave for a trip where he/she could
be able to see all kinds of images through our songs.
However, several songs address the same topic and emotion that are related to
our struggles in our relationships and the ordeals of our modern societies.
Soundwise, we wanted the album to stand out as one consistent piece with
specific aesthetics, somewhere between vintage American melancholia and
Bristol trip-hop.”
Latest single BOHEMIAN PARADISE has a sweet trippy vibe that
reminds of all-female outfit WARPAINT. What’s the song about
AWAKENING and where was the video shot
“The video was shot in Studio City Gate in Brussels which is a shared artistic
area with ateliers and studios. We wanted to shoot there before the place gets
reduced to rubbles and replaced with white modern soulless buildings.
We love that spot and we thought it would be a way to immortalize it. The song
tells the same idea.. it talks about a wonderful trip to a place called Bohemian
Paradise until all falls apart and turns evil.”
Suppose the album would be the soundtrack
for a movie, which one would it be?
“A Tarantino movie? (laugh).”
What’s the band ultimate goal?
“To have a song in a movie.” 😀
Thank you for the interview, Alice.
May the road rise with S O R O R .
STREAM/BUY NEW BORN
.
On Spotify.
.
S O R O R: Instagram – Facebook
Songstress And Multi-Instrumentalist TEEN IDLE Talks About Her Enchanting Debut Album ‘NONFICTION’
14 October 2023
TEEN IDLE is the musical moniker of NJ-based producer, songwriter, and multi-instrumentalist Sara Abdelbarry. In middle school, Sara was convinced she would
become a cardiac surgeon – conveniently, her craft still gets to the heart, just with
sound instead of a scalpel.
She just released her debut album, titled NONFICTION. An enchanting collection
of diary songs, marvellously crafted and grippingly performed, with a vocal allure
and a musical tone that brings PJ Harvey to mind. Yes, that good.
TUTV invited Sara for a chat about herself and her top debut longplayer.
But first, as usual, we start an interview with a piece of music.
Hello Sara,
Thank you for taking
the time for this Q & A
When and how did you start your musical project TEEN IDLE?
“Teen Idle came to be in sort of a funny way actually. I had been writing songs
since I was 17 but never had an official band or music project. Once I was in my
senior year of college, I saw that a musician I’m a big fan of challenged herself
to write a song every day for a month.
I figured it might be cool to tackle this project for a week, so I did! I posted it on
Bandcamp under the album name July and some of these songs became Teen Idle
songs. That’s where the project started.”
What’s the story behind your moniker?
“I always sort of had the name in my back pocket since high school and told myself that whenever I start a band, Teen Idle had to be the name. I first saw the name because it was the title of a Marina And The Diamonds song, although I’d never actually listened to the song.”
Which track would you play to the people who never heard of you?
“I’d probably say “Birthday Cake” or “Every Night”. I think these tracks off the new
album are a nice bridge from the previous record to this one, but also show the
new musical direction I aimed to head towards.”
.
The album is titled NONFICTION? Why’s that?
I suppose the songs are non-fictional.
“In making this record I really felt like I was filling up the pages of a diary
with the happenings of my life during those few years. In some ways the
lyrics are really bearing my soul, and then in other songs the writing
was inspired by the lives and stories of those close to me.
So the combination of these things felt like a comprehensive account of what
it’s like to be a young adult, which felt pretty close to the bone and kind of intense.”
When did you know that these are the kind of songs that you
wanted to write and make them sound like they do, Sara?
“I’ve always had this penchant for writing really emotional music. It all started when I discovered Fleetwood Mac actually. I remember hearing the song Rhiannonfor the first
time and being moved by the intensity and rawness of it. That’s actually the feeling I’ve
been trying to chase ever since.
And since that point, my music has grown to be even more cinematic. I think my goal
is to really tell a story through song, which is why sonically there are so many peaks and valleys in my music, often with very climactic outros.”
What do you want to express with the album’s artwork and who designed it?
“I designed the artwork and I was looking to really get the literary themes of the album across because of the album’s title. Naturally, I settled on having this sort of disheveled bookshelf on the cover, which I feel like really encapsulates the theme of this album: personal, messy, yet somehow put together.”
Were you listening to other music/artists when
you were writing/making the record?
“I’m always listening to music. But in the making of this, I was only listening on off hours when I wasn’t working on the record. I never came into my studio with a song I was actively trying to reference or sound like.
I know some people make concept albums or have a clear sonic references before they begin a song, but that really wasn’t the case here. I was listening to a lot of music, from jazz, to more indie stuff like Angel Olsen and Phoebe Bridgers, to Middle-Eastern funk music, all of which are bound to have had some subconscious influence on the album.”
I always wonder how and why a musician becomes a multi-instrumentalist like
you are one, Sara. How much time does it take to become one and what’s the goal
of it?
“Interesting question. I think ever since I picked up the guitar at age 9 there was always this curiosity in the back of my mind for just music in general. At that age I needed to specialize in an instrument, because kids obviously can’t do so many things at once and hobbies are more focused. But as time went on I really started to be interested in piano,
as I listened to more and more music, and decided to teach myself.
The other instruments I think just came to me as I became a producer and learned that
I knew how to craft a song. Especially in the case of drums, it’s really just a tool for me to be able to know how to communicate to a drummer or record a rough take of drums on
a demo.”
So I suppose you played all instruments on the album?
“I did in fact, except for the drums and the brass. The drums were done by my talented friends Samir Tawalare and Danny Murray. The saxophone on Saccharine was recorded by Travis Sullivan and French horn was done by Claude Lumley.”
Single BIRTHDAY CAKE is a bittersweet gem. What is the song
about, and how did the song come together sonically, Sara?
“Birthday Cake” is really about this sort of anti-hero archetype, a person who you really want to root for and help, but all of their actions keep getting them into trouble. It’s about the person like that who we all know. Sonically, I’m pretty sure I had the chorus finished before any other part of the song.
I was sitting with a guitar one day and once I landed on the particular
melody for the chorus, I knew right away that it was a keeper.”
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Suppose NONFICTION was the soundtrack
of a movie, which one would it be?
“Hmm, I’d definitely say some sort of coming-of-age A24 film.
And maybe a Greta Gerwig movie about emerging adolescence.”
What’s your next step, Sara?
“Going to be continually promoting this record and hopefully go on a tour in the next year, even if just a small weekend tour. And as always, just continuing to write and write more material.”
Thank you very much for this interview, Sara.
May the road rise with Teen Idle.
NONFICTION
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