Hello Jabberwocky! You are originally from Poitiers, France. How long have you known each other and can you tell us how you started to create music together?
Hi everyone! Well we met each other at the university because we studied medicine for 6 years. We began to make music for chilling between classes and when we finished our first track “Photomaton,” one of our friends told us to share it on internet. Then the track was really appreciated by a lot of people and we started Jabberwocky for real, creating new sounds, playing live…
How does Lewis Carroll and his poem “Jabberwocky” inspire you today?
We like the concept of this poem, playing with the words, their meaning, their sound. The fantastic universe of Alice in Wonderland talks to us too. It’s full of mystery, dreamlike moods and unbelievable situations.
What’s it like to have a hit song like “Photomaton” that reached #2 on the French charts?
It’s very cool! Very surprising and unbelievable, especially when it’s the first track you’ve ever done ! We couldn’t thank enough all the people who support us, like, share our music, and come to see us play live.
Can you tell us how your music has evolved since you began up until today?
We have never created anything together before “Photomaton.” We have different influences, from French music to techno. When we started Jabberwocky, it was like discovering the job. So we had to get experience, learn fast, and create to find what kind of music we wanted to do. We released our first EP “Pola” last November, a really pop EP, and now we’re going to release our first album in May and there’s something new, something more electronic. We wanted to show this part of our music for a long time.
Who should listen to your music?
Everyone who likes music ! We really need to be curious and be interested in a lot of different things.
Where can people see you live this summer?
Mostly in France but we would like to play in other countries too, we’re organizing it. All the dates are on our Facebook page and our website. We start the tour with the Ricards SA Music Live Tour, first date at the Palais de Tokyo (Paris) on 03/31/2015.
Great news! In May we are going to interview the French born, international sensation Fakear! This is your chance to send us your questions, so we can ask him directly! Please send your questions to tony at whyd dot com, or respond directly here in the blog.
Très bonnes nouvelles! Ce mai on va faire un interview avec la sensation internationale, Fakear! C’est votre opportunité de nous envoyer vos questions, et on va les poser à lui directement. Envoyez vos questions à tony at whyd dot com, ou répondez ici sur notre blog.
In the lobby of Universal Music’s French Headquarters the music business minions trickle in to start the day. Big posters of bigger stars like Katy Perry adorn the walls while a TV cycles through highly-produced music videos.
We’re here to meet Charlotte OC, an up-and-coming singer from England who has a new EP dropping today. We climb up a series of staircases, passing awards, more posters, offices with executives pouring over their latest projects.
In an upper-level conference room Charlotte opens a bottle of water, the night before having been a bit crazy, she says. Appropriate coming from a singer whose lead single so far is called “Hangover.” But she’s all smiles for the first interview of the day. The mic clicks on.
I want to start off talking about your background because I think that you are technically one of the most diverse artists ethnically speaking. What is your background?
Charlotte: My mum is half-Malawian and half-Indian, but there is also some English in there somewhere. My Dad is Irish and his grandmother was Spanish.
So are you like what the human race will look like in a few centuries?
Charlotte: Probably, probably.
So tell me about your music. When did you start singing? What was the inspiration that first brought you in? Were you one of those girls at the school talent show that was always trying way harder than everyone else?
Charlotte: There was a priest that came to our school. We were recording this song for a charity competition to win this thing, and just the fact of having something on tape, just having that, was really excited to me. It was kind of like, thinking as a kid, “my voice is on there,” and it was mind-blowing to me.
It got me excited, and I remembered how I felt when I was doing it. It was a really bizarre feeling because I knew that I could do it, even though I didn’t know what the “what” was. I knew I could make a career out of it and I will follow it through. I just knew.
Did you develop that actively? By being in choirs?
Charlotte: Yeah. I was always in the choir and I started learning piano but it didn’t really sit well with me. When I was 15 my Dad gave me guitar lessons, and it was a masculine instrument. I think that’s because I went to an all-girls school and everyone was playing violins and pianos and it was just a different thing to do. But I think it was the best thing I’ve ever done.
I had my Dad’s old, old guitar, and it was the hardest thing to play and my fingers were killing me. Then I started to get the hang of it and I started to realize that I was going to be obsessed over this. And I think piano put me off as well, like if that’s not sitting well I wouldn’t be able to enjoy anything else. Once I started to get the rhythm of the guitar I started on melodies and writing lyrics.
Then Myspace arrived, and I started uploading tracks and my career started there. Managers got in touch, brands got in touch, and I started developing this project when I was 16, co-writing for the first time which is a very daunting experience. Still is, I think it is the scariest thing that I will ever do. It’s like a first date naked. Doing that when you’re meeting these people and you have to connect with them in the space of 3 hours or 4, you don’t know them. As a kid you’re like “this is crazy!” But then it’s done and then there’s this album.
Myspace always had these “top friends” lists, I was #1 for this guy and he was signed to Columbia and his A&R man saw it and I got signed through him.
Wow, so Myspace really came through for you!
Charlotte: Yeah! My early project. I made this album, and it’s an album that you’d make when you are 16, it’s very naive, happy, sweet, but I had no idea what I was doing.
How has your music changed since then? Is it less naive? Are you a pessimist now?
Charlotte: No, I’ve experienced things. When I was younger I hadn’t experienced things yet. I mean I had such a lovely childhood. As the youngest of 3, I was hidden away from a lot of things. But I had nothing to write about other than other people’s experiences and it didn’t really translate. You can hear that in the album.
What are some of these experiences? Aside from hangovers…
Charlotte: Well, Hangover is one of my tracks, and I wrote it when I felt one of my first monster hangovers. And heartbreak, you know, finding out that humans are weird people, and that in itself is inspiring. Death, I went through my first death a while ago and that’s just such a powerful, terrible, beautiful thing. One of those emotions that just hit hard, it’s probably when I write songs. I rarely watch +18 rated films, because I will be too affected by it. I will be scarred.
I can’t watch sad movies either. I just cry.
Charlotte: “American History X” would be like the worst thing for me, that would ruin like a year of my life. My music now is a lot darker because I realized that wow life’s hard, it’s difficult, and you can feel that in your music now.
Would you recommend that people listen to a few different songs, back to back, so people can see this transition?
Charlotte: Yeah. It’s what I did, and I’m proud of it. There are some good songs on there. I was really learning but what I’m doing now really represents me now, and my childhood, it pinpoints those influences that inspired me when I was younger.
So you say your childhood was protected, awesome, this little bubble of joy and smiles and long eyelashes. What were your influences at the time?
Charlotte: I was listening to a lot of Leonard Cohen. The first love of my life was Freddie Mercury. When I first heard “Bohemian Rhapsody” I thought, “this is the most incredible thing I’ve ever heard.” It’s like watching Michael Jackson for the first time. I’m watching Freddie Mercury, when you’re watching him it’s like watching a film.
Him, Tim Burton, those types of films that I really connected with, especially “Nightmare Before Christmas,” “Edward Scissorhands,” they make incredible sense to me. That’s what I wanted to do with my music, to have this darkness but also this pop art color and warmth that Tim Burton has.
Do you think you’ll ever do anything as epic as Bohemian Rhapsody?
Charlotte: Ha! I’d fucking love to! I think my music now is very dramatic, and there is a lot of performance in it.
Grow a little moustache, get it started now! What’s your plan for 2015? Do you see your trajectory continuing? Will you continue being more dramatic or will you find an equilibrium between your current style and your bright childhood?
Charlotte: I’m making the album at the moment. I’ve also been playing a lot of live shows, and learning a lot from that. You learn a lot about your work when you perform it. There’s a moment where I just play guitar and just sing a cover, and there is a real rawness that I’d like to carry through my album. I don’t want there to be too much production. More organic instruments, keeping it electronic but not too much. I don’t want it to hide behind anything.
And the team you have assembled, do they share your vision?
Charlotte: Me and Tim Anderson, who I wrote some songs with, was the first moment that I had a musical connection with somebody. It’s incredible when that happens. Like a romance, a connection with someone. I remember playing him a few songs when I first met him, and we sat down at the piano and instantly I had the melody on top of it and the song literally happened in a couple of hours. It was a very fluid thing.
There are still moments when I think, what am I doing? I’m still learning and it’s not easy but it’s getting there.
Who are some contemporary artists that you look up to? Or people that you look up to.
Charlotte: Little Dragon are amazing. I listen to a lot of them, their last album. and the album before. Caribou, their latest album might be the best album I’ve ever heard in my life. Every track is incredible. They all feel related to each other, like cousins. Fluid.
One more question, when you’re not making music what do you do besides drink a lot? Do you have hobbies?
Charlotte: I love music, I just love it, it’s what I do. Don’t really enjoy doing anything else. When you’re making a record it’s hard to expose yourself to other music. But it’s also good to watch something and be incredible inspired by it and it gives you a fire in your belly. I know that if I watch Hozier, another artist who is the real - fucking - deal, I’m inspired by that. There is a gospel element present in my music too, and when I hear that, I get it.
So yeah, I don’t really do much else, but I do love drinking though :)
March is a hot month for new music in Paris, with exciting acts understanding the mechanisms of launching new projects with the hopes of conquering their future fan bases around the world. It’s precisely this spirit, hope carbonated into a long neck bottle to be opened on a hot, dry day, that we encounter at Le Fée Verte, one of the most friendly Parisian bars nestled along the raucous Rue de la Roquette.
If this hopeful spirit has a color, it would be yellow: the color of the sun, the color of energy. In Spanish, it’s “Amarillo.” In Paris, it’s the band, releasing their first EP today entitled “Tomorrow We’ll Be Long Gone.” We’re joined by Noé, Amarillo’s sombrero y corazon, and Dylan, the lead guitarist for the 5-member group. Over coffees and Perrier, the mic clicks on.
The following is translated from French. Bold is Tony Hymes for Whyd.
How many are you guys in Amarillo?
Noé: We’re 5 musicians for the stage. Dylan is the lead guitarist while I do the rhythm guitar and the singing.
Who is responsible for the creation of music?
Noé: At the beginning I wrote everything in my room alone. Since I play a lot of instruments, not all very well, I recorded the songs and from there the tracks were able to grow. That gave me the desire to put the music on the stage, to call on friends that I’ve known for a long time.
Had you already played music together with the other member of Amarillo?
Noé: It’s been about a year that we’ve been playing together on the stage.
So you guys already have a vibe of what it’s like to work together? Your respective strengths and weaknesses?
Dylan: Before Amarillo we’ve already had other projects together. Like Caandides.
Noé: Yeah we know each other so the ideas come faster, we get mad at each other faster, and of course the problems are resolved faster.
It’s just like a family!
Noé: Yeah!
Your music has been described as psychedelic surf pop. I imagine you don’t do a lot of surfing in Paris. Does this mentality come from a particular geography? The idea of the coast?
Noé: I don’t know if surf music for French people is tied to actual surfing, it’s more of a sound. Or at least it’s become a sound, a guitar sound, very Tarantino-esque. And for me that’s sort of surf music. And it’s an influence.
Is that the center of your music? Or is your music more of a mix of a lot of different styles and that’s just what people tend to take from it?
Noé: When I write songs I never ask myself what the music is supposed to sound like. I like a lot of different music. I’ve played a lot of classical music and blues. I’m really a fan of pop music in general too, and so when other people listen to my music, they tell me other bands that they think it sounds like and so I say “cool!” It’s a good way to discover new music too!
And then afterwards when we are 5, everyone brings their own personal touches. That’s also part of the idea, for example, Dylan works his sound with the effects pedals, so I trust him a lot with the sonic texture, the timber of the music, things that I normally wouldn’t have thought of.
You mention blues, pop, are there other big styles for you on the level of your influences?
Noé: On a songwriting level I’m very into Americana, Neil Young, or Leonard Cohen. Pop songs, those are my biggest influences. Tom Waits too.
Tom Waits, Leonard Cohen are influences that often go together!
Noé: Oh merde!
No! It’s a good thing, because Leonard Cohen is a giant, he’s still producing music today! Either people tell me Leonard Cohen/Jeff Buckley, or Leonard Cohen/Tom Waits, and that gives me the immediate idea of the direction. That’s a public marker so people can understand.
And Dylan, as a guitarist, do you have major influences?
Dylan: I’ve never really been able to identify direct references between my personal style and the music that I listen to. But there are guitarists that I love for their textures.
The name, Amarillo. Texas?
Noé: Also.
Did you choose the name before or after you started making the music?
Noé: Well, I have Chilean origins through my mother. I speak Spanish at home, so it was all about the color. Afterwards I searched and I found out that it was a city in Texas, which doesn’t have a very easy history. That gives me more things to talk about but…
It’s more about the color.
Noé: Yeah, I like how the word sounds, there are a lot of vowels, and yellow for me is also hope, sunshine.
For this EP, there are 4 tracks. Do the tracks tell a story together, or did you just pick four really strong tracks to lead with?
Noé: The idea that I proposed to Antoine from our label Microqlima, was to have 4 strong tracks, and we chose the tracks together. Then afterwords we realized that with the track titles and the themes, that they could in fact be a story. Songs like “Tomorrow” and “Long Gone.” In the end it has a sense, adding to the feeling to voyage, the promise of the future, what’s going to happen soon.
Do you share this feeling of voyage Dylan?
Dylan: In fact very early on we got this idea from Noé, when he told us about the tracks and how he explained them to us. Also on a graphic level too. So as a good student I entered into his idea of voyage, and I feel like we approached the songs with respect to the idea of travel.
You can easily get that idea of voyage, but also on a temporal level.
Noé: It’s even more that. The idea of traveling is not always about the destination, but the voyage, and everything that is going to happen on the voyage. That’s really what we tried to develop with the themes, the graphics, the idea of “what we are going to do.” It’s not important where we are or what we’ve done. It’s hopeful, rejoining the theme of “amarillo.”
Who would you be proud to be classified with, in terms of similar styles of music?
Dylan: I love Sufjan Stevens, personally.
He definitely aligns with your style, his focus on geography, voyage.
Noé: I would add Mac Demarco too. I like how he write songs, very simple but great.
You can go see Amarillo perform around Paris over the next few weeks, and make sure that you attend their official launch party slated to coincide with the start of Spring, on March 21st at Le Perchoir.
Our first meeting was at a concert where we were playing with our own, different rap groups, each of us on the turntables. We started to exchange tips, scratch phases, our little ticks, and that was it!
At the beginning we would mess around and often our challenge was to choose a second-hand disc randomly, then we had to create a plan in 5 minutes. We laughed a lot! Then we passed through numerous different phases and musical aesthetics before arriving where we are today.
We also bought some materials, a loopstation, pads, and a few synths to evolve our music along the direction of our projects.
Who do you count among your influences?
Being first of all DJs, we have the habit of listening to a lot of different, varied musical styles. There are tons of cult albums that have changed our way of seeing things. In terms of electronic we can cite Modeselektor, Edit (GitchMob), Rustie, Lorn, Eprom, Slugabed, Salva, Ta-Ku, Machinedrum, Flying Lotus, Flako, Kaytranada, and also some of the artists from Soulection…
Where does the name of your group come from?
Turnsteak originally comes from “Turntable Speakers.” At the beginning it was 100% turn tables, the turntablism. The concept of “speaking with our hands” represented what we were doing at the time.
Then the name was shortened to Turnspeak, and it’s been changed from there, but I won’t say anything else :)
What is the genesis of your LP “Digital Pourpre” which comes out tomorrow? Does it tell a story or is each track independent from the others?
Having the habit of always working on short projects, even the concept of an album was already a lot of pressure. The idea wasn’t to do a series of tracks without coherence. We wanted to go farther. So we imposed certain directions, constraints, and limits on ourselves, to not fly off in every single direction.
At this level, our friend Olivier Vasseur who mixed the album, did a great job of artistic direction and he gave us a lot of advice around the conception of the album. We worked the sound and the textures with him and added an organic dimension to the tracks. That let us bring in other sensations, images, and have the listener dive deeper into the heart of our music.
The balance between the light synths and the deep bass let us bring energy and power. The voices are also key elements on the album. They bring a color and different environment to each track, like on “High Line” for example where the voices come from a Vietnamese comic theater!
Finally, getting back to your question about the genesis of the LP, the first brick was the title. For the anecdote, we were at a rest stop off the highway during a tour and we stumbled upon a description of a flower that was growing in a corner, the “digital pourpre.” We were looking at it saying to ourselves that would be an awesome name for an album. All of the universe connected to this flower immediately spoke to us: its history in relationship with white magic, its medicinal side and its pathological and cardiovascular benefits (which we immediately connected with the rhythm, dance) the connection to digital, to fingers, to scratch… a name that’s full of mystery and subtleties. It’s exactly what we wanted to bring with the first long format. That’s to say make an album that’s rich and subtle, without falling into easiness, and with the idea of a voyage.
Urielle, the artistic director at With Us Records agreed with us and oriented it the best possible way while staying within the scope of the project. We had also worked on a moodboard together that let us see everything more clearly, the progression of the tracks and the history of the album.
Hello BBHells! Can you introduce yourselves? Where are you from and how did you start your net label?
Hi, BBHells Records was born in Perugia (Umbria,Italy) in January 2014. Our label consists of four components: Max Braccianti (Director), Gabriele Bico (Collaborating Sound Engineer), Gianluca Benedetti (Consultant) and Roberta Melana (Public Relations).
We deal not only in making contracts with our bands but we do real training. We decided to take this road because of our passion for metal music.
What kind of artists do you represent and how did you start working with them?
We represent emerging rock bands. We listen to their material and decide how to work together.
Which types of music lovers should listen to their music?
Generally fans of rock metal, and we like to work with electronic music too.
What are your plans for 2015?
For 2015 we have many new collaborations and events to be organized. We hope to always be busy with work, and we have the target of being able to help bands work in the world.
Hello James! How did your classical upbringing influence the music you make today?
Hi! I really didn’t like being forced to play by notation, but maybe some elements of discipline and focus filtered through from those times.
Walk us through the beginning of your songwriting. Where did your first inspirations come from?
In the beginning I covered a lot of stuff and copied everybody’s style, teaching myself to write songs on the side. Now I work a lot on my own stuff and look for cool covers to learn on the side.
Tell us about your upcoming, debut album “Clarity.” How long have you been working on it and who else played an instrumental role in making it a reality?
I worked towards “Clarity” for about one and a half years, though a couple of the songs are older than that. I guess the album wouldn’t exist at all without my manager Gonzalo at Manta Ray, my engineer Thomas at Puresound Recordings, and the entire team at Lichtdicht Records.
Who should listen to your new album? Fans of which other artists?
People with open ears and open minds! I think that fans of Coldplay, Foster The People, Phoenix, John Mayer, and The Police will dig it.
A brand new artist, one who used Whyd as a tool to help start her career, presents herself after releasing her very first EP, say hello to ZEN@.
Introduce yourself!
I grew up in Shanghai, and went to the States for high school and college. I love wandering around, outdoors, tech and the cosmos. The most interesting thing to me at the moment is “time.” I like to think it as an object and pretending that some things in the scale of time are fixed.
When did you start writing songs? Can you walk us through your songwriting process?
I started last fall when I was in Shanghai and traveling around Europe. I just write whenever I got an idea, and I picked four to make this album. They were all written in different ways. Both “SoundCloud" and "One Of A Million" had the chorus first, then I finished the whole songs weeks after. "Kairos" was written over an instrumental track that the producer Bravin, gave me. When I first heard this track, I had the melody of the song right away, so I just asked the producer if I can write a song over it. "Treasure Island" was fast. I wrote both the lyrics and melody in one morning. It’s not really or only about Pirates, but it’s based on an Oscar-winning documentary film.
I actually used Whyd to communicate ideas and inspirations with my producers. The playlist is the best feature for that!
Which artists have the strongest influence on your music?
Really a lot. I listen to a variety of very international music, from all over the world.
The strongest influence would be Sia. And even everything evolving around her music is so artistic.
Each of the 4 songs of your EP sound very different, what are some of the common themes that link them together?
Yes, they are! I wanted this album to have songs of very different styles initially, so it ended up like that. I worked with producers from three different countries to make them all sound different. I have many international friends and I love traveling. I guess it’s important for me to make music that has very diverse elements and feels like traveling. These four songs are still not enough to be diverse. It’s an experiment. It could be good or bad. A lot of the artists have their very distinctive music style, but I never want to have a specific style. I like changing, as long as the biggest goal is the true emotion with a good melody and lyrics.
One common theme is that they are all adventurous or about adventures.
Tell us about your song “SoundCloud.” What’s it about exactly?
It’s about graduation from college. I met many cool people in college. They have crazy hair, crazy outfit, crazy attitude, crazy dreams, and crazy cool everything. But when it’s their fourth year, everything changes. They cut their hair, start to wear black suits, delete all their social network accounts and hide in dorms to prepare for the next job interviews, mostly in finance or consulting. They said they want to work in those industries for two or three years. And afterwards, they would do whatever they are really passionate about. This is just blowing my mind.
Then I read two really good essays by Marina Keegan that talk about such phenomenon and graduation from college - “Even Artichokes Have Doubts” and “The Opposite Of Loneliness”. There are some references in “SoundCloud” from her essays. She was going to be a writer for The New Yorker, but died in a car accident just five days after her graduation from Yale in 2012. It’s really sad. She’s so talented and so inspirational.
What are your plans to develop and promote yourself in 2015?
I don’t know if I will have time to promote haha
The priority is to write more good music.
I definitely hope more people will hear my music. I am also designing and building some stuff. It is primarily about music, but it will also be some other things about creativity. I will probably share some of my crazy inventions there, too. I have more songs to be released very soon.
A heavily bearded technical team sets up instruments on a packed stage while multicolored lights reflect brightly from the walls of the popular French TV Show “C A Vous.” The kitchen of the hidden studio in the 11ème has elegant-looking appliances. Everything gleans in stark contrast to the rainy grey courtyard outside.
The hubbub is all for their latest episode, featuring a true Whyd favorite: The Avener, whose track “Fade Out Lines" has been sitting in the top 10 of the Hot Tracks for months on end. It’s in a small office stocked with Mars bars to the side of the studio that we finally meet Tristan from Nice, the French artist who has just released his album "The Wanderings of The Avener,” and who is about to perform for the French public at large for the very first time.
If he was nervous, it was transmuted into warm friendliness. He sits down, cigarette in hand, ready to answer the Whyd community’s questions. We have 10 minutes. The mic clicks on.
This interview is translated from French. Tony Hymes for Whyd in bold. All photos, (except the selfie!) courtesy The Avener’s Facebook page.
In your new album there are a lot of reworks. When you create a remix do you try to break something down, or do you try to build something on top of what exists?
Tristan: That depends on the song that I use to do my rework. Sometimes I have to do a lot more, to change a lot of the arrangements, and sometimes just adding a bit of salt and pepper is all it takes to season the plate! So it depends, for example sometimes I’ll use a dozen or so tracks, and there are other times where I will use more than 50 tracks!
Let’s use your new remix of Rodriguez as an example.
Tristan: Rodriguez’s (“Hate Street Dialogue”) was a song that was rather easy to create because the heart was already there. All I wanted to do was amplify the rock aspect and make it more appropriate for the club. For that one I used about a dozen tracks to modify it.
How do you choose the songs that you remix?
Tristan: It’s really just music I like from my years as a DJ. With my DJ background I’ve played a lot of music, from funk to soul to house, and there are tracks that I can’t really play sometimes, because if I did it would empty the dance floor! So I tried to modify the tracks that I wanted to play, but wasn’t able to, and that’s how this album was born.
You have a classic music formation, notably the piano, but it’s not something that we take from your latest album. So does that serve something for you?
Tristan: Classical music helps me with music in general, with the notes, understanding, and writing sheet music. For this album it helped from a technical standpoint, and didn’t really serve as a source of inspiration. Having a classical background is a big advantage to make music, but orchestrally speaking it’s difficult to bring that into this type of music.
What do the artists that you remixed think of your remixes? Phoebe Killdeer (“Fade Out Lines”) for example?
Tristan: She was the first test. Phoebe Killdeer loved the track, but at the beginning she didn’t want to have her name attached to it, because it wasn’t in her overall artistic direction. She was, however, really happy with it. For the other artists, some of whom were collaborators, like Rodriguez, they love it, so it’s a huge joy for me.
Who are your influences? Who do you look up to?
Tristan: My music comes from different places. I listen to a lot of music, I’m very eclectic, at home or when I’m DJing. There are a lot of artists that influence me. It’s true that I spent 10 years in classical music so I have a lasting adoration for Beethoven, and Bach, they are THE composers, and no one from today will arrive at their level, they have so much unique musicality. They are still my favorites to this day.
Are there artists that you don’t like? Maybe not artists, that might burn some bridges, but are there styles of music that you don’t like?
Tristan: There are some genres that I appreciate a little bit less. But I am still a student of music, so when there is a style that I don’t like, I try to figure out what the artist was trying to do. I never say “that doesn’t sound good.” There are always good songs in every style of music, you just have to find them.
You’re labelled as being deep house, but on the new album there is a lot more. Are there other styles that you are moving closer towards? A bit of folk maybe?
Tristan: Yes! This album is sort of a voyage between different epochs and different styles. And finally I can re-vindicate my eclecticism because it’s not easy for an artist to be so diverse with their music to say “I make all music.” It’s complicated to say that. This album is about sharing, it’s surrounded by my influences, so it’s a journey among lot of different points.
Would you classify your music as being French?
Tristan: I would like that! I definitely like the “French Touch” period, which had a big influence on me. But now do I bring anything new to this “French Touch” compared to other artists? I hope to have that energy.
Now I have fans that come from all over the world, not just in France, like Germany, Switzerland, Australia, South Korea, there are lots of people that loved the first single, and that makes me happy!
When you are aren’t making music, what do you do for fun?
Tristan: When I don’t make music I play music! :)
I have a second passion, aviation, so I’m in the process of getting my private pilot’s license.
Awesome! At least you’ll have a great soundtrack to fly to!
Hello DYLLAN! How’s it going? Can you take us through a quick recap of your musical life? You’ve been at this since you were quite young!
Hello! It’s going well, thank you! Yes, I’ve been writing songs since I was twelve and started playing shows in my hometown (Los Angeles) at fifteen. In high school I recorded my first EP and I recorded my second, “Anything But Scared,” my first year of college.
I studied music there but I also studied film and literature. I lived in Paris for a year where I studied le cinéma français and le dessin. I played some shows there and connected with some great musicians. After college I moved to Brooklyn where I’m now living, producing music out of my apartment.
Why did you start writing music? Were you inspired by themes in your life? Or were you inspired by other musicians?
My first influence (and constant idol) is Joni Mitchell. And Jeff Buckley. There is so much depth to their work - their lyrics are poetry. I had always wanted to sing but I was too shy, so I picked up a guitar first. Eventually I sang along, and then started writing my own stuff. To this day I am constantly writing songs, and yes, they are usually about heartbreak.
Songwriting is therapeutic for me. It’s a necessity. I am not a diligent worker, though, so going out and seeing shows is what inspires me to sit down and write. Or to go out and play!
How did you start working with THYLACINE? How did you end up coming to Paris in the first place?
As I said, I moved to Paris for my junior year abroad in college. Ironically, it wasn’t until after I had left that I discovered THYLACINE’s music and decided to contact him. I thought he might be interested in working with me and he was. This was how we did our first collaboration, “Distance.” I had written a song called “NYLAPARIS" and sent it to him. He took my vocals and composed original music around it. I think the result was quite beautiful and unique.
Our second collaboration, “Closing" was yet another virtual collaboration but with the opposite arrangement - he sent me an instrumental track he had produced and I wrote, recorded and arranged the vocals at home in Brooklyn. I’m also very pleased with the result and amazed that he and I have still never met in person! I look forward to him making a trip to New York soon so we can fix that.
What can we look forward to from you in 2015?
I have quite a few projects to release this year! Notably, the single and music video for my new song “Moments Like These” will release in March. We funded the whole thing through Indiegogo so I am really excited to share it. Following that, I’ll release my next new single “Try” in April. Stay tuned and thanks so much!