Α painfully honest composition enriched with vintage analogue synth sounds. Something to remember Holy Wire by. Read our discussion with the artist below!
Tell us a few things about your new work, your fourth single, which has been released this year. What is the main idea behind it?
The main idea was of singing around something without mentioning it by name. Of dancing around all the agonizing, longing, and misery of past relationships, but in place of a chorus with a kind of slogan to pull it all together, I left a blank slate of memory. The main subject is a void and placeholder of past experience, as a way to address my disconnect over my own heartache in the past.
In the Name of Something has an intense, melancholic feeling. Why does melancholy feel so good?
For anyone in a state of frequent and recurring gloom, it is, in a way, freedom. We are beholden to the pressures around us that regard misery and sadness as a personal failing. We have to look for our secret spaces in art, film, music, to allow ourselves to indulge. To situate ourselves and our place within these feelings, to process them, and to run whatever course through them we need to.
What could make you lie awake for 7 nights?
A small intimate church or a big arena? What would be your dream performance venue?
Church for vibes, arena as metric for success.
Which album defined the post punk movement?
I’m no historian, but creatively I’m often orienting myself around Power, Corruption & Lies as a frame of reference.
Your music is heavily synth driven. Which is your go to synth (analog or digital) when you start a new project?
I’d say the Roland HS60 (Juno 106). I think it’s important to always be writing songs in different ways, and reorganizing the order which you do things, and to continually be breaking your own molds. But the HS60 is my most immediate and accessible polysynth, so ideas often get worked out there, and it lends itself to orchestration, so it’s just something I gravitate to a lot.
Which is your most honest and personal lyric?
Hard to say. I often hide things from myself through a veil of metaphor. My most direct song is called Worse for Wear and won’t be out for a couple months (unless you catch me live), but on In the Name of Something, the lyric about “stifling cries under my breath” was about a night at a friend’s house after my first breakup, and waking up at 1am holding in tears.
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