How did UK summer fields sound in the late 90’s? Suz is showcasing a track with extraordinary big beat influences, driven by a finely filthy drum section, tense synths and inspired vocal chops. Read our discussion with the Italian singer, songwriter and producer below!
Describe your sound in 3 words
(Not just) trip-hop
Tell us a few things about Winds of Summer Fields.
“Winds of Summer Fields” mysteriously came to light one night when I thought to add to a track I was working on some vocals I previously recorded for a performance on Emily Dickinson at the Certosa Monumental Cemetery of Bologna in 2020.
While the track was beginning to take shape night after night, I realized that it sounded (at least to me) like a weird, edulcorate blending of Fatboy Slim’s “Slat Dot Dash” and The Prodigy’s “Smack My Bitch Up” (with all the due proportions, of course!), two tracks I actually liked a lot when they came out in the ’90s but that I hadn’t been listening to in ages. Wonder what made them emerge from my subconscious in that very moment.
What is the main idea behind it?
Emily Dickinson’s poem “After A Hundred Years”, which includes the verse “Winds of Summer Fields”, describes a cemetery visited by strangers, unaware of what sorrows and pains took place there a Century before. Only the “winds of summer fields” can “recollect the way” to the forgotten graves. Similarly, through the videoclip of “WOSF”, we witness the special night of two teenagers strolling the streets of Amsterdam in 2014, while ignoring that that special night is definitely gone, lost forever since now – eight years after – their relationship is over.
Taking inspiration from the poem, in the video the mantra “Winds of Summer Fields” is then a way to “recollect the way” and pick up the key of that very unique moment, of that lost emotion. “The key dropped by memory”, Dickinson would say.
In which place or state of mind do you imagine people might listen to Winds of Summer Fields?
Well, probably (as the video would suggest) while strolling around the streets of a big city at night or simply in one’s own room with closed eyes. But please, mind, one’s state of mind while listening to it doesn’t necessarily have to be gloomy or uneasy.
You have numerous international collaborations and have been part of many projects. What moment in your career are you proudest of?
Well, I think the highest moment in my musical path was playing in front of 2000 people in Hamamatsu, Japan, as a representative of Bologna UNESCO City of Music. At the same time I’d also say that the moments I felt most proud of and most incredibly excited and happy about were when some of my musical guides and inspirations congratulated me on my music and lyrics. Talking strictly about collaborations, I’m definitely grateful I had the chance to work with a lot of incredible musicians.
Favourite album of the past year?
That’s a difficult question! Well, actually my answer would be the last five albums by Sault, all released last November. I loved in particular “11” and “Today and Tomorrow”. Such incredible music! And actually, I really appreciated Sault’s operation to release all of them for free via Wetransfer. Something that, by the way, made me think of this old funny tv sketch: (0.58 sec, in particular)
If Winds of Summer Fields was a film, which film would that be?
Mmmmm, thinking about the story of the video I would say “Alice in Wonderland”. That’s how I see Aleksandra Broceta – who filmed the video and at the same time appears in it – a lively, tender and smart girl on an amazing self-discovery journey, a sort of maiden voyage.
What advice would you give to your younger self?
To be less shy and more convinced of what I’m doing.
Future plans?
Essentially I’d like to be able to promote “Hiatus” live in Italy and eventually abroad. Then, there would be other things to mention but I won’t add more just because I don’t really like to talk about things before they happen.
Thank you!
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