We catch up with London-based artist and multi-instrumentalist Jackson Mathod after 5 years to talk about his upcoming album Mirage, why he completely bypassed mainstream streaming platforms, and the gritty South London pub basement where it all came together. Read our discussion below!
Really nice to have you back after almost 5 years. Tell us a few things about Leaky Ceilings. What is the story behind it?
Wow 5 years. Where the hell has that gone? So basically as with the whole album, it was written and recorded in a studio space under The Railway pub in Tulse Hill South London. This place has just become a real creative hub for me and a lot of others. So long story short, on the day we started writing this tune the ceiling of the studio was leaking. Which seems to happen from time to time so yea our drummer Jaega aptly named it Leaky Ceilings.
The single features both Pub Singer and David Mrakpor. What unique energies did they bring to the studio, and how did their input change the direction of the track from your initial vision?
This tune always just felt like it needed some sort of vocal and Leif Maine (my co-producer) had just finished a record with Pub Singer. They got together for a session and what Pub Singer wrote just added a whole new complexion to the track. Also David’s vibraphone just added a different more subtle energy. I’m over the moon with how this one turned out. Definitely my favourite track on the album
In a world where production can often feel overcrowded, how do you know when a track has just the right amount of breathing room?
It’s interesting cos there was quite a bit of breathing room from when we recorded the tracks to when we managed to call them finished. All of the tracks we had been gigging for a while so
Your upcoming album ‘Mirage’ is dropping exclusively on Bandcamp alongside a limited vinyl release. What led to the decision to skip mainstream streaming platforms for this exclusive launch?
I really just wanted to try something different with this record from start to finish. We’ve been playing this music live for the past year and selling a bunch of vinyl at shows, and it’s felt like a really organic process. People have really been intrigued by the record and it just felt like we had to make physical a priority. We’ve been completely self sufficient with this record and called in a lot of favours to make this one happen. I feel like I’ve engaged with it so much more in this way and it’s been a real breath of fresh air to me to release in this way. Back in the day people would record their record, go out and gig it and sell records at shows. I feel like I’ve proven to myself after this that you don’t need DSP’S to have a successful album. Selling even a handful of records to me feels more successful than numbers of streams.
You’ve mentioned never feeling fully embedded in the traditional jazz world. Can you elaborate a bit more? Artists and people that have influenced you?
I mean I love the traditional elements of jazz. Playing standards. Knowing how to navigate changes. Scales. Harmony etc. It should be at the base of every great jazz musician. A deep respect to the tradition. That will never change for me. I just feel more of a draw in writing towards fusion elements now. I’m obsessed with the guitar even though I can’t play it yet. Jimi Hendrix and Jeff Buckley have been high on my list of influences.
If the music of Jackson Mathod was a film, which film would that be?
Lord of the rings always haha my party trick may be my Gollum impression
In which place or state of mind do you imagine people might listen to your music?
I think they should just be in an open place. Sun is kinda setting. Couple of drinks. Anywhere where they can feel connected.
Last but not least, do you still play rugby?
Pahaha hell no.
Thank you!
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