Interesting facts about Sophie Webb.
– After graduating from Byam Shaw, buy information pillsmore about she went on to work with Damien Hirst amongst others before becoming a freelance illustrator.
– She is a semi professional Kristin Stewart lookalike
– She likes breaking into abandoned mental hospitals with her equally insane best friend.
And she makes amazing artwork. Juxtaposing subjects, Bill Hicks and Robert Pattinson per example, advice her work is crafted in a multi-media fashion, incorporating retro black labels, rizlas, hand illustration and mix tapes. Her collection which she has named ‘care packages’ consists of customised matchboxes, with tiny scroll within, reading quotes from authors such as Sylvia Plath and Paul Auster.
‘Portraits’, which is available for commissions, focuses rather on the subject’s taste rather than the subject themselves. ‘Lemmy Kilmister’ for a Kilmister fan is a psychedelic combination of sign language, illustration, handcrafted paper and a rizla, which fits together to encapsulate far more about the man than the run of a mill illustration. Collage seems to becoming to re-emerge in young artist’s portfolios, and I find the use of relevant materials, the rizla for example which I love the use of in context with the artwork, to be very fresh and relevant.
Sophie has abandoned a traditional art career path in favour of the freedom of working independently and focusing on the art that she wants to create, which has also taken place all over her body is a series of self designed tattoos. So what inspires Sophie Webb? ‘B.Dolan. Twilight. Bill Hicks. Twin Peaks. Cigarette boxes.’
Excellent choice.
For more information, contact simivalleysherri@hotmail.com for pricing.
Written by Amica Lane on Monday March 29th, 2010 1:50 pm
I was thrilled to receive over 40 submissions for my Valentines Open Brief, nine of which were chosen by East End Prints to appear in their True Romance exhibition, open now (full listing here). Here is my first round up of the other submissions with text by the artists and links to their websites – I’m sure you will agree there are some stunning images here.
Chantelle Bell (above)
I heard this quote in a Twilight film and found it really sweet, no matter how cheesy it is. I think that the time we spend with our loved ones isn’t what is important, however what happens during this time is. We don’t have limitless lifespans, unlike some film characters, so we can only offer what we have, with the promise that if we had more, we would spend it with the one we love. I created this paper cut illustration with bright colours to keep it cheerful and drew the text with a fine liner before gluing it all down. The love hearts continue off the page to signify the infinite aspect of love. However childish or naive it may seem to believe love can last, there are the hopeful few who do, and these are the few who keep the hope alive.
Eugenia Tsimiklis The Owl and the Pussycat: The poem is about an unlikely union between owl and pussy cat. It speaks of their complete devotion to one another and willingness to sail away together towards adventures unknown. The poem suggests the couple sacrifice their most worldly possessions to escape together and concludes as they dance by the light of the moon hand in hand. It’s a nursery rhyme with romantic sentiment, and I wanted the illustration to reflect this with a stark yet organic feel. I wanted the illustration to have a fluid quality with its linear linework and limited palette.
Faye West
I love the concept of alternative film posters. And a lot of my illustrative influences come from cult film poster artists such as Robert McGinnis. I wanted to depict romance via the classic film Pretty Woman (1990) and it’s more modern use of romantic language. We like our romances with a certain edge these days, and this is a film that is close to the hearts of many generations, not only because it stands the test of time, but also because it’s such a colourful representation of it’s era. I think this iconic film deserves referencing in fashion and art for future generations to come. And for me, is the ultimate romantic film.
For Walls
A print inspired by the Valentine’s Day tradition of giving flowers. I like to capture little domestic scenes in my prints, and these flowers are somehow in keeping with this. The print is designed to be celebratory and noisy, so I’ve included some process colours (and clashing colours) to really make it pop! The print is designed in Illustrator, and is made by creating lots of individual shapes to build up the image, then overlaying the outlines so the structure is visible. I like to show off the digital elements and background of a composition in a lot of my work. I’ve also played with transparency to add a bit of extra depth.
Hello Dodo
Here at hello DODO we love creating simple graphic tricks that make people smile. We are a husband and wife team and are self-taught screen printers based in Brighton, designing and printing from our home studio. Over the years we’ve been hugely influenced by design legends such as Alan Fletcher & Milton Glaser and their witty eye for creating fun, timeless designs. This particular design was actually born when we sent Milton Glaser himself a little Christmas greeting with our own adaptation of his timeless ‘I heart NY’ design including this little bearded guy. Milton’s response is still one of our most treasured things and continues to encourage and inspire us:
“Thank you for your greeting, it is by far the best and cleverest adaptation of my time-worn logo and a Merry Christmas to you as well. Milton”
Jenny Kadis
After graduating from Leeds Metropolitan University with a First Class (Hons), Jenny has developed a quirky and unique style based upon her pencil drawings which she combines with bold acrylic paint markings and collage.
Jenny Robins
This is a re-working of a collage piece I did a few years ago, that’s where the text is from. I have hand rendered the found text in this version, but evoke the cut and paste aesthetic by keeping it in irregular boxes. The imagery is inspired by classic romance movies like those ones with Fred Astaire, Katherine Hepburn, suits, dresses, dancing dancing dancing and oh so meaningful glances. I painted everything first and just suggested some tones before adding the outline at the end, I like to do this with watercolour and ink as it keeps a sense of fluidity and motion in the work and it doesn’t get too exact or cartoony. The serendipity which led to the original wording was perfect, and I like how it adds a second reading to the picture as the cynical aside both laughs at the romance of the image and to some extent grounds it, as these onomatopoeic breathy words remind us of the physicality of love – heart racing, palms sweating etc. and certainly of dancing too.
Karina Jarv
I’ve always loved this film – How to Steal a Million. Since I was a child I always thought this is the best way to start a relationship. Hah, of course I do not think so now. But I think Audrey Hepburn and Peter O’Toole were such a great and beautiful couple. The ARE such a great and beautiful couple even after almost 50 years later. And when I feel myself sad in some cold winter evening I adore to watch this film seating in my chair with a cup of my Earl Grey.
Lorna Scobie
My illustration, entitled ‘I smelt you from across the park’ is about True Love. Although the scene centres around two dogs who have found romance in a busy park, it also shows love in other forms. A man reads his favourite newspaper, a group of friends share a picnic, and a dog chases deer despite the wishes of his owner (Fentooooonnn!). Rather than planning an image before I start, I paint as ideas come into my head, which I hope makes the illustration feel more alive. My inspiration for this drawing came from a walk in St James’s Park in London last weekend, where I noticed that everyone seemed to be having a really, really good time. I don’t think love is limited to the feeling felt between two people, and this is what I hope to show in this illustration.
Netina
When I started thinking of a Valentine’s day illustration I immediately decided to base it around a heart image. But I didn’t want this heart to be a conventional one. Then for no particular reason I remembered how I had noticed in the past that two question marks facing each other look very much like a heart.That was it! That would be my idea for the Valentine’s illustration. Everyone’s familiar with the feeling of wondering whether a person you love/like/fancy has some feelings for you too. Well a question mark can easily be a symbol of that feeling. The characters in the illustration aren’t human for two reasons. Mainly because animal characters are sometimes more fun and secondly as a small tribute to one my most favourite romantic movie scenes: the candlelight dinner from Disney’s Lady and the Tramp. When it comes to the technical details now the illustration has been hand drawn with water colours and scanned. Hope you like the result.
Rosie Bowery
This piece was inspired by a love of Eastern European Folk Art- it’s colours, patterns and forms. My process is rooted in the tactile, my love of drawing and painting.
Sarah Underwood
More recently my work is based upon a love of nature, and constant observational drawing, an environment in which I can explore narrative and new techniques in my artistic practices. I use both traditional drawing skills and a digital environment to create my final pieces. This piece was inspired by my early teenage obsession with the 1960′s, and the music, illustrations and clothes from that era. Particularly, The Beatles and The Yellow Submarine, my favourite film at the time
Susie La Fou
My work is a combination of pencil drawing / water colour / and digital art.
The inspiration behind my work, is how two hearts find each other and fall in love in a seemingly random way. With so many hearts around us – i think its amazing that somehow we manage to seek out the one thats right for us.
Victoria Wright
This quote is based on a line from Baz Lurhman’s film version of ‘The Great Gatsby’, spoken by Daisy to Jay Gatsby “I wish I’d done everything on earth with you”. It was apparently a line taken from a letter that Zelda Fitzgerald had written to her husband, F. Scott Fitzgerald (the books’ author). It’s so romantic but has an element of sadness in the context of the story so I altered it to the slightly more hopeful phrase “Lets do everything on earth together”. I wanted to create a simple image to encapsulate the idea of the scope and expanse of love, and the idea of hope and adventure.
My work always begins in a sketchbook. In this case the typography is hand painted and digitally coloured and the imagery began as a cut paper collage, which I have manipulated and layered digitally with different textures. I love reading classic fiction, and I am inspired by bold simple shapes and patterns. happy colours and the fun and excitement in the world all around me.
More to come in Part 2 tomorrow!
Written by Amelia Gregory on Thursday February 12th, 2015 6:24 pm
Sweden is a small country but it has produced some big exports. Whether it’s infectious pop, this web affordable furniture or fashionable, well-priced clothes (take a stab at guessing the brands!), the Swedes know what it takes to satisfy their consumers. Now if we extend these categories to ‘hip young musicians’, you’ll find that they have their bases covered here too.
We first featured Lykke Li back in February 2008 when she was just an emerging artist, relatively fresh to the gig circuit. Since then, she has well and truly blossomed amongst the underground and commercial elite of the music scene, building up a set of credentials to leave most of her peers looking on with green-eyed envy.
She released her debut album ‘Youth Novels‘ to critical acclaim in 2008 and has since performed with The Roots and hip hop legend Q-Tip, collaborated with Kayne West and MIA, and currently features on a track called ‘Miss It So Much’ on Roysopp’s latest album. As if that weren’t enough, she also penned the track ‘Possibility’ for the second installment of lovey-dovey vampire Twilight saga ‘New Moon’, gaining herself a healthy teen following in the process.
On the award front, Lykke’s musical talent and fashion sense have not gone unnoticed; she has received nominations for “Best Video” and “Best Female Artist” at the Swedish Grammy Awards and was voted “Best Dressed Woman” at the Swedish Elle Magazine Awards in 2009. Is there an end to this list of fabulousness?? (And she’s only 24!)
Dressed in an oversized black tassled jacket, a short black mini-skirt, bulky black boots and lashings of thick black eye make-up (and with few words), on meeting Lykke, I couldn’t help but feel that she exuded the demeanor of a slightly irked teenager.
I caught up with the Swedish starlet briefly, prior to her set at the Volvo Subject 60 launch party in London last week, for a rather intriguing interview in a drafty stairwell to talk about her international background, performing in front of big crowds and desert island necessities…
So how are you feeling about your set tonight?
Yeah, I’m looking forward to it. I’m going to do some new songs tonight which I haven’t done before. The sets are also going to be more acoustic so it will be different and quite interesting.
You’ve had a very international upbringing – have you found that this has influenced your music?
I don’t know because I’ve never known any different. I don’t know how I would write music if I only lived in one place. I feel that my music comes more from within – not so much from the outside.
Who are your biggest musical influences to date?
There are just so many. I don’t really listen to a lot of new music. I get really inspired by weird chanting, like Voodoo music. I recently found these field recordings from the 1920s which I’ve been listening to a lot.
What bands currently excite you?
I really enjoy Beach House – the singer has a great voice and their songs are very well written. I am also listening to The Big Pink and a lot too who have an interesting sound. Of course, there’s always Leonard Cohen.
How have you found the transition of playing in big venues compared to small venues?
It’s been fine although I still enjoy playing small venues the most because there’s more of an intimacy you share with your audience.
How do you find playing in front of a UK audience in comparison to a Swedish audience?
It’s kind of crazy because I almost never play in Sweden; it’s so rare. I guess every audience is different but I find that in big cities, people tend to be slightly more reserved – there’s more of an effort that people make to be cool.
What has been your most memorable gig to date?
Last summer there was a festival on an island just outside Holland so we had to take the smallest boat to get there, but it was during severe storms and the water was really rough. Everyone on the boat thought that we were going to die. And then there was the coming back part when we were super drunk in the middle of the night. It was crazy but we had a great time.
Who would you most like to work with? Leonard Cohen as always.
What’s the best piece of advice you can offer someone starting out?
It’s hard to maintain yourself in this industry. I think the main thing I would say is to be honest and always stay true to yourself. It’s clichéd but it’s true.
What are you most looking forward to this summer?
I’m looking forward to going for a swim in the lakes in Sweden when it’s finished. It’s going to be a long summer for me as I’ll going to be in the studio for most of it. It’s exciting but I can’t sleep anymore because I’m thinking so much – my brain is working all the time.
What three items would you bring with you if you on a desert island?
A hot man, a Swiss army knife and some erotic novels by Anaïs Nin.
Written by Kat Phan on Tuesday June 8th, 2010 11:25 pm
You never see Ringo Starr and Gary Lineker in the same room. Come on, about it think about it! Anyway, information pills I wasn’t quite sure what to expect from a band called Ringo Deathstarr. Some kind of black metal/merseybeat hybrid? I can categorically state otherwise, viagra order although I would be intrigued to hear what that sounded like. The album title gives more of an insight into their trippy, lysergic sound, but the key influences here are the late 80s/early 90s Creation bands like My Bloody Valentine and the Jesus and Mary Chain, with their squalling feedback and dreamy soundscapes.
Now, terms such as Shoegaze and Cathedrals of Sound do not exactly fill me with glee, but luckily Ringo Deathstarr give us a fresh and playful take on this kind of stuff. The brilliant opener Imagine Hearts starts with distorted 8-bit drum sounds before coming on like The Breeders’ Cannonball, with it’s dizzy, swirling guitars and bass player Alex Gehring’s dreamy, Kim Deal-like voice.
Throughout the album Gehring’s pretty, girly vocals duel with guitarist Elliot Frazier’s deeper, Ian Curtis-like croon, which provides a great counterpoint. On penultimate track Never Drive the band sound like a souped-up Joy Division.
It’s clear that these three Texans (the line-up is completed by drummer Daniel Coborn) love their vintage British indie. They’ve toured with fey 80’s jangle-merchants The Wedding Present. The breakdown in Two Girls sounds exactly like the intro to The Smiths’ Stop Me if You Think You’ve Heard This One Before. And in the song Do it Every Time, Frazier sings a lyric that may or may not say “We’re falling apart again, you took my cardigan”.
But rather than coming across as foppish miserablists, Ringo Deathstarr’s music is often powerful and joyous, and they’re at their best when playing the colour-saturated, nostalgic pop of stand out tracks So High and Kaleidoscope, which are the aural equivalent of a faded Polaroid taken on a sunny day in a park. In the 80s.
The fact that much of the lyrics are unintelligible, buried as they are under feedback and reverb, adds to the whole dreamlike quality of the record. When you do catch a phrase or word here and there, it feels like a stolen snippet of a faded memory. So, a host of 80’s indie references, dreamy girl/boy vocals and sun-faded guitar hooks – what’s not to like? Gary would approve. I mean Ringo…
Colour Trip is released on 14th February 2011 on Club AC30.
You never see Ringo Starr and Gary Lineker in the same room. Come on, patient think about it! Anyway, I wasn’t quite sure what to expect from a band called Ringo Deathstarr. Some kind of black metal/merseybeat hybrid? I can categorically state otherwise, although I would be intrigued to hear what that sounded like. The album title gives more of an insight into their trippy, lysergic sound, but the key influences here are the late 80s/early 90s Creation bands like My Bloody Valentine and the Jesus and Mary Chain, with their squalling feedback and dreamy soundscapes.
Now, terms such as Shoegaze and Cathedrals of Sound do not exactly fill me with glee, but luckily Ringo Deathstarr give us a fresh and playful take on this kind of stuff. The brilliant opener Imagine Hearts starts with distorted 8-bit drum sounds before coming on like The Breeders’ Cannonball, with it’s dizzy, swirling guitars and bass player Alex Gehring’s dreamy, Kim Deal-like voice.
Throughout the album Gehring’s pretty, girly vocals duel with guitarist Elliot Frazier’s deeper, Ian Curtis-like croon, which provides a great counterpoint. On penultimate track Never Drive the band sound like a souped-up Joy Division.
It’s clear that these three Texans (the line-up is completed by drummer Daniel Coborn) love their vintage British indie. They’ve toured with fey 80’s jangle-merchants The Wedding Present. The breakdown in Two Girls sounds exactly like the intro to The Smiths’ Stop Me if You Think You’ve Heard This One Before. And in the song Do it Every Time, Frazier sings a lyric that may or may not say “We’re falling apart again, you took my cardigan”.
But rather than coming across as foppish miserablists, Ringo Deathstarr’s music is often powerful and joyous, and they’re at their best when playing the colour-saturated, nostalgic pop of stand out tracks So High and Kaleidoscope, which are the aural equivalent of a faded Polaroid taken on a sunny day in a park. In the 80s.
The fact that much of the lyrics are unintelligible, buried as they are under feedback and reverb, adds to the whole dreamlike quality of the record. When you do catch a phrase or word here and there, it feels like a stolen snippet of a faded memory. So, a host of 80’s indie references, dreamy girl/boy vocals and sun-faded guitar hooks – what’s not to like? Gary would approve. I mean Ringo…
Colour Trip is released on 14th February 2011 on Club AC30.
You never see Ringo Starr and Gary Lineker in the same room. Come on, help think about it! Anyway, information pills I wasn’t quite sure what to expect from a band called Ringo Deathstarr. Some kind of black metal/merseybeat hybrid? I can categorically state otherwise, buy more about although I would be intrigued to hear what that sounded like. The album title gives more of an insight into their trippy, lysergic sound, but the key influences here are the late 80s/early 90s Creation bands like My Bloody Valentine and the Jesus and Mary Chain, with their squalling feedback and dreamy soundscapes.
Now, terms such as Shoegaze and Cathedrals of Sound do not exactly fill me with glee, but luckily Ringo Deathstarr give us a fresh and playful take on this kind of stuff. The brilliant opener Imagine Hearts starts with distorted 8-bit drum sounds before coming on like The Breeders’ Cannonball, with it’s dizzy, swirling guitars and bass player Alex Gehring’s dreamy, Kim Deal-like voice.
Throughout the album Gehring’s pretty, girly vocals duel with guitarist Elliot Frazier’s deeper, Ian Curtis-like croon, which provides a great counterpoint. On penultimate track Never Drive the band sound like a souped-up Joy Division.
It’s clear that these three Texans (the line-up is completed by drummer Daniel Coborn) love their vintage British indie. They’ve toured with fey 80’s jangle-merchants The Wedding Present. The breakdown in Two Girls sounds exactly like the intro to The Smiths’ Stop Me if You Think You’ve Heard This One Before. And in the song Do it Every Time, Frazier sings a lyric that may or may not say “We’re falling apart again, you took my cardigan”.
But rather than coming across as foppish miserablists, Ringo Deathstarr’s music is often powerful and joyous, and they’re at their best when playing the colour-saturated, nostalgic pop of stand out tracks So High and Kaleidoscope, which are the aural equivalent of a faded Polaroid taken on a sunny day in a park. In the 80s.
The fact that much of the lyrics are unintelligible, buried as they are under feedback and reverb, adds to the whole dreamlike quality of the record. When you do catch a phrase or word here and there, it feels like a stolen snippet of a faded memory. So, a host of 80’s indie references, dreamy girl/boy vocals and sun-faded guitar hooks – what’s not to like? Gary would approve. I mean Ringo…
Colour Trip is released on 14th February 2011 on Club AC30.
A single voice sings out with the tweet of birds in the background. A little bit choir like, dosage a lot Bellowhead like. A choir song for nature. For me, advice I thought of The Lord of The Rings, and and the shire. Or Cadfael and canal residers, Rosie and Jim. With no worries about things like mortgages or commutes. Indeed, I know Cadfael dealt with corruption, but he also had an inner calm, that must have come with the peace he had with himself/job. The beginning of the album certainly makes God’s Little Eskimo reside in a nice wood-burning stove dwelling house in the early 1800s, pre industrial revolution. He would have a furlong or two of land and young Tess of The d’Urbervilles type figure as his wife.
However, after searching for God’s Little Eskimo, aka Johnny’s postcard he had sent with his CD, the music changed almost on cue. The picture on the postcard was of a vampire looking out to the mid distance, with his dark haired victim, staring as if dead, into the infinite darkness. His clawed hands wrapped around her head, it was scary – in that 70s horror movie way. And the music? Well, it was like Frankenstein’s. In the forest, miserable and alone, when he turns from ‘newborn’, to killer. It’s dramatic, humming, premeditated and controlled – yet obviously full of anguish.
Then we have another change and God’s Little Eskimo has gone travelling. To America. He still sounds a bit dark (see: If I were to bury you), yet we have some electric guitars. We’re in 70s orange, glowed USA, with a touch of 90s Doves. It’s good and the repeating guitar notes reflect the voices ‘ahhing, my love’ to splendid effect.
Moving on, Breaking Waves At Night, has an almost Spanish air to it, but still retains Johnny’s dramatic, folky voice. Perfect for a Twilight film. In contrast, In The Gloaming Woods is upbeat, happy and almost jump inducing. Maybe a happier Twilight bit, and with them in England. And of course gloaming means ‘twilight: dusk’. Limb By Limb is a mersmerising magician, a bit of a 30s black and white horror. The piano notes drawing her in… Finally Rooks is a pleasant end, ‘The rooks have returned and the Spring is coming on”. It has some lovely instrumental in the middle. The happy ending to the play and journey… although of course, rooks, like crows, do signify death according to folklore. Tess of The d’Urbervilles, Thomas Hardy: ‘”Hoosh! Just be off, sir, or I’ll twist your neck! said the dairyman with some irritation, turning to the bird and driving him away. And to his wife as they went indoors: “Now to think o’ that – just to-day! I’ve not heard his crow of an afternoon all the year afore.” Ominous.
I asked Johnny a couple of questions: Why the name, I know you’re called Johnny Eskimo, but could you elaborate?
The “God’s Little Eskimo” name is actually a misheard quote from the 80s movie Heathers (with Winona Ryder / Christian Slater etc). I thought that a character in the film was referred to at their funeral as “God’s little eskimo”. I wouldn’t say the film itself was a huge influence, but for some reason the phrase stuck with me so I ended up choosing it as my name . When I watched it again more recently, I realised they actually get described as “Sherwood’s little eskimo” – not quite the same, but I much prefer my mis-remembered version.
Err, do you like horror films perchance?
I do like horror films yes – how did you guess?? I’m especially fond of older British psychological horrors, like Don’t Look Now, Seance On A Wet Afternoon and The Innocents, and I always liked scaring myself with ghost stories as a child. They definitely play some part in my inspiration, along with an interest in nature (particularly birds) and a fondness for woodlands and the sea. I suppose overall what I’m trying to convey in the songs is a sense of how much of the world around us remains uncanny and mysterious, and both how frightening and beautiful that can be (if that doesn’t sound too pretentious).
Sweden is a small country but it has produced some big exports. Whether it’s infectious pop, affordable furniture or fashionable, well-priced clothes (take a stab at guessing the brands!), the Swedes know what it takes to satisfy their consumers. Now if we extend these categories to ‘hip young musicians’, you’ll find that they have their bases covered here too.
We first featured Lykke Li back in February 2008 when she was just an emerging artist, relatively fresh to the gig circuit. Since then, she has well and truly blossomed amongst the underground and commercial elite of the music scene, building up a set of credentials to leave most of her peers looking on with green-eyed envy.
She released her debut album ‘Youth Novels‘ to critical acclaim in 2008 and has since performed with The Roots and hip hop legend Q-Tip, collaborated with Kayne West and MIA, and currently features on a track called ‘Miss It So Much’ on Roysopp’s latest album. As if that weren’t enough, she also penned the track ‘Possibility’ for the second installment of lovey-dovey vampire Twilight saga ‘New Moon’, gaining herself a healthy teen following in the process.
On the award front, Lykke’s musical talent and fashion sense have not gone unnoticed; she has received nominations for “Best Video” and “Best Female Artist” at the Swedish Grammy Awards and was voted “Best Dressed Woman” at the Swedish Elle Magazine Awards in 2009. Is there an end to this list of fabulousness?? (And she’s only 24!)
Dressed in an oversized black tassled jacket, a short black mini-skirt, bulky black boots and lashings of thick black eye make-up (and with few words), on meeting Lykke, I couldn’t help but feel that she exuded the demeanor of a slightly irked teenager.
I caught up with the Swedish starlet briefly, prior to her set at the Volvo Subject 60 launch party in London last week, for a rather intriguing interview in a drafty stairwell to talk about her international background, performing in front of big crowds and desert island necessities…
So how are you feeling about your set tonight?
Yeah, I’m looking forward to it. I’m going to do some new songs tonight which I haven’t done before. The sets are also going to be more acoustic so it will be different and quite interesting.
You’ve had a very international upbringing – have you found that this has influenced your music?
I don’t know because I’ve never known any different. I don’t know how I would write music if I only lived in one place. I feel that my music comes more from within – not so much from the outside.
Who are your biggest musical influences to date?
There are just so many. I don’t really listen to a lot of new music. I get really inspired by weird chanting, like Voodoo music. I recently found these field recordings from the 1920s which I’ve been listening to a lot.
What bands currently excite you?
I really enjoy Beach House – the singer has a great voice and their songs are very well written. I am also listening to The Big Pink and a lot too who have an interesting sound. Of course, there’s always Leonard Cohen.
How have you found the transition of playing in big venues compared to small venues?
It’s been fine although I still enjoy playing small venues the most because there’s more of an intimacy you share with your audience.
How do you find playing in front of a UK audience in comparison to a Swedish audience?
It’s kind of crazy because I almost never play in Sweden; it’s so rare. I guess every audience is different but I find that in big cities, people tend to be slightly more reserved – there’s more of an effort that people make to be cool.
What has been your most memorable gig to date?
Last summer there was a festival on an island just outside Holland so we had to take the smallest boat to get there, but it was during severe storms and the water was really rough. Everyone on the boat thought that we were going to die. And then there was the coming back part when we were super drunk in the middle of the night. It was crazy but we had a great time.
Who would you most like to work with? Leonard Cohen as always.
What’s the best piece of advice you can offer someone starting out?
It’s hard to maintain yourself in this industry. I think the main thing I would say is to be honest and always stay true to yourself. It’s clichéd but it’s true.
What are you most looking forward to this summer?
I’m looking forward to going for a swim in the lakes in Sweden when it’s finished. It’s going to be a long summer for me as I’ll going to be in the studio for most of it. It’s exciting but I can’t sleep anymore because I’m thinking so much – my brain is working all the time.
What three items would you bring with you if you on a desert island?
A hot man, a Swiss army knife and some erotic novels by Anaïs Nin.
Written by Kat Phan on Tuesday June 8th, 2010 11:25 pm
