Micayl – Interview

Originally posted on PlanetSlop.co.uk

Following on from his debut single, Micayl returns with Versailles – I took the time to learn more about this new mysterious artist.

The uber smooth Micayl is back with the follow up to his debut Monochrome. On the back of the success of that first single, I was more than excited to hear Versailles and it does not disappoint.

This new track is an evocative blend of laid back lo -fi, jazz and soulful hip-hop and this cocktail serves to solidify him as an artist with a distinct sound.

I described his debut as being both retro and contemporary and am struggling to find a better phrase for this more recent effort. What Versailles confirms is that Micayl understands how to draw from and mix up sounds from his medley of influences to bring us something unique. From John Coltrane to FKJ and everything in-between, it’s all there.

Some influences are perhaps more discernible than others, but the joy is to be found in listening out for them n the myriad layers of Micayl’s work.

Versailles is for this writer at least, more than a song, or a series of unrelated nods to it’s forebearers, it is an atmosphere.

I was fortunate enough to get the chance to catch up with Micayl to speak about his passion for the industry, what attracted him to Liverpool and what’s in the pipeline.

Planet Slop: Obviously, you have a European identity, but what was it that drew you to Liverpool, and/or keeps you in the city? 

Micayl: Well, my initial plan was to drop out of High School and move to London to play the pub-circuit down there for a while. It was my dad that suggested to go and see what London’s like before I move there straight away, which, in retrospect, turned out to be a much better plan. On that trip I bought my first guitar on Denmark Street in London and the guy who sold me the guitar turned out to be one of the first graduates of LIPA – which I had never heard of up until that point. So, after he had introduced me to Liverpool and the University, I kind of just decided to go for it and moved up here instead. Liverpool feels a little bit like a compressed version of London, I had never been to a place so full and rich of musical identity before. It’s an incredibly welcoming city with a supportive environment and community.

PS: What is it you enjoy most about being a musician? And is there anything about it you would change? 

M: Music has always been a major part of my life. Often in different shapes and ways but I always felt like, whenever I encountered a rough or difficult point in my life, music was always the first and safest thing to turn to. So, I’d say music just makes me feel secure and confident and offers me to speak openly about struggles that are sometimes difficult to verbalise. I consider it as a great luxury and gift to be able to do it every single day, so; no, I wouldn’t change it for the world. I’m very grateful to be in a position in which I can surround myself with music every day.

PS: Can you describe your creative process? 

M: Yes and no. I often feel like [it…] kind of overcomes me in a way that I can’t understand or comprehend. But at the same time, I think being surrounded by creative people and any form of art in general helps to keep some sort of “creative spark” alive. I used to find it hard to start with a project, often being overwhelmed by other talent or the amount of possibilities. But I realised that it helps a lot to write something every day, even if it’s just one line or a chord progression, since I found that this keeps the creative output flowing and makes it easier to overcome the barrier of having to start something new.

PS: What is the biggest problem you’ve had to overcome so far? 

M: Musically, I have struggled hard to put my finger on what is “me” and a sound I can truly identify with. I realised that myself and my identity were changing quite rapidly over the past few years, which often made it difficult to relate to something I had made a year prior. But in the end, it’s just down to your ability of accepting your current skill level and possibilities and making the best out of it.

PS: Have you ever dealt with performance anxiety? 

M: In some ways yes. I was lucky to be introduced to the stage quite early on in my life which offered me a few extra years of practice. But in being quite hard on myself in general I sometimes doubt myself a lot, which can make it hard to show what I can do. But in the end, it’s the same like everything, it becomes much easier the more you do it.

PS: Do you have any advice for those looking to break into the industry? 

M: Don’t be afraid to do it and to be yourself. I’d much rather watch someone who isn’t technically world-class but has strong authenticity to him or her than someone who is incredible skilled but can’t deliver his or her uniqueness. It’s the most fun and does amazing things to you if you’re willing to dive into it.

PS: Can you tell me about your favourite venues to watch and perform music? 

M: I really enjoy performing at the Jacaranda Phase One and 81 Renshaw. They are both quite intimate venues and always have great artists on. I can only recommend the O2 Academy and 24 Kitchen Street, I’ve been to a bunch of great shows there as well this year. 

PS: I’m excited to hear what else you have, so what’s next on the agenda? 

M: Thanks a lot. I’ve been working on a project with my brother called Hypnagogic Project which is coming out this month. Then I’m releasing a double-side single in September and I’m also working on a collaborative concept mixtape featuring six different artists from six different countries which will be complemented by a short movie as well and is set to be released early 2020.

Versailles is out now.

Bowie, Zappa, Adele & The Purpose Of Contemporary Music

Originally posted on Planet Slop

With Glastonbury reactions highlighting the debate over elite and popular art, Alan Parry ponders the purpose of contemporary pop music.

There is an age old debate which rages over elite and popular art.

If we look back through history, its apparent that much of what is deemed ‘high’ or ‘elite’ has been presided over by a very small minority who believe that they better understand, and/or appreciate art than the grubby masses.

But why do they get to tell us what we should or should not like?

At the outset of the twentieth-century, it was common to hold the position that this small number of academics ought to reserve the right to declare what is good and what is inferior, a point promoted by F.R. Leavis when he wrote in 1930 that ‘Upon them depends the implicit standards that order the finer living of an age’. This is a position which came under great scrutiny as the 20th century advanced.

Throughout the 60s, this position was challenged by both younger, cultural critics and creative artists who had their fingers firmly on the pulse. We saw a great deal of experimentation with popular forms, think about the legacy left behind by Jackson Pollock; think about Do Androids Dream of Electric Sheep? (1968); think about Doctor Who; think about Frank Zappa and The Beatles and the birth of the concept album. It was a matter of out with the old and in with the new. Creative artists everywhere were looking to push boundaries and challenge the establishment.

Nonetheless, there is still some worth in attempting to define an art and literature, and musical canon. However, after this momentous shift in what was deemed valuable, it’s difficult to stomach some of what is on offer to us today.

How can we be expected to listen to, watch, admire that which is on offer as we live in a world filled with social, political, economical and religious injustice? I mean, have you seen the news? There was a time when an artist could respond to the world around them, they could hold up a mirror and show their audience their own failings. There was a time when this was what popular music, literature, film and art was about. There was a time, before I was born I might add, but not all that long ago, when the very best art instructed us and gave us agency to change the contingent world in which we live.

So, what the fuck happened? When did Adele start to speak for me? When did everything become so safe? So beige? Have we relinquished control? I am a father of three young children, one of whom plays guitar, (and quite well too), but why is he sat in his bedroom teaching himself to play Galway Girl?

There is a debate about the purpose of art, in all its forms. Should it be instrumental, didactic or merely, to coin a phrase ‘art for art’s sake’? The answer to this is multifarious. Indeed, it is far too great to explore every possibility here. But what I will say is that art should in the very least make us feel. The risk of opening up what is deemed elite up to more popular forms and genres was, in part due to the fact that the great and the good would be diluted. There would be less quality music and film out there for us, which is why I contend that it remains important to sift carefully.

I mention my children because I am particularly interested in how I can use contemporary art and the canon to shape their moral compass. I believe that music can be feel good, that there is room for that. However, what is more important to me is that I and my children, and anybody else that I can have influence over will go in search of something which challenges their beliefs, which challenges authority, which will transcend time and tastes.

I can recall getting in my old man’s gold Ford Princess and listening on cassette to Zappa‘s Sheik Yerbouti, to Dylan‘s Desire and to The Best Punk Album in the World… Ever. More than introducing me to some great music that continues to sound fresh and exciting now, he was introducing me to music which was fighting against the status quo. I see it as my duty now to do something similar for my children and anybody who cares to read this, to urge you to look a little deeper, to look for meaning and true fulfilment from your music, art and literature. It is possible to do this without disregarding the music which makes you dance, but the discovery of that which will make you think and act differently has, in my opinion, to hold more value.

However, it is also possible to go too far the other way, and you don’t have to look too far to find people making an utter fool of themselves. It is possible to be too choosy, to morph into a snob. And all the while I urge you to seek out music, art and literature which makes you think, I urge you to be careful you don’t fall into this trap.

I once had a friend who refused listen to female vocalists, he was turning his back on Aretha Franklin, The Ronettes, Janis Joplin and Carole King among others, based purely on this ridiculous gender bias. I have read others complain about the simplistic form that pop music is supposed to have, its utter bollocks. I am wary of repeating myself at this point, but it is ridiculous to look down on people and their taste, art is personal, but I honestly believe that it has a resonance beyond, ‘That’s nice’ or ‘This is catchy’.

I’m going to end by quoting David Bowie, who once said of work, but this rings true of in the search for artistic gratification too, ‘Always go a little further into the water than you feel you’re capable of being in. Go a little bit out of your depth. And when you don’t feel that your feet are quite touching the bottom, you’re just about in the right place to do something exciting‘.