by Sam Nicholas
I’ve always been told I’m a perfectionist. I’m still not sure if this is the case. This is a sentence I’ll re-write several times, this a phrase I’ll think about for a few weeks.
This is an account of ‘Pink Mirror’, the second album by UK singer-songwriter Jeremy Tuplin, by myself, Jeremy Tuplin. I don’t intend to provide any absolute or dictatorial interpretation of the songs on the album, or the record as a whole, as I would never want to do that, but I’m happy to shed some light on the thought processes and ideas that led to them, and it, having kindly been asked to by mySoundposter.
The song ‘Warsaw Ghosts’ from The Family Grave’s album Everybody Is Flawed is a tribute to the Polish capital, soaked in history and emotion. Here, its writer explains.
“And the ghosts are laughing, because this is Warsaw.
The vodka is cold but our hands are warm.”
For me making music has always been about finding hidden lumps of pain, lighting fire to them and watching them disperse into the ether…
WEIGHTLESS/SINKING is the sonic representation of one of the most confusing periods of my life: I was simultaneously getting to grips with how much I had suffered from / attempted to forget the fact that one of my parents is a double cancer survivor, helping my family move out of my childhood home and trying to find my place in the mind-boggling metropolis that is London. I thought that the paradox of feeling like I was weightless yet at the same time sinking perfectly described the emotional soup I was in.
(I’m) a sparrow’s feather
on a lake: weightless/sinking
This project is really just the natural progression of my seemingly endless need to throw sounds together until they resemble something along the lines of a song. I’m excited to see where I can take amphibian sibling and how I can benefit people with music as I’ve benefited from others’ music.
by Ear Blocker
There once was an expectation, that an artist would take a while to create an album. That was certainly the case for my first album “Headfiller”. Over the course of a decade it was finally released. My latest “Assortment” was created in a comparative blink of an eye. The levels of frustration, pain and joy seem to be similar though.
“Are you gonna be ok speaking to him?” she says.
“Yeah sure, why?” I say.
“It’s just that some people totally freak out when they meet him,” she says.
I’m standing outside of a studio door at BBC 6 music, and the nice girl who is chaperoning me is asking if I’m gonna be ok meeting Bruce Dickinson.