Premiere

Premiere: Jakob Lindhagen unveils video for The Tipping Point by Sergio Díaz De Rojas

By Sergio Díaz De Rojas

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Sweden-based composer, music producer and multi-instrumentalist Jakob Lindhagen has vast experience transforming visual elements into beautiful sounds. Some of the most notable examples of this are his film scores for the critically acclaimed Skörheten and Palme d’Or nominee Push It. However, the idea of doing the opposite never crossed his mind… until now.

Lindhagen teamed up with director and screenwriter Gabriel Schock to bring to life the music video for The Tipping Point, one of the most beautiful tracks from his latest album Paces, which we reviewed last year. Filled with experimental resources, nordic landscapes, and a few city shots, the video seems quite introspective, communicating fear and anxiety at times but mainly solitude and a longing for answers. Answers that will arrive naturally as the protagonist understands that it is necessary to go along with the current of life, even if that means going back to where all started.

Maybe that is what these visuals are about, maybe it is just my subconsciousness talking through it. Either way, this captivating work of art combines perfectly with the music of Lindhagen, and marks the ideal visual debut for an artist that has always been able to introduce you into his own world even with your eyes closed.

 

Premiere: Vicissitude by Cameron Brooks by Sergio Díaz De Rojas

By Sergio Díaz De Rojas

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In a world where so many self-proclaimed artists publish exceedingly unimaginative and shallow piano-based albums almost every week with no apparent interest about anything but Spotify streams, it is always a pleasure to come across record labels like Subtempo, so carefully curated, and that understand the necessity to take some time to find the right artist and release.

Cameron Brook, their most recent signing, is only 21 years old but already composes music able to touch the deepest corners of our souls, easily compared to the beautiful works of Daigo Hanada, Zinovia Arvanitidi or even Keaton Henson’s highly acclaimed Romantic Works. His upcoming EP, Vicissitude, is a very innocent but nevertheless profound, intimate and, most importantly, sincere collection of pieces revolving around the piano, also including violin, viola, and violoncello, that were brought to life while he was recovering from depression.

Vicissitude, the title of the EP, is the main idea behind this record: change and unforeseen circumstances, it speaks to the passage from darkness into the light and the ongoing journey to get there. The music was born from a dark place and the compositions and the instruments brought light to a much needed time of personal struggle. The result is a deep and piercing emotive sound.

The opening track is an over-six-minutes-long journey of solo piano that gets more interesting as minutes pass thanks to Brook’s skillful ways to introduce new elements. There are a few performance mistakes that would normally break the illation of music but that, on this very particular case, add a raw feeling to the piece and don’t bother me at all. To Glimpse and Hope, the second and third track respectively, count with the participation of Brook’s friends on the strings, appearing at the right moments in the right ways, offering us the most optimistic moments in the whole EP, as the titles imply. The closing track, Final Solace, goes back to solo piano and invite us to a more melancholic and nostalgic world, but not in a sad way. On the contrary, it is about the good kind of memories, the ones you keep in your heart forever.

Vicissitude is the ideal introduction into a music scene that loudly begs for more honest and genuine artists, and here at piano and coffee we can only thank Subtempo and Cameron for this touching release.

 Picture by Ben Brooke

Picture by Ben Brooke

 

Track premiere: My Love by Sophie Hutchings by Sergio Díaz De Rojas

By Björk Óskarsdóttir

Circles is a compilation album curated by Japanese artist Yasuhiko Fukuzono, aka Aus, and will be released on his record label Flau on June 27th, 2018, in celebration of their 10-year anniversary in the music world.

All the tracks on Circles are waltzes, but in Japanese culture, the waltz is also referred to as a “dance to draw a circle”. The featured artists come from several different countries and continents and were given the freedom to make their own interpretations of a waltz. At some point, most of them have traveled to Japan on concert tours organized by Fukuzono, thus additionally from the notion of a waltz, the music is inspired by the intimacy of friendships and the time spent together, rather than by sentimental or nostalgic sources, which creates a lovely overall brightness to the compilation.

My Love, composed by Sophie Hutchings, is the seventh track of the compilation, in which the Australian pianist and composer lends us a warm, forward-moving waltz, manifesting her known evocative musicality and tender sound on the keys. Listen to it below.

Pre-order Circles on Bandcamp

 

Premiere: Carry me slowly by Jameson Nathan Jones by Sergio Díaz De Rojas

By Amanda Nordqvist

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Though he has previously released works that blend neo-classical piano with emotive strings and gently experimental electronica, Mississippi-based musician Jameson Nathan Jones is soon to be releasing an album focusing solely on the piano, where he set out to base each piece of the album around a one-take improvised idea. We here at Piano & Coffee are no strangers to Jones’ talent both in the electronic and acoustic genre, and could not be more delighted to get to premiere the first single off his coming album.

Showing clearly the simultaneous strength and dignified vulnerability of the piano, Carry Me Slowly begins gently, a deep breath perfectly initializing this slow descent into dreams, so organically fitting the sounds of waves like white noise, not even really in the background but ever present alongside the lovable clunks and clicks of the piano. Unhurried, the equally organic melody explores its way across the piano, like absentminded musings in a diary, measured and deliberate.

It’s not sadness that I’m feeling, more a solemnity, spreading like warmth across my chest as the piece takes off, grows suddenly in grandeur and then falls back again, as if having caught itself off guard. I am awakened back into bright reality with another deep breath, lending the illusion that maybe all this happened in a matter of seconds – a world unfolding in the short space between two breaths, like a dream that seemed infinite but lasted only moments. I am almost surprised to find that I am, in fact, not sitting right next to Jones and his piano, as for a few moments I truly felt I could have reached out and felt the tremors of the notes as they resonated all around me.

Pre-order Sanctuary Sessions on Bandcamp.

 

Premiere: Illuminine unveils video for Dualisms #2 (Studnitzky rework) by Sergio Díaz De Rojas

By Amanda Nordqvist

Soon to be released, #2 Reworks is a collection of several artists’ reworks of the Belgian artist Illuminine’s album #2, and as true believers in collaboration, we here at Piano & Coffee Co. couldn’t be more thrilled to see the release of an album celebrating the magic that inevitably comes from helping each other out. The first single off the album, Dualisms #2, re-interpreted by Studnitzky, is accompanied by a hauntingly beautiful video made by Melina Rathjen, filmed entirely on Iceland.

The video is a compilation of clips from nature, where the ocean – just as in the video for the original track – seems to have the main role. Birds soar in slow-motion, chirping in the background, as soft techno beats blend with the gentle, ambient neo-classical of Illuminine. The chugging up-tempo lends an intriguing feel to the otherwise striking melancholy of Dualisms #2 and creates a beautiful mix of soft and rough, as mirrored in the video – the rough of sharp rocks; the softness of ocean waves rolling gently across even the most jagged of surfaces. Two sides in perfect harmony, portrayed even more clearly as industrial clips are thrown in, alongside a slightly more aggressive sound, breaking the natural surroundings without actually changing the mood.

A perfect example of how new sides to any artwork can provoke new thoughts and emotions, Dualisms #2 has our expectations high for the coming album, and we can’t wait for its release – but until then, this Studnitzky rework will be playing on repeat.

 

Premiere: Taylor's Theme by Andrew James Johnson by Sergio Díaz De Rojas

By Blake Parker

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Andrew James Johnson’s album Winter’s Heart achieves a level of emotional potency so instantaneous it’s almost jarring. Johnson’s abilities on piano have been characterized as “simple” and “uncomplicated,” but by the end of the first track of Winter’s Heart, these words are challenged.  Something in Johnson’s composition does have a purity and vulnerability to it, but I certainly hesitate to attribute it to the simplicity of his skills on the instrument.

What is at play in Winter’s Heart is a sense of distinct storytelling so self-assured the listener can even be fooled into thinking they already know the story as they are hearing it. Something magical occurs from start to finish of each of Johnson’s tracks on this album – almost like he conveys the emotions behind the songs so effectively we think those emotions are our own and are simply being brought forward, not Johnson’s that are being shared with us through the music. It’s almost frightening to realize this, as it seems Johnson finds a way to bypass the initial scrutiny of music by the listener and instead jump straight into the personal realm of the musical experience.

Some tracks on this album are less aggressive in the aforementioned sense – there are clear ebbs and flows throughout the track list, as any successful album would have. Following a dramatic, built-up, nearly chaotic number including various swirling strings and a driving theme, is a much mellower piece with relaxed and almost easy-going rhythm and a whimsical tone.

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Johnson’s second single, Taylor’s Theme, takes an even further step away from the more active parts of the album and paints a gorgeous tonal landscape across which delicate cello dances and swirls. The track takes a wonderfully slow pace similar to the walking speed of two people who are far more interested in each other’s company than the walking itself. The track is emotionally reminiscent of spending lazy days with family or reforming a friendship that previously went dark.

Winter’s Heart is a wonderful exploration of sentiments and nostalgia from beginning to end; Johnson keeps listeners feeling like they are a part of the music in a curious but captivating way. Sometimes the melody falls exactly where you predict it will in a satisfying conclusion, other times the piano dances off into unexpected territory – but always in a way that should have been obvious and that builds even greater texture into the songs. Johnson is a craftsman of the keys and the melodies, but also of our very perception as it relates to Winter’s Heart. He grips the listener so powerfully with his music that minutes can pass in a span of seeming seconds, memories long forgotten emerge bright as day, and even entire perspectives can be shifted by the impact of these songs. Winter’s Heart is a masterpiece in emotionally compelling contemporary classical music, and wise listeners should keep a close eye on Johnson as he continues to create in the future.

Winter’s Heart will be released on November 17 following a launch show on the 13th at The Crypt on the Green, St. James Clerkenwell in London

 

Premiere: Matryoshka-toska by Doug Thomas (with Muriël Bostdorp) by Sergio Díaz De Rojas

By Sergio Díaz De Rojas

 Artwork by Jolien van der Beek

Artwork by Jolien van der Beek

When Doug Thomas approached Piano & Coffee with a collaborative idea in mind, I knew it was the perfect moment to demonstrate why our motto is ‘imagine, collaborate, create’. At that time, I was planning to set up an imprint for limited edition physical releases inside the ambient and neo-classical music scenes, and this project was the ideal first step into that adventure.

Doug wanted to release music through a record label but he didn’t have the time nor the resources to compose and record an album. After I offered my help, he went back to an unfinished project from 2015 called ‘Ballades’ and decided to finish it, so we could produce it and release it through piano and coffee records. With the support of Sonorospace, we came across four talented and generous musicians – Marta Cascales, Manos Milonakis, Marek Votruba, and Muriël Bostdorp – that were willing to perform and record each piece from the EP. And, with the support of three Piano & Coffee artists, we were able to take care of every visual aspect of the release – the album art, a music video, and the limited-edition CDs design.

Today, two months later, ‘Ballades’ is ready to be released, and is the perfect example of what can be achieved through well-planned collaboration, no matter the barriers.

'Matryoshka-toska' is the first single and final track of ‘Ballades’ and was recorded in Amsterdam by Muriël Bostdorp. It is, according to Doug, the icing on the cake of this project. It swings you to the rhythm of its melody, which is quite catchy, and evolves in tempo and dynamic during the second section of the piece, to finally return to the melody of the beginning but in a lower register and with a slightly softer execution, bringing images to my mind of someone going back home after an agitated journey.

The four pieces in ‘Ballades’ are an amalgam of minimalism, romanticism, and the fresh compositional style Doug Thomas has developed during these years, which has been perfectly understood by the four performers and brought to life by piano and coffee records.

The EP will be released on November 17 on limited edition CD (preorder at Bandcamp). While you wait for it, enjoy Matryoshka-toska.

 

Premiere: Bohemia by Danny Mulhern by Sergio Díaz De Rojas

By Amanda Nordqvist

In an excellent showcase of his talents in writing scores for film and TV, London-based Danny Mulhern recently released Metanoia, an EP that is positively boiling with unhurried sentiment and grandeur. Accompanying one of the pieces are arcane scenes in black and white that set an eerie backdrop – but the pure, nostalgic tones of Bohemia immediately redeem one’s initial sense of dismay, and instead establishes a welcome but heart wrenching feeling of love and loss. The piece goes so well together with the video that it’s hard to say which came first, and as we are allowed glimpses into blissful childhood memories, Bohemia narrates the story – a story of familial devotion, as well as the inevitable loss of innocence. 

Stream and download Metanoia on 1631 Recordings' Bandcamp.

Premiere: Unsichtbar uncovers music video for Willkommen im Paradies by Sergio Díaz De Rojas

There's not much to say about this musician who appeared out of the blue with Jugend, his debut EP. Nobody knows his name and nobody has seen his face. The only certainties about this musician are two ambient, experimental pieces made with seven different textures coming from the same piano, and an electronic track made for an audiovisual project. Eight minutes of music seem to have been enough for Unsichtbar to catch the attention of other neo-classical and ambient composers.

Some weeks ago, he contacted Piano & Coffee with the intention of making a music video for Willkommen im Paradies, the first track from Jugend, and it was our artist Sergio Díaz De Rojas who took the lead on the project. Below, the result.

Follow Unsichtbar on SoundCloud, Facebook and Instagram, and visit his website

Premiere: Ceeys reveals video for Rueber by Sergio Díaz De Rojas

Here is the music video for Rueber, a collaboration between Piano & Coffee artist Jolien Van der Beek and German instrumental duo Ceeys. This piece, which forms part of their second album, Concrete Fields, was inspired by their childhood in Europe’s largest prefab estate, Marzahn-Hellersdorf, Berlin, East Germany, and serves as a personal reflection and as a public invitation to that unique moment in time. 

Utilizing captivating images, as well as alluring and experimental music, the music video for Rueber provides an immersive audio and visual experience that is sure to transport you to a time and place you otherwise never would have had the chance to visit.

Premiere: Ich bin Himmel, wenn ich den Himmel liebe by Sergio Díaz De Rojas and Seraphina Theresa by Sergio Díaz De Rojas

By Blake Parker


The music video for Ich bin Himmel, wenn ich den Himmel liebe, taken from the collaboration between Sergio Díaz De Rojas and Seraphina Theresa, The Morning Is A River, brings about lulled emotions and soft memories. The piece, visually and musically, feels like an afternoon in one’s adolescence when they were alone in the house; waiting for something or someone, not doing anything but not doing nothing either. The project evokes a kind of limbo —even a meditative state— where wandering around the house affords glimpses into little beauties otherwise unnoticed, and the act of non-doing creates in itself an internal peacefulness.

Sergio’s piano, inspired by the tentative improvisations of Seraphina on the same instrument, is full and wholly satisfying to the ear. While the chords and melodies wander back and forth with easygoing pace, one aspect stands out against many other piano pieces of this nature. The richness of low notes that move as their own line of melody is a rare treat, as all too often pianists seem to shy from the lower notes on the instrument for the purposes of melodies.

Seraphina’s visual works blend together video and photo elements in the same, simple medium. Moments of the music video may offer thoughtful atmospheric shots, while other moments focus acutely on a detail or smaller, still work. The shots in which she appears flow beautifully with the atmospheric ones, as the human form in the frame melts into the same inanimate and dreamy backgrounds.

An experiment I tried with this piece was to listen first, with my eyes closed; then watch, without audio. If the music struck me emotionally I would open my eyes to peek for a second, and if the visuals struck me similarly, I would turn the volume up for a split second. While certainly an unorthodox way to view a music video, it was a truly impactful experience that exhibited even further the beauty of this project as a collaborative work. Whatever way you may view this video, you are sure to finish with a lighter conscience and —if even slightly— more of a smile than before. 


Pre-order The Morning is a River on Bandcamp, and keep up with both artists' work on SoundCloud and Facebook (Sergio), and Tumblr and Instagram (Seraphina).

Premiere: March EP by Garreth Broke by Sergio Díaz De Rojas

By Blake Parker

Piano & Coffee is always eager to cover the works of visionary collaborative duo Garreth Broke and Anna Salzmann, especially when the project covers the seasonal changes happening outside our very windows. 


Broke’s spring-themed EP, March, simply leaves nothing to be desired. The melodies seem full and fresh, yet familiar as if the tunes are old friends nearly forgotten. Much of modern classical music doesn’t dare to go where Broke goes tonally in his EP. While the methods are familiar ones, the content of the playing is where Broke’s piano shines. Subconsciously, as well, the music forms mental images of space and landscapes that hint at raw, wide open countryside and the bite of a cold wind despite sunny skies. 

The accompanying artwork by Anna Salzmann also rings a strange bell, like the artwork hung for years on the wall in a childhood friend’s living room. The medium of watercolor and rough paper give the pieces an approachable and reciprocally vulnerable feeling, allowing even the timidest to feel welcomed into the curious world of swooping brushstrokes. Colors in these accompanying pieces are suggestive but not overt; introducing the first greens of spring while still staving off the icy blues of winter lingering. 

Overall this collaborative project gives the impression of the big melt that comes just as spring creeps in – while not gone, the snow and ice give way to a new season, and the process of change is both sloppy and sluggish, and tranquil, if not meditatively, beautiful. A wonderful emotional arc can be traced throughout the whole of the project; from subdued, as one can be at the end of winter, to invigorated, as one likely is as spring begins. 


Donwload and stream the March EP on Bandcamp.

Premiere: Solitude by Daigo Hanada by Sergio Díaz De Rojas

Solitude is about the peaceful feeling you get when you go for a walk with the wind as your only friend, enjoying the view of the ocean, a river or even the city itself, not caring about other people’s judging eyes. It is about the warm atmosphere created by the sun on a cold winter morning and the feeling of snow on your skin. It represents one of those days where you feel far away from society even though you are in it.

The music video for this beautiful piano piece taken from Daigo Hanada’s debut album, Ichiru, was recorded in Portugal and Poland by our artist Ana Monteiro and marks the first collaboration between Moderna Records and Piano & Coffee.

Premiere: Before I Return To Dust by Slowburner by Sergio Díaz De Rojas

By Blake Parker

Élvio Rodrigues is a multi-instrumentalist, composer, and producer based in Lisbon, Portugal. After being drawn particularly to the musical styles of field recordings and stripped-down pianos, Rodrigues has utilized these elements to compile the debut EP of his project – Slowburner – due out March 14th, 2017.

Slowburner’s EP, Before I Return To Dust, is a measured and deliberate exploration of sound that does not demand one’s attention the way other modern music does. Rather, the music of Slowburner beckons one into a fuzzy world where time seems slowed to a syrupy pace and things are soft, as if blanketed in thick snow. The compositions are playful, humble, and inwardly dramatic at once, making for an emotionally dense listener response to rather straightforward soundscapes. The ambient field recordings allow one’s mind to wander as it did during time spent in the backyard during summer days that seemed to go on forever, and the clear notes of piano give direction to the music without requiring one to follow, simply offering a hand. Slowburner’s EP is an invitation more than anything else - an invitation to take a slower pace.


Download and stream Before I Return To Dust on Bandcamp and keep up with Slowburner on Facebook.

Premiere: Empty Fields Recordings unveils video for Spring by Sergio Díaz De Rojas


Empty Fields Recordings has revealed the video for Spring, L.O.U.D.'s debut single, which you can watch first exclusively on Piano & Coffee.

This song was born thanks to the collaboration between L.O.U.D., a project by Swedish musician and writer Amanda Nordqvist, and Peruvian producer Diego Meneses, and was released on 30 January via Empty Fields Recordings. With our support, a music video was made for the track, which was filmed in two days at a beach in Lisbon by our very own Ana Monteiro.


You can stream and download Spring on Spotify and Bandcamp.

Premiere: Spring by L.O.U.D. by Sergio Díaz De Rojas

 L.OU.D. by Linnea Lundmark

L.OU.D. by Linnea Lundmark


After months of planning and collaboration, Empty Fields Recordings, a budding independent label which features talented young artists from across the globe, released today their first single, Spring. With thoughtful lyrics and smooth vocals from Swedish artist Amanda Nordqvist, coupled by the watchful production of Peruvian producer Diego Meneses Suárez, Spring is a sonic amalgamation, a bridge between the worlds of two musicians over 7,000 miles apart. 

The contrasts of South American and Nordic soundscapes allowed for an intriguing mix of expressions, and after sharing ideas and experimenting back andforth, the track was completed in the beginning of 2017.

Soft, ambient pop with rhythmic guitar and smooth cello set the tone for Spring, L.O.U.D.'s masterful debut, which is likely to be the first of many, many things to come from this young artist, and I, for one, can't wait.


You can find L.O.U.D.'s work on Soundcloud, and updates on her upcoming projects on Facebook.

Premiere: Rest easy by Måke by Sergio Díaz De Rojas

By Sergio Díaz De Rojas


Norwegian musician Måke, who made me fall in love with the haunting, electronic sound of his guitar in songs as abstract lover and neptune blues, released today a new track and it is as good as I expected it to be.

Rest easy reminds me of past summer days. It makes me want to smoke a cigarette with my love and talk about silly things as we feel the fresh air on our faces and get warmed by the soft sun light. This new song is the perfect representation of the feeling you get when the girl you love smiles back at you right before she falls asleep on a sunday afternoon. 

The cover art for rest easy was made by the talented, young artist Maren Duaas, and it perfectly combines with the message and style of the song.


You can stream and download Måke's work on Bandcamp and Spotify, and keep up with his upcoming projects on Facebook

 

Premiere: Måke EP by Måke by Sergio Díaz De Rojas

By Amanda Nordqvist

With a haunting, electric sound, this 18-year-old from Vestby, Norway has launched a masterful debut with his self-titled EP, Måke. Tim Sørdal creates solemn, heartfelt tracks that feel modern and relatable – add to that a voice that sounds eerily like Harry McVeigh’s from White Lies, and I’m officially hooked.

Along with the release of his EP, Måke has agreed to an interview with P&C, and he begins with explaining where his artist’s name comes from: 


“Måke” basically means seagull in Norwegian. We had this summer house near the coast, and every summer I spent there, I would wake up to the sound of seagulls waving their wings and screeching over our house. They have always been a symbol of happiness and good memories for me, so it felt kind of natural to go with that name. I also chose the Norwegian word for it, because I like the structure of the letters, aesthetically, and how it sounds when you pronounce it. I guess it would be pronounced like “moakey” in English.

Have you studied music before? 

I’ve actually never studied music, although I’m most likely going to a school next fall where they specialize in producing and, like, just studio tinkering, so I’m really excited for that. I have just been spending hour upon hour isolated in my room, just learning how to play guitar and other instruments, as well as learning how to record and produce, etc.

How did you come to create your own music?

I’ve always loved music, and ever since I was a little kid, my parents played it for me. It was always something on in the CD player at home, so putting on a record when I got home from school and such just became like a daily habit, I guess. So I think my interest in music comes pretty naturally, growing up with it and all and I’ve always loved creating things. Like, the process of an idea or a concept coming to life has just always fascinated me.

Creating has always been an outlet for me. Whether it has been drawing, painting or making a movie or whatever. Visualizing different emotions or situations I’ve experienced. Things I need to get off my mind, things I need to distance myself from.

I guess I’ve always surrounded myself with creative and inspiring people, and that has definitely opened up my mind to a lot of different styles and genres and ways of portraying things. I bought a bass guitar a couple years ago, because one of my friends was like: “Hey, buy a bass and let’s start a band”. I had no knowledge of how to play anything, so I just rolled with it. The band didn’t really work out and I just sat in my room learning some songs, but it didn’t really get me as hooked as I hoped it would. So, I bought a guitar February last year, I think, and I just started playing several hours a day and I started to make some chord progressions and other things.

Being a musician had always been like a vast dream to me, something I thought I’d never really get to be. But I managed to get some recording devices and a microphone, so I just started making shady demos trying to combine what little skills I had in different instruments.
After a while I started to get the hang of it, and I’ve been making music for about a year now.

I have no idea how many hours or days I’ve sat in my room, just twisting knobs, plucking strings and just learned my ways around music and how to create it.

What are some of your biggest inspirations when creating music? 

My biggest inspiration is always my emotions, and the way I let it control me in the process – the music I make varies so much from whether I’m having a bad day or a good day. It captivates me how my state of mind can come up with so many different ideas and sounds. Making music has absorbed me to the point where I analyse almost every song that I hear, trying to find out what they’ve used to make that and that sound, and how they’ve produced it, and yeah, I think that definitely inspires me to try out new techniques and combining new styles and whatnot.

I’m also really inspired by my friends. Some of my closest friends are musicians and painters/drawers. Their perceptions and ways of doing what they do for sure influence me in what I do. Like I said, hanging around creative minds really helps you open up to new ways around most things, really.

And of course there are bands and artists that have had a huge influence on me. Artists like Jamie Isaac, Homeshake, Unknown Mortal Orchestra, King Krule and The Style Council. I think you can definitely hear some influences from them on the EP.

How would you describe your EP?

 I think the best way to describe my EP is that it’s kind of the album where I search for my true sound and my own identity. Like, the sound and style varies a lot from song to song on this one, and it’s kind of an outcome of every influence I have and every emotion I carry inside of me. Mostly I had no idea what I was doing while recording this. I had no special result in mind, no vision of how this would sound as a whole, as a unit. But I think that’s what makes this interesting, because you can hear a lot of experimentation and different recording techniques and… yeah. It’s my first big project, music-wise, and it shows me exploring the different sides of making music, and all the different paths I can choose to go. 

Did you have a particular message to convey with this EP? 

I don’t think I had a particular message in mind when I started recording. Everything I write is usually really raw and unprocessed, every lyric is a result of me feeling something really strongly, and then I get a hold of my feelings by writing about it. So it’s all just crude and unrefined emotions, not an artistic image or message or whatever – although I do tend to disguise my lyrics in metaphors and similes a lot.

Every text is really personal, and it feels like I’m being stripped naked when everyone can hear my thoughts and perspectives through my own voice and my own soundscapes. But it doesn’t feel natural to me to write about superficial subjects. It just doesn’t appeal to me.

Can we look forward to seeing and hearing more from you soon? 

I’ve already started on a new project, actually! I have a lot of ideas and melodies I want to make something out of. I don’t know what it’s going to be yet, but that’s what I’ll be working on in the near future at least. I’m going to try to get it released via a record company or something. That would be really, really cool.


Cool, indeed – and not an impossible feat for this young, talented musician! You can find Måke’s EP on SoundCloudSpotifyiTunes and Tidal, and updates on his upcoming music projects on his Facebook page.