Hello good day to all our fans and followers of the Digital Magazine Skelerock, its servant MRS X I bring you a super interview of a singer of “progressive” jazz. This is how I have considered his style of music in his album #ablackwater which is a disc of desire … so soft in its facets of sounds that go premeditating Trip Hop. With this brief introduction I present the singer #Mildred.
Interview with #Mildred
How would you characterize #Mildred’s Music? What style is it?
M:I usually describe it as dark hyper-emotional piano trip hop.
Could you talk to us about your album #ablackwater? How did it come to be?
M:In January-July of 2017 I went through a writing surge, so I just kind of had a whole bunch of songs all of a sudden and I decided to put them on an album. Most of the songs were written on my work breaks at a music school.
During the album #ablackwater, on some tracks you can appreciate instrumental and lyrical melodies, in others you can appreciate voices acapella. Is this a literary composition (concept album) or solely a composition of dark sounds en relation to the album? (For whichever it may be) Why?
M:I haven’t officially proclaimed it a concept album but it pretty much is. Each song is a scene in a dialogue between a person and their depression (or whatever mental illness). Some songs are just the person speaking (“Anxiety”, “Be My Whole God”, “Beckon Me Down”, “Give Me An Armor”), some are conversations between the person and their illness (“Inside”, “I Heard You”, “Four Arms Two Mouths”), “Follow Me Under”is just the illness speaking and “Iwroteyou” is the two of them singing the song to each other. There isn’t like a super concrete narrative; it’s more a story of emotions than a story of events. There’s also no real reason for the different instrumentations, it’s just sort of how everything naturally came together. They do play a role in the story on some level, though. The layered voices signify the feeling of one’s mind either fighting itself or working in harmony. The piano kind of sets the scene and creates the space in which these conversations happen. There are actually super clear and detailed visuals in my head for all of these songs. For example, “Follow Me Under” begins at an empty dock at nighttime with the boats slowly swaying side to side and creaking, then gradually the main character descends to the bottom of the ocean after being called by some entity below. “Inside” happens in a cavernous deep sea lair, but then by the end the person is thrust back into whatever their normal reality is. I’m not going to make everyone sit through a song by song breakdown of all the images in my head when I hear this music (although if anyone is interested feel free to reach out), but that’s kind of the idea. I would LOVE to be able to make a film out of it someday.
What is represented on the cover of the album?
M:The person sinking in the water.
What inspired you to make the cover of Adeline Newman?
M:It’s actually a photo from the first promo shoot for #Mildred. I just thought it was a cool shot it and captured the vibe of the album well.
What plans do you have for 2019?
M:I’m just trying to make as much art as I can with the resources that I have. I have three single releases coming up fairly soon– a song of mine produced by and featuring David Binney, a house track done in collaboration with Shuji Hirose, and the first single from my upcoming second album which will be called Pop Songs From Hell. I’m working towards making a music video for that song, but when that happens depends on how quickly I raise enough money to do it. Shit moves infuriatingly slowly when you don’t have a lot of money to produce stuff, but again, I’m just trying to do what I can with what I have. I’m sitting on so much material that’s finished and ready to go and just hasn’t been produced yet. I’ll probably release a couple more singles from the album before the end of the year, and it’s looking like the full album will be out sometime in 2020.
Redes sociales Skelerock