Sondre Lerche

Norwegian singer-songwriter Sondre Lerche has been releasing albums now for over a decade – since 2001′s Faces Down, he’s released six albums plus a soundtrack for the film Dan In Real Life. Earlier this year, he released his latest, self-titled LP. He recently took some time to answer questions from our very own Charlotte Gay – he discussed the musicians who helped him bring his newest record to fruition, early inspirations and his song-writing process.

For those out there who haven’t heard your music, how would you describe your sound?

SL: I have tried many times but never quite got it right. My easy answer is that it’s pop music but to most that might seem misleading. It’s old school, juicy song-writing but the sound of that can be so many things. I give up and leave it to others to describe. I probably won’t agree with that either.

You’ve recently moved to the States. Do you think that this move has affected your latest album?

SL: I’ve actually lived her for 6 years so it’s not a recent thing but this is the first album I’ve recorded in New York where I live so it was a real kick to stay close to home and make use of some of the talented friends I’ve met here through the years.

Your new album is out now, how do you feel it has turned out? Do you feel that you’ve found a definitive, ‘realised’ style?

SL: I’m very proud and connected with it and I’m glad I have an audience scattered around out there, who are invested in what I do and who try to get into it even though I make it difficult sometimes. It’s a very candid album to me, so maybe it’s not so tricky to access as some other ones I’ve done. I wouldn’t know.

What made you self title this new album after already creating many albums?

SL: I couldn’t find a title so I left it open and/or self-titled. It wasn’t supposed to be a big statement but I feel it fit the album and the narrative, so what the heck.

The new album was made with a little help from Midlake, Spoon and Regina Spektor’s band. How did they contribute? What were they like working with?

SL: Well, it was made with members and of these bands, not the entire bands. That would be cool but excessive. And Jim from Spoon doesn’t actually play on the album, but we worked together on some really cool songs in his studio that may see the light of day sometime as part of something else. Maybe that’s what you’re referring to. He also introduced me to Nicolas Vernhes who co-produced and recorded the album. As for the guests and players, they all contributed a great deal to the album, whether they are in famous bands or not. If not I would have taken them off the album. I’m pretty cold that way. But I’ve got some really amazing performances from these people. It’s a blessing.

After finding out a little bit more about you, it seems that your song writing process is solitary process. Was this a process you adopted for your latest album too? Do you think you could ever work in a band where song-writing is a shared part?

SL: Yeah, song-writing is something I do all alone. I don’t think I’ll ever be able to include anyone else into that process. Mind you, there are other ways to compose a song and I may take part in that for other purposes but for my own stuff it’s a ritual of loneliness and it’s very frustrating and ultimately very rewarding, so I’ll stick with it.

I was surprised to find out that you thought of MTV as an inspiration for you as a child. It seems that usually MTV has a negative response from musicians about its influence. What about it did you particularly enjoy or find inspiring?

SL: When I started watching MTV it was November 1989 and I was like the fat kid invited to Willy Wonka’s chocolate factory. Music was my only interest and at this time MTV played actual music all day. Some of it was great, some of it was terrible. I wanted it all, it was so exciting. They played Nirvana side by side with the new Donald Fagen video, then some Euro dance trash and then Prince. It was awesome.

You’ve written for not only yourself but for film soundtrack Dan In Real Life. When writing for film, did you find you had to go on set or similar to absorb the atmosphere of scenes?

SL: I spent a great deal of time with the actors on the set, and it really helped the process of composing the score and the songs. It was quite an adventure as I hadn’t composed music for film before so I took it all in.

Breton

Breton have been impressing us with EPs and live shows since 2010 and the band are currently gearing up to release their debut album early next year on Fat Cat and embark on their first UK headline tour. The South London-based act a little more like a collective – living and working together, creating film and visuals to go alongside their music – in both instances, they seem to overflow with ideas. Jane Corcoran recently put a few questions to band member Roman Rappak for us.

Muso’s Guide: How would you describe yourself and your music to people who haven’t heard you yet?

Roman Rappak: Our music is the product of listening to lots of hiphop, and going to see live bands no one has ever heard of in tiny, broken down old venues in London. Also going to squat parties where the sound-systems could go much louder then is legally allowed – to the point where you can’t hear anything.

We also have always made films, for ourselves, for indie film festivals and for other bands. We are obsessed with music and films, and why things work the way they do – I guess these songs and films are our way of trying to get our heads around things. I still don’t know why a chorus works – or why certain moments in films make me feel the way they do, but I guess that’s what makes it a fun thing to explore.

MG: You’ve got a really unique and interesting sound. Who influences your music and who are you listening to at the minute?

RR: I hear music from lots of different sources. Some of them are musicians, and other producers, some are kids that run blogs, some are journalists, and various other people that just listen to shitloads of music.

Everyone talks about how technology has changed the way we write music, but one thing I feel isn’t often highlighted is the revolution in journalism, and how music is written ABOUT. At one time you had to have a job in the music business to be plugged into new music – your reward for working as an AnR for a massive label, or writing for a big magazine, was that you got sent new music all the time, and a steady flow of vinyl though your mailbox meant that you knew exactly what was going on.

Now you can be a completely isolated from all that, but know as much about what is happening in music as the editor of a music magazine, just by owning a laptop and having a sense of curiosity about music.

That’s where the Internet has changed things. It’s changed journalism, which is the main point of communication between artists and people that want to listen to music.There are blogs I check every few days that have probably about 20 subscribers, and through them I have discovered the most amazing music.

I have a playlist of Sun Glitters, really rare Hudson Mohawke and some Plaid, but have been listening to old Talking Heads tracks, and Cabaret Voltaire.

Breton – the Commission by bretonlabs

MG: You’re touring with Ghostpoet at the minute, what’s the reception been like?

RR: It’s been amazing. People who are into Ghostpoet seem to be really open to new music, and a lot of his fans are the people I mentioned above. They are really switched on and seem to be able to get what we do quite easily. It’s a real pleasure to play in front of an audience like that – they are genuinely curious about what we do, and seem to be able to get into it pretty quickly.

MG: What can we expect from your live shows?

RR: We try and make the shows a snapshot of everything we do. Each track has its own short film that our VJ edits live – not abstract “screen saver” psychedelics, but actual short films and documentaries we have shot.

We also use lots of found-sounds and field recordings. I like the idea of driving into a town to play a show, and sampling the sounds that are specific to that area, like trams or the dial tone of the telephones, and using them in the set that night – it means there is a sense of familiarity with the music, and a connection between the sounds we work with and the audience we are playing to.

MG: Do you use social networking sites like Twitter and Facebook to keep in touch with fans? Do you think the accessibility to social networking makes it easier or harder for artists to increase their following?

RR: Twitter and Facebook highlight something about music which I love: exciting music always has a very personal quality to it. You listen to a piece of music and you engage with it on such a personal level. You take your own interpretations and meanings from it, and they are just as important as anyone else’s.

In that sense this social media thing is an extension of that. You can hear some music, absorb it in your own way, and talk about it publicly in whatever way you want – people create their own landscape without being drip-fed recommendations from big magazines and TV networks, like they once were, they can make their own interpretations of the music and lyrics. It’s a cliche, but people who listen to music have a lot more freedom at the moment, and word of mouth has more power then ever.

MG: In one way it makes it easier for people to find out about you but on the flip side do you think it increases the competition because most bands/artists use it as a way of putting themselves out there?

RR: I’m not really that concerned about competition. All I ever wanted for this band was a platform to show people what we do, and to be able to write a song and get it to lots of people. I don’t see us as “competing” with other artists. Everyone’s opinion and work is just as valid as our own, no one is “better or worse”. The only thing an artist ever has to worry about is if their ideas are effective or not.

MG: Which track of your own is your favourite? Any track that you most enjoy playing live?

RR: ‘Edward The Confessor’ is really fun to play live, and also seems to work really well with the visuals we have shot for it.

MG: Any favourite pedals or machines?

RR: Native Instruments Maschine honestly changed a lot for me. I try to never start a song the same way. So on the album I tried to use a variety of starting points. A couple I started on Maschine and then got the band to learn them. Writing electronic music and then getting humans to play it can sometimes have really interesting results. Ian in the band makes synths, a few of these appear on the record.

We recorded in Sundlaugin, which is a studio in Iceland owned by Sigur Ròs. It’s also where they recorded nearly all of their albums, and all their equipment is there. I found an old Mini Moog and recorded lots of extra parts that I then took back to London.

MG: Who would you most like to collaborate with?

RR: DJ Premier, Battles, Flying Lotus, James Murphy. I could probably go on forever. I always feel like I learn a lot when I collaborate with other musicians.

MG: You’ve toured in Europe. Do the crowds and reception differ to the UK?

RR: When we played in Paris recently we played in La Gaiety Lyrique, which was amazing. The audience all sat on the floor waiting for us to come on, then as soon they saw we were starting, they stood up and came to the front. It was a bit like an indoor festival, French crowds take their music very seriously.

MG: Your debut tracks on Fat Cat were recorded at Sigur Ros’ Sundlaugin studio in Iceland. How did that come about?

RR: Alex who runs the label thought it would be interesting to take us out of the Lab, where we record and live – the idea was to take the songs to a different part of the world, and see what kind of an impact it would have on them.

It has been really interesting watching them grow. Some of the songs have synths that were recorded in the vaults of a disused London bank, then vocals and drums that were recorded in a converted swimming pool in Iceland, then a string quartet recorded in Berlin, and finally the whole thing was mastered in New York.

MG: When can we expect the album?

RR: Late February – as soon as we are back from the US dates.

Find Breton on Twitter, Facebook and Vimeo. Breton’s AA single ‘Edward The Confessor’/'Kensington System’ is out now.

Jono McCleery

By James Blake

An air of anticipation fills the charming basement venue at the Queen of Hoxton in East London. Soaring strings silence the audience as Jono McCleery takes to the stage to launch his new album There Is. The crowd have already been soothed by Jess Bryant and treated to a rare bluesy-acoustic set from fellow singer songwriter Jamie Woon. Before excitement levels had reached this climatic peak, I caught up with Jono to discuss how the album was put together and what the future holds for the London based artist.

This is your album launch and your first headline slot you’ve done in London. How are you feeling and what have to done to prepare for tonight?

I’m really excited. We’ve got Jess Bryant band and Jamie Woon supporting and they’re both musicians that I love so I’m really looking forward to playing. I’ll also be performing with a full strings section for the first time so that we can recreate the tracks as closely as possible to make them sound like they do on the record.

How did get to work with Ninja Tune and start producing There Is?

I got signed to Ninja Tune because they heard a remix that Fybe had done of one of my tracks and loved it and suggested that we should collaborate for an album. Once we got going I wanted to add strings and my live band to the album so it became quite ambitious but we eventually got to a stage where we felt ready to release it and tour with it as much as possible.

While you were working with Fybe (Greg) and Matt Kelly did you ever struggle to fit everything you wanted in some of the tracks? Was there anything you had to compromise with?

We all had a really big creative impact on the album. I’d have little ideas that I’d send to Greg who would add beats to them, we’d send them onto Matt to arrange the strings on the tracks. All the time we’d try to put our own different perspective on things without each other’s input then we came together and added the live band to create the set of tracks we ended up with.

How have you found translating There Is from studio to the live setting?

That’s probably been the hardest part of all really. Greg did certain things with my guitar that have been tricky to replicate, it’s taken nearly a year to learn how to play the songs the way they sound on the album. It took a long time but I’m really grateful for it because it meant I’ve had to become a better musician to be able to perform the tracks well enough.

The album seems like a natural progression from your previous work. Was the writing process intense or did you let a body of work build that you were happy with before heading to the studio?

Well most of it was written for the album so it was quite an intense thing, it took a couple of years to do but I really wanted to be inspired and motivated to put together new work rather than relying on old material.

There’s a lot of that sort of thing going on at the moment like James Blake and Jamie Woon, whose supporting you tonight. Were you conscious to put your own stamp on the electronic singer songwriter brand as it were?

Well I didn’t go out aiming to add to that scene. When we started making the album those guys hadn’t released their stuff and we thought we were onto something a little bit different but it’s ended up being in part of this new genre which has annoyed me a bit to be honest!

Then again, I’m really happy that we’ve got loads live instrumentation on there which does set it apart form a lot of that stuff.

What is it about this genre that you think works so well and has found itself slipping into the mainstream recently?

I think it’s the intimacy. There’s a lot of intimate electronic music out there that suits the moods, and the atmospheres of a normal singer songwriter just possibly adds something that you can’t achieve with a guitar, harmonica or piano.

You’ve managed to combine so many influences into the album. Vocally you go from Bill Withers to Jeff Buckly to Gil Scott Heron while Nick Drake is heavily referenced by your guitar playing. Did you have any trouble combining all these styles into the album?

No not at all. I’ve been listening to those guys’ work for such a long time know that it just seems to come naturally to me. I listened to a lot of soul music when I was young so there’s always been that aspect to my voice but it took me a while to be able to merge other influences.  I’m sure there was a time when I sound like just one of them, like Nick Drake for example. Now though I’ve got to an age where it’s become a lot more natural for me to do. I’m really pleased when people can pick out all these different inspirations.

You supported one of these influences in Gil Scott Heron. How was it and did he pass on any words of wisdom?

No! I would have loved him to but we only really got to say hi to each other because he was so busy. I’ve kept in contact with his agents since and hopefully I’ll be heading over to America in 2012 to do some shows because of it. It was a lifetime ambition to support him and I was really lucky to do so. I’ve always concentrated on the next step rather than the big over all goal, so it wasn’t something that I ever actually envisaged doing. It was an incredible achievement but it also came as a big surprise.

So what is the next step after tonight’s album launch?

We’re booking a tour in France for around 15 dates, they’re receiving the album really well over there so I’m looking forward to that. Also, we’re getting some good radio play in America at the moment so I’d love to get out there and play some shows. I’ve never been to America but we’re getting a really good reception over there so I can’t wait to see to how our live shows go down over there.

Jono McCleery’s There Is is out now and he plays London’s 100 Club on November 30th.

Ben Howard Every Kingdom

By Charlotte Gay

The singer-songwriter Ben Howard has been surfing since he was 11, but his intricate guitar sound is more John Martyn than Jack Johnson. Aged only 24, Howard has secured himself a strong fanbase mainly by word of mouth (although BBC Radio 1, 6 Music and Radio 2 have now come on board in a big way). There is something about his guitar sound that recalls Nick Drake’s complex tunings, while every so often you expect his gently gruff tones to start warbling Martyn’s Bless the Weather. This Devonian musician caught up with our very own Charlotte Gay to exchange a few words before performing at The Old Firestation in Bournemouth.

So is this the first time you’ve played in Bournemouth before?

Nah I’ve played in Bournemouth quite a few times. I played in 60Million Postcards before with Ashcrome World and also played at The Winchester a couple times.

So has Bournemouth got a good music scene that’s made you want to come back?

Yeah it’s always a good vibe down in Bournemouth, really cool crew [girls scream outside], obviously a lot of students, as you can hear outside. But it’s quite nice; students are always up for a laugh and a bit of fun. There’s a cool little surf crew down in Bournemouth as well so always had a lot of support down here.

I was going to say, are student gigs some of the best gigs to play to?

Yeah sometimes; it always just depends on the people in general. Like sometimes you’ll play a student gig and it’ll just be a bit too ruckus for our sort of music but then sometimes it’s really vibing and they’re really behind you. Sometimes you get a really great crowd that are really in it for the music and sometimes you get a bunch of people in there who just want to get pissed.

You’re obviously a really keen surfer, so is that where your fan base started?

Definitely started through playing surf gigs and I used to play a few open mics.

So were you more into your surfing before your music took over, because you seem to be associated with both music and surf when people talk about you?

Well I’ve always tried to keep them quite separate. I’ve always played music and I’ve always surfed but I think people pick up on it quite a lot and link the two together. I’ve played music ever since I was a kid and I’ve surfed ever since I was about 11, they’ve always been a part of my life.

Have you got quite a musical family then?

Not really. My sister plays a bit of music – she used to play the piano and sing quite a lot. We’ve always listened to a lot of music. My mum and dad have always been really keen music lovers, always listened to a lot of good music.

Ben Howard

What would you describe as good music?

Anything with a bit of heart and soul really. I listen to anything where people obviously make music because they love making music rather than because they want to succeed in music. There’s a big difference between people who make music to chart, make money and have a career playing music compared to people who play music for free. A lot of people I look up to, and aspire to, are people who you can hear it in their music that they love playing and that they love doing it. We were just talking about it outside: it’s a really selfish pursuit – you love playing music, and so to be able to do something that you love is quite a privilege.

So would you say you respect people more if they were say musicians rather than just singers? Say that they have more musical skills and abilities?

I don’t know, it’s a difficult one. Obviously it’s all opinion based in music because there are so many times you say ‘Oh that is fucking shit’ and it’s not. Technically it could be brilliant or emotionally it could be touching. There are some really simple songs that strike a chord with me and with anyone really.

I’ve got respect for anyone who really plays music and plays it to the best of their ability. I think there is a lot of flash in the pan stuff, which I don’t know if I respect it less… there’s certainly a few things I see in a few music strands that are questionable in terms of technicality and really don’t strike a chord with me and people who really aren’t in it for music. They’re in it for money and fame. A lot of people nowadays are really obsessed with the idea of fame. The idea of being famous means you are cooler than people or you have an upper hand with stuff. For me, fame is the down side of playing for a living and having people buy tickets to your shows.

I have little respect for people who play music because they want to be famous.

Obviously you’ve down quite a bit of touring over the summer, did you have any bands that you particularly enjoyed seeing?

Yeah quite a few actually. We’re really lucky, we’ve got a girl called Daughter supporting us next month, she’s on the label Communion.
We saw The Eagles, that was pretty class. We saw them at Hop Farm, and we saw The National at Latitude – that was probably one of the highlights of the summer. Also saw the Foals, they’re just flawless – live they’re probably one of the best bands in the world.

So definitely recommend going see the Foals then?

Oh a 120%, it’ll be the best gig you ever go to.

Ben Howard

So have you got any funny festival stories, because I swear something crazy has to go on?

Bestival was pretty ruckus. We took a lot of drugs, drunk a lot, we got a bit stuck. Yeah we played a gig, I was wearing a pair of girls jeans, a pair of wellies and an anorak. It was weird, it went from the worst gig in the world – we really weren’t up for playing, I was smashed – to the best gig in the world.

We had a stage invasion, everyone was going mental, and the crowd were just the coolest bunch of people ever. I actually stopped halfway through, I was like I’m really sorry I’m just struggling and stuff. But then the entire crowd got behind us and were like COME ON, PLAY SOME BEN! Ah, it was incredible, a real incredible experience. A low point and a high point that festival.

I think Bestival’s a weird one for people, they put you in this valley on an island, just let you do your own thing and everyone is awol.

I’m from North Devon. You’re from South Devon. You said before that there seems to be a bit of a North Devon – South Devon divide. Do you still think this?

Oh, really nice to meet you. Nah, there’s just this sort of divide that no one ever migrates. Generally the vibe between Devon and Cornwall is strong and people always play on that. I’ve got so many friends in Cornwall and a lot of the surf scenes down there and they’re real nice guys. The only animosity I’ve had was in North Devon. I went surfing in Croyde and he was like ‘Yere mate, go ‘ome! Where you from?’ I said ‘Devon’. He said ‘But which part?’ and I was like we’re splitting hairs now!

We travel so much, but to go home is a real treat at the end of the day.

Are you going anywhere international over the next few months?

Yeah, we’re doing quite an extensive run in Europe in November. This Christmas I might go on a little surf trip to Mexico, and then March we do the States.

So have you had much response from Europe and the US about your music?

Nah, I’ve been playing in Europe ever since I’ve been playing the UK now. I got quite lucky with a couple of support slots and when out to Europe when I was about 21, so we’ve got quite a cool following.

Do you ever look out into the crowds and see people who you recognise as regular followers?

Yeah, especially at the beginning you meet so many cool people. I find people who come to the gigs are often people I get on with; I guess we’re into the same sort of music. You meet so many people every day and you know you know that person but you don’t know it was because you were drunk or what. The word mate comes in very useful.

So finally, what bands are you listening to right now, what bands are catching your attention?

I listen to a guy called Arthur Russell quite a lot; he was apparently part of the disco scene in the eighties over in New York, but he’s dead now. He plays real quirky little love songs, a lot composed on cello, it’s real weird but listen to it, it’s catchy.

I also listen to quite a lot of James Blake. I think in terms of musical style he came out with something that was completely original, there wasn’t anyone really doing anything like that and I still don’t think there is really.

Ben’s debut EP Every Kingdom  is out now.

We caught up with a band who take us back a fair few years now, in fact straight back to Leeds 2006… it’s Panic At The Disco! See how the ‘!’ isn’t bolded too? Well, we caught up with the exclamation mark-less two-some at Leeds 2011 – to talk about what they’ve learnt since starting the band, tourbuses, £2 rain ponchos and lots more.

Muso’s Guide is working with Vodafone VIP across festival season, be it live-blogging, video-interviewing artists, Tweeting (we’re at @musosguide) or reviewing weekends in handy snapshot form.

Vodafone VIP is part of the VIP programme for customers, and Muso’s Guide is taking on official music blogger status at some of the summer’s hottest festivals. There are currently competitions running to win tickets to Latitude, T in the Park and Wireless, with more to come over the summer.

The Vodafone VIP experience extends further too – there’s a Vodafone VIP area across fashion, festivals and Formula 1 over the summer, a viewing platform giving customers shelter and brilliant views, a recharging truck capable of charging 2,000 phones at once and selected apps allowing festival-goers to see what’s on and where, locate their tent via GPS and plan schedules for their weekends.

Visit http://www.vodafone.co.uk/vip to find out more.

We caught up with the LA hotshots Foster The People, at Leeds festival – to see if they were suitable candidates for fostering our cuddly penguin. And to answer a few Very Serious Questions too. Here it is:

Muso’s Guide is working with Vodafone VIP across festival season, be it live-blogging, video-interviewing artists, Tweeting (we’re at @musosguide) or reviewing weekends in handy snapshot form.

Vodafone VIP is part of the VIP programme for customers, and Muso’s Guide is taking on official music blogger status at some of the summer’s hottest festivals. There are currently competitions running to win tickets to Latitude, T in the Park and Wireless, with more to come over the summer.

The Vodafone VIP experience extends further too – there’s a Vodafone VIP area across fashion, festivals and Formula 1 over the summer, a viewing platform giving customers shelter and brilliant views, a recharging truck capable of charging 2,000 phones at once and selected apps allowing festival-goers to see what’s on and where, locate their tent via GPS and plan schedules for their weekends.

Visit http://www.vodafone.co.uk/vip to find out more.

We caught up with the Wales’ finest in post-hardcore, The Blackout, at Leeds festival – to talk about touring with My Chemical Romance, hiring a fan as a roadie, working with Pledge Music and more.

Muso’s Guide is working with Vodafone VIP across festival season, be it live-blogging, video-interviewing artists, Tweeting (we’re at @musosguide) or reviewing weekends in handy snapshot form.

Vodafone VIP is part of the VIP programme for customers, and Muso’s Guide is taking on official music blogger status at some of the summer’s hottest festivals. There are currently competitions running to win tickets to Latitude, T in the Park and Wireless, with more to come over the summer.

The Vodafone VIP experience extends further too – there’s a Vodafone VIP area across fashion, festivals and Formula 1 over the summer, a viewing platform giving customers shelter and brilliant views, a recharging truck capable of charging 2,000 phones at once and selected apps allowing festival-goers to see what’s on and where, locate their tent via GPS and plan schedules for their weekends.

Visit http://www.vodafone.co.uk/vip to find out more.

We caught up with the brilliant, brilliant CocknBullKid at Latitude festival, to talk about her writing for popstars and her own album, Adulthood:

Muso’s Guide is working with Vodafone VIP across festival season, be it live-blogging, video-interviewing artists, Tweeting (we’re at @musosguide) or reviewing weekends in handy snapshot form.

Vodafone VIP is part of the VIP programme for customers, and Muso’s Guide is taking on official music blogger status at some of the summer’s hottest festivals. There are currently competitions running to win tickets to Latitude, T in the Park and Wireless, with more to come over the summer.

The Vodafone VIP experience extends further too – there’s a Vodafone VIP area across fashion, festivals and Formula 1 over the summer, a viewing platform giving customers shelter and brilliant views, a recharging truck capable of charging 2,000 phones at once and selected apps allowing festival-goers to see what’s on and where, locate their tent via GPS and plan schedules for their weekends.

Visit http://www.vodafone.co.uk/vip to find out more.

Interview by Louise Coles

In his short recording career, Fantasy Rainbow (a.k.a. one man act Oliver Catt) has already drawn complimentary comparisons to the likes of Deerhunter, No Age and Wavves. His restless, mischievious lo-fi experimental tendencies belies a pop nous with a youthful vigour. The sunny, hazy melodic tone of his records are filled with a bittersweet pang of a young age coming to an end. Here Oliver chats to us about youth, new beginnings, and his choice of mayonnaise over ketchup…

For those out there who haven’t yet heard of you, how would you describe your sound and set up?

Well, for the most part, it’s just me on my own. There is a couple of different live versions depending on who I can get to come along and help, but it’s usually just. When I record I do everything with my friend Jonny (Coddington): he tells me when my ideas suck, so he’s handy to have around.

Where does the name Fantasy Rainbow come from?

It took me ages to come up with a name. I almost went with ‘Mondegreen’ but my overly critical friends talked me out of it. Then one day I just decided on Fantasy Rainbow and I’ve not started hating it yet so it’s probably going to stick.

Do you ever find it difficult being a solo artist?

There are times when being on your own sucks, like how you can’t make a live show sound like the record, but then you just find ways around it. Like I rely a lot on a loop pedal and use a lot of delay and stuff to bulk out the sound, but that does make the live version a lot different from the recorded version, which isn’t necessarily a bad thing. Sometimes it’s pretty awesome though – I don’t have to organise anyone, it’s much quicker to record and it’s a lot easier to do stuff. I don’t know which I prefer.

How do you write your music?

Up until recently it was always music first, then lyrics to fit that. But a couple of weeks ago I had to fly back from France on my own and spent about 12 hours travelling. I wrote a ton of lyrics, and the music I’ve written for them is really cool, so now I don’t know how to write songs anymore really.

Your music has a summer, hazy feel to it. Do you purposefully prepare music that is suited to the sun?

Not really, I just wrote the first and second records during the spring and summer respectively so I think they have a pretty positive, sort of ‘summery’ vibe. The newer stuff I’m writing is definitely darker, but it still sounds like the earlier stuff just not as nostalgic sounding… if that’s a thing. I think I have Seasonal Affective Disorder when it comes to writing.

Your sound has been described as soaked in a youthful vigour, which focuses heavily on leaving childhood behind and moving out into the terrifying world. Does this sound right to you? Is your music a personal reaction to this intimidating time of our lives?

Yeah it’s definitely about moving out into the world. I’m at point now where I know in three weeks time, for the first time in my life I won’t live in a house with my family, nor in the same town I’ve always lived in, so yeah, it is very much about moving out or whatever, but when that’s over I’ll stop being so concerned with it I imagine.

Nothing describes the fear of growing old better than the refreshing track ‘Youth Forever’. It has a teen, summer haze pop ethos to it. Do you feel you’ve successfully captured the theme in the song?

I’m pretty happy with all of the songs on the record, and I feel like I said everything I set out to say on it. So yeah, I suppose it has captured the theme, but I don’t think that that is really up to me decide.

You’ve been compared to Deerhunter, No Age and Wavves – are these comparisons that you’re happy with?

I couldn’t be happier with these comparisons! Those are three awesome bands that I listen to regularly, so it obviously comes across in my music, Deerhunter especially – they’re such an acclaimed band I honestly feel quite honoured people consider me as similar to them.

Who are your influences?

I mostly get influenced just by the bands I’m listening to, but one of the things that has really had an impact on me is people who don’t just stick to one band but move around between projects, people like Josh Homme and Jack White, and even to an extent Alex Turner. I think it’s really cool when people guest on records and things. I’d love for a band to ask me to collaborate with them.

If you could have a dream collaboration, who would it be?

My dream collaboration would be Titus Andronicus, just because of the energy of the live shows. Fantasy Rainbow is pretty chilled out so it’s not often I get to rock out on stage or whatever, plus with the rate Titus go through band members one day I might end up playing guitar for them (that’s a joke).

Your new EP ‘Teens’ is just about to be released on Tiny Lights Recordings. Tell us about it.

I pretty much set out to make a record that dealt with what I was doing at the time, that’s why a lot of the songs are about summer and moving away and growing up etc. because that’s what I’m dealing with at the moment. I’m really happy with the record, but now I’m just excited to record again and release something new.

Where and how do you record best?

I record at my house. Basically my friend Jonny and I turn my house into a studio for a few weeks and spend all day everyday just thrashing it out. At the end we kind of see what we’ve done. I love recording, it’s the best thing about being in a band. I just like messing around with sounds and stuff.

The new EP ‘Teens’ was mixed by Jonathan Coddington, and mastered by Jack Laidlaw. What was it like collaborating?

Well with Jonny it wasn’t really collaborating because him and I have been recording and been in bands together since we were about 13 years old. With Jack I just sort of sent the songs away and then he sent them back when he was done, so it was pretty weird. It felt as though nothing actually happened which is a shame. I’d like to get all the people together in the studio to work on it together next time we do it.

You’re apparently working on the album – tell us a little about that.

I’ve just written tons and tons of songs since the EP came out and have to decide which I want on an album and then do it. Recording is going to get a lot harder though as we’re all moving away, but I’m sure I’ll find a way to do it. It should hopefully be out in the spring of next year.

When performing live, do you prefer a more intimate setting or something larger scale?

Intimate for sure. There’s nothing better than loads of people crammed in a tiny room, far better than playing in an arena and everything sounding like it’s being played inside a tin can. Unless it was The Sage in Gateshead, that place is a musical dream. That’s the only concert I’ve seen in a huge venue that didn’t have really terrible sound quality.

Where would your dream gig be?

I really want to play on a boat, so I suppose it would have to be that. I think there’s something cool about playing music as you pelt down a river or something. Maybe I’ll organise that for an album launch party.

Do you have a favourite instrumental tool?

I love my pedals – guitar pedals are really what’s awesome about playing guitar. My loop pedal is just the best piece of equipment ever.

And finally, what’s next for Fantasy Rainbow?

Well, I’ve got a load of shows coming up and I’m recording a special release which I’m really excited about. Then I’m just spending the winter recording the album and readying it for release, then touring it. You’ve gotta stay busy, y’know.

Teens EP by Tiny Lights

And now it’s time for our Quick Fire Round!

Pop or rock?

Pop

London or New York?

New York

Tea or coffee?

Coffee

Electric or Acoustic guitar?

Electric

Ketchup or Mayonnaise?

Mayonnaise

Loud or quiet?

Loud

Beyonce or Rihanna?

Beyonce

Shirt or t-shirt?

Shirt

We caught up with Example at The Big Chill Festival backstage – he was nearly exactly midway through his run of festivals. Here’s what happened…

Here is a full review of The Big Chill , if you’re into that sort of thing.

Muso’s Guide is working with Vodafone VIP across festival season, be it live-blogging, video-interviewing artists, Tweeting (we’re at @musosguide) or reviewing weekends in handy snapshot form.

Vodafone VIP is part of the VIP programme for customers, and Muso’s Guide is taking on official music blogger status at some of the summer’s hottest festivals. There are currently competitions running to win tickets to Latitude, T in the Park and Wireless, with more to come over the summer.

The Vodafone VIP experience extends further too – there’s a Vodafone VIP area across fashion, festivals and Formula 1 over the summer, a viewing platform giving customers shelter and brilliant views, a recharging truck capable of charging 2,000 phones at once and selected apps allowing festival-goers to see what’s on and where, locate their tent via GPS and plan schedules for their weekends.

Visit http://www.vodafone.co.uk/vip to find out more.