Welcome to the world of my music. Thank you for visiting my page, out of the vast virtual networks, you have taken the time to listen and learn a little about me.
When people ask me to describe my music, I don’t find it easy to put myself into a genre. For people that want a simple response, I would say “new-folk” (nu-folk – abbreviations are what the new world is all about!)
But when I think of words that come to mind, I think of things like “psyche” (I would say psychedelic, but then there is a musical genre that represents that word, and that’s not quite me.) Then I’d say “Celtic” for the sound of my voice seems connected to the spiritual sound of Celtic singing. I would also use the word “Gothic”, but I have to be careful, as “Goth” and “Gothic” can have vast associations, the goth culture is iconic for its darkness, emotion, its edge (think architecture; spiky, sharp, a little gloomy), but I would use that word because in connection to the aforementioned words, there is a bluntness to my lyrics, and although I don’t like to think of myself as “emo”, I do see my music as being emo-tional.
My guitar playing adds another element. I fast-tracked in classical music through the teachings of an eccentric virtuoso who spent every night of his life refining his reproduction of Bach’s compositions, amongst many other classical tunes, but also, we were followers of the Folk scene. And the era of the 60s hippy culture, where stars like Bob Dylan, Joan Baez, Joni Mitchell, and actual psychedelic music was at its peak. For me, psychedelic links in with the subconscious, the dream-scapes of our collective and most personal, yet universal selves.
Each song of mine is a story, an adventure, whether it be upbeat or downtempo, dark, or light, to put it in simplistic terms. Not all songs are autobiographical, but of course, my music is born from my own experience of life, and with each choice I make and thing I discover, a song is born of each significant event, no matter how relevant it may originally seem.
I have been dedicated to avoiding cliches, normality, of over-used terms and language. Although they too have their place in my songs – they are used self-consciously, in relation to the song. But the essence of each song is that it finds its place by being a unique depiction of a perhaps not-so-unique situation.
I have spent years of my life travelling and have found an unwavering attraction to darker subjects. But I actually have quite a hopeful, positive attitude to life, ultimately, and no matter how grave I can be in my music, there is always a striving towards redemption, of learning from situations and people, of trying to find the goodness and the beauty in even the most unlikely of things.
This is why I sometimes refer to my music as “somewhere in between Joni Mitchell and Irvine Welsh.”
Joni Mitchell, of course, being a 60s icon, with her refreshingly inventive approach to instruments, of her vocal expression and her lyrical choice. Her music has a way of drawing the listener or the current atmosphere into her world as she sees it, and feels it, and her quirks make her music superior to many other songwriters. upon missing her lover she would sing “the bed’s too big/the frying pan’s too wide.” There is no mistaking that her imagery and metaphors are unique and perfect in their relevance to the topic.
Irvine Welsh is Scottish writer who tells tales of utter delinquency, the shadiest of characters and the obvious yet taboo subjects of life are given free reign to shine with their own justification in the context of life at a certain time. Tales of Chemical Romance (do you remember the “emo” band My Chemical Romance?), drugs, sex, crime, cultural movement, poverty, schemes, and harsh characters from the grimmest backgrounds. This became an interest of mine. I was always trying to be an anthropologist in my life, and my songs are a product of that fact.