When I make music, it's a very visual thing. Conjures up a lot of images.
From King Krule
A lot of the time, I was unhappy as a kid, so I spent it, I guess, in a gray place.
Growing up in any big city, you get exposed to so many beautiful cultures. I've grown up with a lot of open eyes around me that's influenced my eyes to open.
I've mainly been sampling jazz because the tone of the chords are expressive in itself, so it's quite nice to write over. It's got interpretations of a lot of different genres, too, a lot of dubby-ness and experimental stuff.
I was always wrapped around music being a tradition, a skill.
My uncle was in a ska band called the Top Cats; that was my first proper influence, as I was taken to see them every week. It sort of built up, the want to replicate it creatively.
I got a lot from my uncle who is a really good ska guitarist. Very ragged makeshift rhythms and intricate lines.
There's a lot of tension in London, but then you realize it's always been there, in its history, and that the best thing about London, that there's always been this tension.
Stuff like Buena Vista Social Club and Fela Kuti were quite a main thing to my childhood. As soon as I reached an age where I realized that Fela was singing in English, when I got past his accent, I loved the rawness of it, and the funk and the rhythm and the melody.
Especially with the live, just the way I curve words, it's about expression. It's so emotive, to be able to release these words into a mike. It really emphasizes this insane tingle down my spine whenever I play.
2 perspectives
1 perspectives