TRAKS MAGAZINE #9

interview
We pass the ball to our label Atomic Fat, who
has promoted the promotion of the record.
The idea was just that, preparing the ground
for publishing the album by recreating the
story of the group through some of the most
reputable songs. The aim was to give the
project a greater visibility to the project, creating
the curiosity and interest to impact on
a highly competitive London Indie scene
where it is possible to find an audience open
to the news. The four singles have in fact
produced as much promotion as possible to
look for new spaces of growth and attention,
especially among the “jobseekers”. We have
created a solid (but non-intrusive) presence
on social media and built a fan base that
can approach our music in a variety of ways,
such as streaming, downloading, or through
videos on the VEVO page.
Just the videos are the result
of a beautiful artistic
collaboration with BOTH
that has found inspiration
in our music as the ideal
soundtrack of their stories.
In the communication we
were initially supported
by a Liverpool press office
that prepared us for
this strategy, and today we
are working with Lunatik
in Italy who has brought
Silver on the radio and to
being reviewed in several
important news headlines.
The songs sounds very
varied and also very influenced
by international
songwriting, mostly folk.
What are your key points
in the genre?
We hear so many different
things, from Nick Drake to
RATM, from At the drive
to the Italian or American
songwriter, to classical
music, but also Apparat
and Bon Iver. Something
of every kind. Lately, for
example, I am rediscovering the folk music of
Anglo-Saxon countries.
How was born “The Game” song, in my opinion,
one of the best of the record?
The game was born from the guitar, in a few
days, I sent the vocal-track record to Giovanni
who, in a very short time, laid it up keeping
the sound of the “maccheroniche” words he
had received, I do not really know how he
does it. The central instrumental part, however,
was born in the car, singing the theme of
the cell and rhythm of the battery above the
guitar chords, imagining it grow as a positive
rage that goes in and is thrown out in the
final screaming chorus. Often some ideas for
record arrangements have come out listening
to guitars in the car, going or back from work
rather than returning from an evening at night,
pointing all the way in with the phone
recorder. Sometimes I listened to it and it was
a shit, I did not quite know what I had hummed,
and sometimes it came out the song.
Can you tell the main instrument you used
to play on this record?
The lp is naked and raw, there are very few
overcarvings, we have not used any tools,
effects, or particular environments, instruments
or voice except for a couple of battery
trigger in The Game and Silver, the addition
of a synth and a piano on The love we owe
and a wurlitzer piano on Agata. Instrumentation
is exactly what we use when we play live:
a Taylor and a Cort guitars, an acoustic drum
and drums of Drum Sound.
Can you describe your concerts? What will
be the next dates that will be visible to you?
In the gigs, we try to build a musical story,
especially considering the harmonies of songs
and bpm. If there is a guitar changer or a
tuning of some instrument, we insert a short
introduction to the next song, a carpet or a
drum, to give the time to make the necessary
changes. We do not like to leave holes or talk
too much between one piece and another.
Lately, we have tried a ladder of about an
hour that we really like, we will replay it from
October onwards when we begin to wrap our
newly released lp. It sounds like a good show
for Silver, which is fine.
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