Entrevista a White Town
Leftdance talks with Jyoti Mishra (aka White Town), a music artist form India, now live in UK.
Photo credit by Ian Watson (from how does it feel)
Here the interview :
1) Beside the music, which other arts do you really love?
Well, I write too, prose and poetry. That's all up on my website
bzangy.com. I've been writing more poetry the past few years as my
life has been quite unstable and what I'd normally put into songs seems to overflow into poetry. Here's one I wrote yesterday:
Next to that, I love photography. I only took it up properly in 2003
but it does something for me no other art form can do. My pics are all up here: www.flickr.com/jyotimishra/
I plan to try other art forms too, it's all good fun! :-)
2)a)What was the first album you bought?,
With my own money, I suspect it was Depeche Mode's 'Speak & Spell' when I was 14 / 15. I probably bought a couple before then but I do have a strong memory of buying that from Boots. Of course, ask me next week and I might remember something else entirely!
b)Which was the latest that you heard and you really like?, both locally and internationally
There's too many to list for 2011! I do a best of every year, have a look at the kind of thing I like:
So far this year, love Holy Ghost!, Erland & The Carnival, Maritime,
Apparat Organ Quartet, Deerhoof, Com Truise, Yelle, TRS-80... See, far too many! :-)
3)What are your main musical influences?
I've been a songwriter for 29 years now so that's a question that will
never have a fixed answer as I'm always seeking out new music, new influences. New people to steal from! :-)
When I was a kid, it was Depeche Mode, Gary Numan, Heaven 17,
Kraftwerk. In the late '80s, it became noisy guitar stuff like Sonic
Youth, Wedding Present and My Bloody Valentine. Then I had a huuuuge Michael Nesmith phase. Huge.
I think I'm not so obvious now with my influences as I seem to suck in much more. By this I mean that everything finds its way into my songs now physics, the weather, friendships, the recent illegal wars/occupations.
It all filters into there in some way. Sometimes,
I'll write a song, think it's about one thing and then only realise
it's totally about something else a few months after. It's crazy. :-)
4)How do you imagine the future of the music industry? The cd would be extinguished? ,will there be only digital versions?, record labels may redefine their role?
I think it'll be pretty much the same. I would love it to be artist
directly to audience, no middle label/publisher. But the truth is,
most people don't look for music, they wait to be told what to buy by
the radio, TV, blogs or whatever. Sooo, those media will always have power and control the flow of money.
I wish that wasn't so but I genuinely don't believe in long tail
theory now, at least not for music.
On the plus side, access to music has never been so free and the
possibility for things to break through past all those corporate barriers never so high.
5)I think Your woman is one of the best music videos in all pop history, tell me something about the backstage of the creation of this video
The video is really director Mark Adcock's unique vision. I chose him
from many showreels because I loved his style. Then we talked on the phone loads about film (I was a film student at this time, had to drop out because of the single) and found out we worked on very similar wavelengths.
One thing I was definite on: it had to be shot in my home town of
Derby. EMI wanted London but I wanted to capture Derby forever. I
think that worked, particularly as it was shot in December of '96 so
all the Christmas decorations are up.
I direct my own videos now:
and I still try to avoid the video cliches Mark and I avoided back
then. I hate most pop videos I see since they're all about fast edits
and have no narrative. The story is the paramount thing with a film,
whether it's a feature or a pop video.
6)How are you perceiveing the present of the scene of independent electronic music in U.K, predominates the more commercial and conservative side or the innovate one?
Well, there isn't any one scene, there is a multiplicity of different scenes. There is some overlap and the broadest scene is that electronic music which is poppy enough to get on the radio. That could be house, electro or dubstep, the underlying genre isn't that important.
There is always a tension, a dialectic between commercialism and
experimentalism. But, for me, there is no inherent value judgement in those labels. I love a lot of poppy, commercial electronic music whichpeople might see as quite formulaic. And there is a lot of
experimental stuff that, frankly, I find opaque and dull.
7)I love when you describe yourself said ``often incorporates political concerns in his songs veiled in terms of personal relationships`` , this idea applies for your new album ``Monopole`` ?
No, more so with 'Don't Mention The War' than with this album. That was a specifically anti-war album, born out of my anger at the biased, pro-war shit I saw on all my media.
'Monopole' is all about love. Because of my recent personal life,
getting divorced from someone I've been with for fourteen years, that swamped my other songwriting concerns. Of course, it is still full of politics because there is nothing more political than sex / love.
8) What are your next plans?
I'm busy promoting the new album, including gigging (HDIF this
Thursday) and I'm also making a video for every track on the album. And I'm releasing a 7" single with French indie label Another Sunny Night soon which'll be 'She's A Lot Like You' with two brand-new tracks as well. So, busy!
I'm also writing new songs, as always. I can't seem to stop writing at the moment, I guess because my life is so shit.