Sol Croft has released the superb single ‘Deceit’ at the end of October 2020. Read our full interview here!
Who influenced your latest release ‘Deceit’?
FKA twigs on her Mary Magdalene ‘Later’ performance. I wanted to write a song that I felt could be danced to in that way.
That’s where the kind of swirling descending chords came from, I was thinking of her throwing the sword about in that Wushu style.
You have an EP due for release on 6th November called ‘Farewell To The Disciples’, can you tell us any more about the release?
Back in February, I was recording a few songs with a bit more instrumentation around them. Of course, in March that had to stop, so not being able to record with the others for a while, I thought I’d do a few songs with only piano and record it at my home.
The songs on the EP were written around April so not that long into it all. I think each of them has some relation to isolation or other things that came as a backlash of the lockdown; that’s the kind of stuff that gets put into your lyrics without you necessarily knowing, just naturally responding to your environment.
It’s not until now, months later, where you can say that’s what it must all mean, so the EP is in no way about the lockdown, but the songs definitely hold themes of its side effects.
What is the first song that captured your attention as a youngster?
I remember Maggie’s Farm being played a lot growing up, always on long car journeys for some reason, so probably that one.
If you could open for any artist/band who would it be?
I’d like to have opened for Oscar Levant, just to have seen him play.
If you could change one thing about the music industry, what would it be?
I’d sign Sol Croft.
What new music are you listening to at the moment?
Right now, Anna Von Hausswolff’s All Thoughts Fly. The guys I record with have a friend who plays a church organ, and we managed to get him to play on a new track of mine, so this record was perfect to hear as a reference, and the artwork’s great. Also, a record by MONEY from a few years back called Suicide Songs.
You played sold-out shows at Servant Jazz Quarters in London just before lockdown, what were those gigs like?
It was great to be able to get that in before lockdown. I’ve always enjoyed playing that venue because of the piano they’ve got there and my friend, Susie Blankfield, was with me on the cello as well, so it was a lot of fun to do. I look forward to playing there again when it’s possible.
Also, the gig was partly responsible for the decision to do a solo piano record.
FV Music Blog November 2020
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