Foto-© Sequoia Ziff
Der britische Indie-Folk-Künstler Blanco White, bürgerlich Josh Edwards, präsentiert heute sein zweites Album Tarifa, das zusätzlich zu den eigentlichen Genre-Qualitäten des Songwriters noch Dream-Pop-Anleihen hinzufügt. Hier kommen Orgeln, Synthesizer sowie organische Instrumentierung und Percussion zum Einsatz. Edwards’ sanfte, poetische Seite erinnert an Künstler:innen wie Sufjan Stevens und Feist, wobei die akustischen, aus den Anden stammenden Instrumente Charango und Ronroco zentrale Bestandteile von Blanco Whites Klang bleiben. Das Album Tarifa entstand in Zusammenarbeit mit Pilo Adami, mit dem Edwards die Percussion-Aufnahmen in den Punta Paloma-Studios an der Küste von Tarifa realisierte. Edwards und Adami kehrten später zurück nach London, um dort die Produktion gemeinsam mit Produzent und Musiker Nathan Jenkins (aka. Bullion) abzuschließen. Für uns hat Edwards ein Track by Track zum Album geschrieben!
1. Giordano’s Dream Part I
The oldest song on the album is Giordano’s Dream and it went through several changes before reaching its final form. I tried three different choruses before settling on the mastered version, and adding MAVICA’s vocals to the chorus felt like the missing piece.
The song ponders the idea of whether we are alone in the universe. While I used to believe in extraterrestrial life, my confidence was shaken by the “rare earth hypothesis” and lectures discussing Earth’s uniqueness. The notion that our planet might be truly exceptional was unsettling, and it made me reflect deeply. It also intrigued me how songwriting can reflect our current knowledge and questions about reality.
The title Giordano’s Dream pays tribute to Giordano Bruno, who was executed for suggesting that stars could be distant suns with their own planets, similar to our world.
2. Giordano’s Dream Part II
Initially an ambient outro, this section was born from an improvised organ recording in “Giordano’s Dream.” My bandmate Cameron Potts and I experimented with the organ’s glide/portamento, leading to an accidental recording that became the outro’s foundation.
After a drum session with Sebastian Rochford, his unexpected drum improvisation over the ambient track amazed me. I transformed his drum solo into a loop and added strings by Charlotte Schnurr.
3. Tell Me That You Need Me
This track originated from a jam with my band during soundcheck on a previous tour. I later worked on it with Cameron Potts in my home studio. The song’s 6/8 time signature offers a circular rhythm that I find captivating. Using a guide drum track, we recorded the guitars and bass in a single take to capture the initial creative energy. Fred Claridge added live drums, giving it a 70s-style sound.
The song explores themes of rejection and the inner struggle between acceptance and denial, which often consume our thoughts and naturally find their way into music.
4. Una Noche Más
Una Noche Más helped me process the end of a long relationship and the subsequent grief. The difficulty of letting go during such times often leads to clinging onto memories. Translated as “One More Night,” the song encapsulates the struggle of holding on. I wrote, produced, and mixed it on my own, and adding MAVICA and Charlotte Schnurr’s vocals added depth and vulnerability.
The unconventional time signatures of 11/4 and 10/4 first drew me to the musical concept, lending the song an airy and wandering quality.
The first song I worked on during a writing trip to Tarifa, Spain, Tarifa marked a turning point. The trip symbolized renewed confidence in my music-making abilities despite a previous nerve condition. The joy of working on music in such a beautiful place fueled my recovery and allowed me to engage in songwriting with renewed vigor.
Tarifa aims to capture the happiness and freedom I felt during that time. It also reflects the excitement of connecting with someone new, encapsulating the hope that accompanies fresh connections. The dynamic energy of Tarifa’s winds influenced the song’s character.
6. Green Eyes
Co-written with Oscar Jerome in 2023, Green Eyes delves into obsession and heartbreak. The collaboration stemmed from a desire to work more with fellow musicians, and Oscar’s exceptional musicianship added a fresh dimension. The arrangement maintains minimalism, emphasizing the mournful yet hopeful lyrics.
7. Don’t Go Hiding Now
A long-standing idea found its realization in Don’t Go Hiding Now. The descending nylon guitar pattern and chromatic harmony offered a flamenco-like touch. Collaboration with Pilo Adami and Sebastian Rochford, along with Nathan Jenkins, resulted in a distinct character for the track.
8. Silver Beaches
Silver Beaches originated from a collaboration with Pilo Adami. The songwriting process captured a shared vision, setting the tone for the entire album’s identity. The lyrics evolved, centered around the concept of Silver Beaches. The song envisions a dream-like space, reflecting the production’s identity.
9. We Had a Place in That Garden
Written in Tarifa, We Had a Place in That Garden emerged unexpectedly while experimenting with a synth part. The song muses about a hypothetical reunion with a lost loved one at life’s end, celebrating shared memories and experiences. The sentiment of human connection and unity underlies the song’s essence.
10. Cornered Tiger
Cornered Tiger began as a synth and vocal sketch, later developed with Pilo Adami’s unique percussion contributions. Inspired by a story by Jorge Luís Borges, the lyrics depict a dream of escape, reflecting on human struggles and the pursuit of freedom.
11. Riding on the Wind
Though not initially intended as the album’s closing track, Riding on the Wind found its place due to thematic resonance. Inspired by a conversation about humanity’s ancient history, the song celebrates previous generations, acknowledging their struggles and joys. The lyrics and music reflect a profound connection with the human story, transcending time.
Each song on the album tells its own story and creative journey, showcasing a diverse array of inspirations and emotions.