Category Archives: Musician Interview

Bassist Yasutaka Nomura talks Smokey Lenses’ new highly-anticipated album

Yastuaka Nomura is lucky enough to love what he does. There is no “back to work grind” that so many face on a Sunday night for him, or dull days filled with no real feeling of accomplishment. His job gives him joy, a sense of purpose, and adrenaline rushes. That is the life of a professional musician.

Having worked with several bands, such as Mammoth, Squanky Kong, and Voodoo Kungfu, Nomura has worked on a wide variety of genres for a professional musician. He enjoys this, not wanting to pigeon-hole himself into one specific type of music. The guitarist and bassist is recognized for his undeniable versatility and talent, which is why when the Indie Rock/Alternative band Smokey Lenses was looking for a bassist, he knew he had to be a part of it.

“I wanted to work with Smokey Lenses because I liked the songs, but also because the music they play is something I usually don’t get to play, even though I always liked listening to that kind of music and I always wanted to play it with a band with original material. I was very excited when they asked me to play in the band,” said Nomura. “I usually don’t get to play the kind of music that Smokes Lenses plays so I was inspired to do a completely different musical approach than I usually do in my other projects. I was definitely a new challenge for me.”

Initially, Nomura had heard the band was looking for a new bass player for their album recording through his friend Aliyar Kinik, the drummer of Nomura’s band Mammoth. The band’s drummer needed a substitute and Kinik was filling in. He mentioned to the band that he new a good bassist, and after hearing Nomura, they knew they had to have him.

“Recording the album was great. We recorded total of 12 songs and I’m happy with all of them. The songs were already great before arranging but I think the work of the band is making the songs sound even better. I can’t wait for the album to be released and to listen to it,” said Nomura.

When recording the album, they did all the basic tracks live at once, with everyone in the same room. This is not a common way of recording. Because of using this style, the tracks have a lot of energy and organic feeling, according to Nomura. Recording like this allows there to be more energy, with better dynamics and conversation between each band member, just like a live show.

“It was awesome. I barely knew the band members at first but we got along very quickly. Everyone in the band was very easy to work with and fun people. We always had a great time at the recording sessions. I cannot wait to work with them again,” said Nomura.

The album is expected to be released later this summer, which is highly-anticipated due to the release of the first single Candle Glow, which was released May of last year. The single received positive reviews and was featured by popular music blogs like Speak Into My Good Eye, That New Jam, and Revolution Tunes.

Candle Glow is definitely one of my favorite songs from this album. It has a nice catchy melody and lyrics. I’m really happy with the recording too,” said Nomura. “The success it has seen since being released is great. We started off the album recording with this song. It was the first time I could even play with the band since our schedule didn’t match before the first recording session, but I think we were already locked in at the first session.”

As a guitarist and bassist, Nomura typically plays progressive rock, metal, funk, R&B, jazz, and fusion. He says progressive rock and metal require a lot of technique, with the sense of odd meters and solid timing. Funk and R&B require a nice 16th note time feel and a good sense of call. Jazz and Fusion require great skill with improvisation, nice swing, 16th note feel, pocket and of course sophisticated technique. The music that Smokey Lenses plays is far different from these genres. It doesn’t require either an amazing technique or the skill of improvisation but a good time feel/pocket on mostly 8th note beat, importantly the skill to stay on the groove and not overplay, technically speaking. Many musicians so familiar with other genres would have found themselves overplaying and not staying on the groove, which would interfere with the vocal melody. This was not the case for Nomura. He even tried to sing on everything he played on bass. His adaptability was appreciated by the band, who may not have been able to make the album or see the success that they say with Candle Glow without Nomura.

“Yasutaka is very professional and easy to work with. The work process went smoothly and he produced exceptional results. Yasutaka is a professional musician, so he understands the importance of being excellent at his craft and has a dense knowledge of music theory. He is respectful, focused, observant and learns extremely quickly,” said Singer and Guitarist Adam Oberst.

With talent like this, there is no doubt Nomura will continue to come through our speakers for years to come. Listen to Nomura’s work and Smokey Lenses’ song Candle Glow here.

Check out Nomura’s YouTube, Instagram, and Soundcloud to hear more.

DAHOV AND JEREMIH BRING MUSIC FANS TOGETHER

 

The Arts are often the key to a universal experience and language among all people of the planet. While the accent of different paintings, cinema, and music may reveal their point of origin, the ability of these mediums to convey emotion and a connection with others is often beyond the words and language they might contain. It has often been said that the work of an artist is that of bringing all peoples together by conveying the emotions we all share, regardless of our background. As technology brings the world closer, the assimilation of different cultures and their artistic contributions is clearly evident and results in a decrease of noticing the differences and an increase in the appreciation of what these differences offer to the collective global experience. The Canadian percussionist/drummer/entertainer knowns simply as Dahov performed at a concert with American artist Jeremih (Jeremih Felton) exciting the crowd at the Olympia Theatre in Montreal. Jeremih is a Chicago native whose multiple high charting hits like “Birthday Sex” and “All About You” broke into the top five on the Billboard charts. His legions of fans are based in the R&B/Hip Hop world while Dahov is a solo artist known for House, EDM, and various other musical forms with which he infuses Latin and Middle Eastern rhythmic ideas. While both artists share a love of percussion from their early teens, each of them has cultivated and evolved into their own style and brand of musical entertainment. Their performance together at the Olympia Theater shows how these artists brought their fan bases together for a night of thrilling entertainment, proving that we can appreciate the differences we have while recognizing a common thread.

For his appearance in Montreal, Jeremih and his management were seeking out a Canadian artist who would both be familiar to the crowd as well as be exciting enough to create a feverish tone for the concert. Patrick Farah (owner of Sky Entertainz) was consulted and he immediately suggested Dahov. Patrick and Dahov have worked together on numerous large scale entertainment events in Canada. Farah declares, “Dahov’s unique style and looks are definitely a selling point. With such passion in what he does, he sets the bar at a complete different level from others in this business! He is also such a wonderful person and he reflects his personality in his work ethic. He is the type of musician and entertainer who creates a special bond with his audience. Rather than setting himself above the audience, Dahov has an amazing ability to pull everyone in and making them feel as if they are in an intimate party, relaxed and able to have fun.”

STUDIO11 taken by ARA SASSOUNIAN (well known artistphotographer)

(Photo courtesy of Ara Sassounian)

This event featuring Jeremih and Dahov is a template for how different artists can create an experience for an audience that is eclectic and yet relative. While Jeremih is a singer/rapper, Dahov is a percussionist who does not sing. Both artists perform with DJ’s and/or tracks and, at least in this situation, both had dancers joining them onstage. Very similar production styles but very different content. Perhaps the most amazing aspect of Dahov’s ability is that he is able to entertain the audience by playing a hand percussion instrument know as a Darbuka. This middle eastern “goblet drum” is the core and essence of his one-man band (supplemented by tracks). It is truly amazing to see how this talented artist can drive a crowd (in this case, the 700-member audience that packed out the Olympia) to a literal feverish pitch. His technique and musicality is mesmerizing while his ability to hold the crowd in the palm of his hand and create the excitement equal to any outdoor EDM festival is…well, jaw dropping. The synergy between the artists’ performance was a great success but was not necessarily intuitive. At a meeting prior to the performance that night, Jeremih and Dahov discussed how to approach the differences in their musical styles in order to insure a cohesive quality for the crowd. While much of Jermih’s music is more relaxed in tempo (sometimes even romantic), Dahov is known for his upbeat party vibe style. Dahov explains his approach to manifesting the appropriate vibe for the evening, “We wanted to do something different than the usual upbeat show, so I used Arabic oriental techniques. This style usually calls for you to play for belly dancers and, even though there are faster beats, we performed the slower beats using the derbake percussion because it allows for very intricate and interesting rhythmic ideas. It was a perfect match to afterwards fade with Jeremih’s first song.” Dahov readily admits that, just as the crowd was exposed to different musical influences at this performance, the percussionist/entertainer himself also gained an even greater appreciation for his fellow entertainer. He notes, “Jeremih is truly an amazing talent. It’s always educational for me to see how another artist relates to the crowd, how they design the rhythm of their show, and how the crowd reacts to what they do. Anyone who has seen Jeremih perform has seen the evidence first hand of how great he is. I knew his music but seeing him live gives me a deeper understanding of his talent. I like Hip Hop and Rap but I am more into a club house, EDM, Latin kind of music. I love the feel of the beat, the melodies, especially when I perform to these kinds of music it feels like I am actually inside the music…producing it! I like Bachata, in particular Romeo Santos. Bachata is such a relaxing type of music. I enjoy listening to it whenever and wherever. It makes me feel like I’m somewhere down south sitting on the beach and watching the ocean! Another type of Latin music that I like is reggaetón. Reggaetón is all about the party; the positive mood and tropical paradise! EDM and house artists like Calvin Harris and Tiesto are my favorites. I have seen them both perform in Las Vegas and their music is on another level! Their collaborations with other artists are perfect! The melodies and sound samples they integrate enter your ears and gets your emotions jumping. I’m hoping to come to the US and pursue my own version of the path that these artists have forged. I have proven to myself and the people of Canada that a drummer can perform by himself and command the attention of sold out crowds. Performing and communicating with American artists like Jeremih has only made my desire to become a part of the great American music and entertainment industry even more attractive…and seem more possible.”

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THE STAR BEHIND THE ROCKSTAR

The throngs of adoring fans at concerts are almost always unaware of the professional workings of their favorite artist; the organizational and musical preparations necessary to create the inspiring events that they desire. Movies often show a romanticized and unrealistic scenario in which the artist calls some friends to play with them when, magically and immediately, everything falls into place. The musicians who live this amazing life will tell you it is magical for them but far from immediate. Any great performance takes talent, but it also requires preparation, professionalism, social skills, and a strong work ethic. The greats have earned this moniker through dedication as well as artistry. While many people have heard the title Musical Director, the specific duties required of an MD are vague at best in most individual’s understanding. Kieran Kiely is the respected musician who served as MD for Sinead O’ Connor from 2007 to 2012. As MD, he performed many roles to enable Sinead to focus on the expression of her music without being weighed down by the numerous other variables which might encumber an artist of her renown. At a certain level of fame, an artist’s career becomes similar to any other large and global pursuit. This means that artists such as Ms. O’ Connor and her peers require a musician whom they can trust to safeguard the integrity of the music and its presentation. A Musical Director is perhaps the most trusted advisor for any artist, meaning that the responsibility placed on them is reserved for the most valued and respected musicians.

In the mid 90’s, Kieran was playing in the Irish Celtic Punk group Shane MacGowan and The Popes. Kieran recalls, “One night while hanging at the Popes usual haunt, Filthy McNasty’s Pub in Angel, London, Shane asked me to go to a club with him, without knowing where we were going or whom we were meeting. When we got to the Club(The Atlantic Bar, SoHo) there was Sinead with Shane’s girlfriend, Victoria. I ended up chatting with Sinead. The next time I saw her was a year or two later when I was asked to play on a record. Somebody from the production recommended me for the session. It turned out to be a duet with Sinead and Terry Hall from The Specials, with Dave Stewart producing. This was the first time I met Dave. It took place at The Eurhythmics Church recording Studio in Crouch End, London. I played Low Whistles (Irish Flutes). Sinead loved the sound of those at that time. I continued to meet Sinead from time to time at gigs and festivals and she then asked me to play on her record Faith and Courage, and subsequently some of her following records.” Conflicting schedules prohibited a closer and more permanent working situation between O’ Connor and Kiely until 2007 when she asked him to assume the role of Musical Director for her. Largely known as a pop/rock artist, O’ Connor was intent on making use of Kieran’s mastery of Celtic instruments and their approach to her music. While he would add authenticity to the music that supported Sinead’s intrinsic Celtic vocal stying, Kiely would also be required to assume various roles as MD.

One of the most vital roles of an MD is to find the proper band members for an artist. It is not as simple as finding great players, although that is a requirement. Band members must be well versed in the style of music they will be performing but not void of other influences as they may be called upon to “stretch” or “flex” their approach. With touring artists, there is an understanding of the lifestyle which can mean long periods of time away from familiar people and surroundings. Touring musicians are the nomads of the music world. This requires someone whose personality meshes well with the sentiments of the artist they work with. It is similar in many ways to dating. There has to be a certain spark to the interaction. In his role as MD for O’ Connor, Kiely assembled a group of elite musicians respected throughout the world; an outstanding achievement for any MD. The band consisted of: British Session Drummer Ash Soan, Guitarist Dave Randall (recognized for his atmospheric sound), Yolanda Charles (renowned Bassist, praised as one of the best in the world), and legendary guitarist Robbie McIntosh. Sinead’s music is quite eclectic and emotional, requiring musicians who play at the highest level as well as those who listened intently to match the dynamic level and energy. Because these band members were so sought out, Kieran took an especially benevolent, yet professional approach. He states, “I like to try and create an environment where everyone feels very comfortable so they can be creative. In regards to parts, I was pretty specific. I knew Sinead’s material really well and created new arrangements of her songs that were sensitive to Sinead’s performance style. To achieve this, I had parts worked out for the players in advance. We also had a new album to promote and so had to be true to those songs. I wouldn’t say it was difficult though; when you have that caliber of musician to work with, it’s a pure joy.”

Rehearsals are always a good barometer for the mixing of skill and personalities but the real evidence surfaces when the artist and band tour. The incredible ecstasy of performing in front of thousands…even hundreds of thousands can be offset by the disconnect from familiar faces and places. Many musicians are defeated by the road. While Kieran is a veteran of the road and the studio, each new group introduces a number of variables. Early communication proved positive as he tells, “After I had taken on the role of MD and we did our first few shows, she sent me an exuberant text message, saying “who knew we were both so F**king amazing. She was very happy, which of course meant that I was happy.” Kiely continues stating, “You don’t just phone it in with Sinead, you have to be present, in the moment, and extremely sensitive to dynamics and tempo. She gives you everything you need in her voice; you just have to listen. On the intimate songs, I learnt to be comfortable with my playing being super exposed, where every expression and articulation could be heard. That sort of experience in front of 10’s of thousands of people over a period of time really hones your performance skills. Putting together a band that understood this in the same way that I did was a major achievement for me.”

While performing the role of MD was essential to Sinead’s live performances, Kieran was also a valued recording musician for O’ Connor. Selling in excess of millions of copies, Kieran recorded five albums with Sinead: Faith & Courage, Sean Nos Nua, Collaborations, She Who Dwells, and How About I Be Me. These recording are proof to Kieran’s masterful musical talent as well as O’ Connor desire for him to be a part of creating her sound. This desire was shared by others as Kiely relates, “She [Sinead] called me late one night to come play on a track. When I got there, she introduced me to Wyclef Jean, who was producing the song and said, ‘This is Kieran, he is the soul of my album. (Faith and Courage album).’
I later worked on Wyclef’s own record, Masquerade, at his NYC studio, and with his sister and brother.”

Kieran now resides in Los Angeles where he has taken to composing and orchestrating for film. His work creating the music for Danny Greene: The Rise and Fall of the Irishman proves that he is still using the sounds for which he is recognized to contribute to the success of artists. He still fondly recalls his time with Sinead O’ Connor and notes one obvious memory, “Nothing Compares to you was a highlight. It’s such a famous song. The audience are always waiting to hear it, so it’s a great moment for them. It wasn’t unusual to see people crying in the audience. ‘3 Babies also’. Sinead can conjure up such emotion when performing. What’s important to Sinead is that she connects with the song.” Kieran Kiely also connects to the song…and the art, in a very leading way.

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THE UNIVERSAL LANGUAGE OF MASTERY TRANSLATES GERMAN INTO CELTIC

Almost every aspiring musician has this dream; a huge band playing a show at a gigantic venue suddenly needs someone to fill in for a show, then they like you so well that they ask you to stay on the gig. It never happens, right? Wrong. Yes, it’s the stuff that dreams are made of but it does happen from time to time. The part that isn’t so highly glamorized is the crammed preparation and the nerves that can make one “lose their lunch” hoping that you’ll make it through that first gig without everything crashing down on top of you (to say nothing of those dreams in which you arrive to school only discovering you are only wearing underwear). The true music professional can only hope that his years of preparation have honed their instincts to a point where all will be fine. A great example of this is the tale of German guitarist Stefan Hillesheim. As a celebrated Blues, Rock, and Jazz guitarist in his homeland Stefan was enjoying a fulfilling life as a musician when he was asked to fill in for the internationally popular Celtic Dreams. The incredibly popular touring musical show Celtic Dreams features a unique mix of modern rock with traditional Scottish, Irish, and Celtic folk music, with an eclectic mix of dancers and other visual performers. Celtic Dreams regularly perform to sold-out audiences all over the world, and have been the subject of many press articles in Europe and abroad.

Celtic Dreams tour manager was in a high pressure situation when the guitarist for the show was suddenly unable to perform. This extremely popular show relied on the professional execution of the complicated musical pieces to excite the audience and support the dancers and other performers. The guitarist was essential to every performance due to the fact that Celtic Dreams takes on a contemporary rock influence with their traditional music, making it more accessible to a wide age range of audience members. The fact that the music was quite complicated and required flawless execution of the many transitions from piece to piece further exasperated the situation. Celtic Dreams tour manager Oliver Stahl needed to find not just “a guitarist” but, “an amazing guitarist” who could read complex charts and play shows to huge audiences with basically no rehearsal. Luckily for Stahl, he was in Germany and was able to contact Stefan Hillesheim. Although not focused on traditional Irish music, Hillesheim was particularly enabled to take on the task of this music for Celtic Dreams as he reveals, “I started listening to Irish folk bands like the Dubliners, the Pogues and the Fureys when I was about eight years old. My Uncle is the lead Singer and Guitarist of the well-traveled Irish folk band Limerick. My Parents took me to his concerts from my early childhood on. When I started playing electric guitar in my early teens, I really got into Gary Moore and Rory Gallagher (both are Irish guitar legends). I love the way they combine traditional celtic music with Blues and Rock.” As an accomplished and lauded guitarist in Germany who also possessed an understanding of the inherent lilt of traditional Irish music, Stefan was an easy choice to fill in for Celtic Dreams. Oliver Stahl comments, “Stefan performed as a lead musician and guitarist on multiple occasions for Celtic Dreams. His knowledge of both modern rock styles and traditional Celtic folk music made him perfectly suited for us. I truly could not have asked for a more versatile musician. Stefan was with us for multiple performances, all of which were held in major venues in large cities. I must note how versatile a musician Stefan is and how this added to the success of each of these shows. His ability to jump between and blend styles on both acoustic and electric guitar (and occasionally bass) was astounding! It brought a fantastic energy to each of our performances. The shows that Stefan played in were performed to sold out audiences and I’m positive that his playing was a major factor in garnering these huge

audiences as well as the press and great reviews. Stefan played a lead role in ensuring the success of every show he performed and has been an essential player in boosting Celtic Dreams reputation and success as a whole. Stefan is known throughout Germany as an incredibly skilled and accomplished musician who has made a name for himself as both a session player and bandleader.”

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While Stahl was nervous until he found Hillesheim, Stefan’s uneasiness began at this time. You could almost say that Stahl “gifted” his concerns to Hillesheim. That’s not to say the guitarist wasn’t excited to play with Celtic Dreams…quite the opposite. Stefan was contacted three days prior to his first performance with the band and had to learn three hours of music; including medleys and complicated transitions. Daunting task ahead of him, as a true professional, Hillesheim understood that the production was depending on him to fit perfectly into an ensemble that was already running smoothly. In respect to the music, Stefan wanted to play authentically stating, “Every genre of music has its appropriate vocabulary. When you play Irish or Scottish music you have to stick with certain clichés because this kind of music has a long tradition. Even though there is room for interpretation and improvisation, it wouldn’t be authentic if certain elements were missing. For example, the typical triplet based rhythmic in Irish step/tap dance music is the foundation of this musical language and is a requirement. For traditional Celtic Folk tunes like ‘Scarborough Fair’ or ‘Star of the County Down’, I would definitely play an acoustic guitar because that is what people expect and want to hear. Modern Irish music like the Corrs or the Cranberries often features electric guitar so that would be my weapon of choice in that case. Overall it depends on the ‘Vibe’ of a song. I play the instrument that fits the song best and compliments the singers as much as possible rather than playing what I personally prefer, even if that sometimes means committing to a less ‘flashy’ or interesting guitar part.”

Hillesheim is more often seen performing in a Blues club (with popular German band BlueSide), at a large outdoor musical festival, or even at major concert venues (as he did recently with Liquid Blue at the Staples Center in Los Angeles) but all of these ensembles are the contemporary Blues or Rock bands with which he is more commonly known to perform. Having spent decades in groups of this type, Stefan is extremely familiar with them and points out one major difference that he had to adjust for in playing guitar with Celtic Dreams…dancers. He remarks, “Celtic Music has a lot of colors to it. Many of the tunes are quite danceable and have sort of a jumping, galloping character to them; others are almost hauntingly emotional, melancholic, and full of heartache. I had the advantage of playing behind a number of great vocalists before so I was familiar with that role but the Dancing/Step Dance groups added another component to the show and I found myself playing behind a line of dancers.” Stefan more than exceeded the hopes of Celtic Dreams producers and performers as proven by the fact that he was immediately asked to finish out the tour as their guitarist. Not content with expressing this “accent” in his guitar playing, Hillesheim has currently relocated to the US to pursue his career and further his exploration of the American musical style of the Blues. If Stefan’s history tells us anything, we can be certain that this internationally acclaimed guitarist will be recognized amongst the latest generation of Blues guitarists.

 

Singer/Songwriter Juvicsa Talks About Debut EP “Eyes to Land”

I recently had the chance to catch up with the uber talented singer songwriter Juvicsa Vela, who released her debut EP Eyes to Land produced by Federico Angel earlier this year. In our interview Juvicsa opens up about the new EP, her writing process and some of her musical influences.

Born in Peru, Juvicsa discovered her god-given talent for singing and passion for music at an early age, and when she moved to Sweden with her mother at the age of 12 her artistry really began to take root. Having lived all over the world, it’s not surprising that Juvicsa’s music exhibits traces of influences from many cultures.

Juvicsa Vela
Singer/Songwriter Juvicsa

Juvicsa first began working on the EP while living in Los Angeles where she attended the Musicians Institute, but in search of new inspiration and a change of scenery, she moved to Reykjavik, Iceland last year where she finished the album working remotely with her LA-based producer Federico Angel.

Eyes to Land can easily fit into the pop/rock category, but with R & B and Latin elements, not to mention Juvicsa’a powerful vocals and bittersweet lyrics, the EP eloquently defies genres.  

You can purchase Juvicsa’s debut EP Eyes to Land on Bandcamp, iTunes, Amazon and Spotify. There’s also a limited amount of signed physical copies for purchase on Bandcamp. You can also find out more about her and get updates on upcoming shows through her website, Facebook and YouTube channel.

Juvicsa also wrote the popular theme song for an Indonesian adventure TV show sponsored by Mitsubishi called “Jonsson & Robinson Journey,” which premiered to millions of viewers across the country.

To find out more about Juvicsa and her new EP make sure to check out our interview below.

 

How old are you?

28 years young

When and how did you first get into music?

I must’ve been around 4 or 5 when I started to sing. I had this boombox with a built in mic and a lot of cassettes. I used to spend hours and hours and hours on the floor with my boombox, recording myself singing and creating harmonies over my recordings, I think that’s when I first created something musical. This was so liberating to me, a kid who was a rebel, always getting in trouble at school but when I went back home and locked myself in my room I’d spend hours singing and doing all those things I loved to do and that was my outlet. Then I started writing songs at the age of 15 with an old piano my mother got for me and a little MIDI controller.

When you say you were a rebel– what kind of trouble were you getting into?

As a very hyperactive kid, I didn’t really like to follow the rules at school so I got sent to the principal’s office very often for roughhousing and sneaking out of class to play with the older kids.

What do you think might have happened if you hadn’t found music as an outlet?

I already have a hard time focusing on one thing at a time so I think I would’ve probably lost my mind a little. I don’t think I would have been able to deal with the darkness and the difficulties of growing up. I would’ve possibly kept getting in trouble.

How long were you working on “Eyes to Land” before its September release?

It took me about a year from scratch to finished product, a lot of it had to do with the fact that I was in Iceland and my producer was back in the states, so there was a lot of going back and forth, time differences and work on both our parts. Lots of coffee, little sleep.

Can you give us a little back story on the EP and where you got your inspiration from?

I moved to Iceland a week after my grandma passed away, my grandma was more like a second mother to me, so the whole process of composing the EP was a very emotional one. I definitely think that both Iceland’s landscapes and nature, and being in a very emotional state, brought the EP out, especially being in a brand new country.  

Did you write all of the songs on the EP?

I did, along with my producer.

What is the writing process like for you?

I think the writing process was different for each song, I could get inspiration by sitting by the ocean in Reykjavik, being in the shower for another song, conversations I had with friends that sparked something in me and made me drop everything and write. I do spend a lot of hours alone in the beginning, I think that’s what works best for me and I’m more comfortable that way. After writing a song I’d call my producer and we’d go to the next step, more composing, polishing, re-recording and so on, all through FaceTime.

Can you tell us about your inspiration for some of the songs?

Well for example “High Tonight” was born out of a glass of wine and a late night conversation with a friend of mine. She was going through a tough break up at the time and she said a couple of things that really struck me. I dropped everything, went over to the keyboard and started writing it, it was written in a couple of hours. She actually doesn’t know about it yet!

For “Unaware” I had to dig a little deeper, it’s definitely a very personal song to me. My inspiration came from being in a toxic environment and feeling exhausted but still seeing a light at the end of the tunnel, still not being able to let go of that thing that can break you but can save you. The sound for “Unaware” is definitely influenced by No Doubt and Spanish music.

“Now” is the song about hope. Like I said, there has to be a light at the end of the tunnel and this is it, this is your saving moment, it’s you giving in instead of giving up. “Now” is kind of my full circle song.

What is your favorite song off of the EP right now?

My personal favorite is “Unaware.” I’m very emotionally attached to that one.

Why did you choose to name the EP “Eyes to Land”?

It’s a poetic play on words. This EP symbolizes a person trying to deal with death and rebirth at the same time. The name comes from trying to deal with the death of someone so close that in a way symbolized the death of a part of me, but also the rebirth, which for me was moving to another country. That in both situations you need guidance, you need eyes. If not your own, then someone else’s.

How would you describe the album to those who haven’t had a chance to hear yet?

A shoegaze and pop/rock mix with emotional but energetic vocals. With all kinds of raw ENERGY ranging from sad to sensual.

Did you play any instruments on the album?

I played the keys on the final product but I program different instruments when I’m in the writing process as well so that everything is the way we want it.

Do you have a consistent band backing you?

Not as of now I don’t. It’s hard to keep one consistent band with you when you’re traveling a lot.

Who else was involved in the making of your new EP “Eyes to Land”?

Federico Angel as producer and instrumentalist, the amazing Ro Rowan on cello, Dean Dichoso as instrumentalist, Dean Dichoso Productions for mix and mastering and Steinunn Osk Axelsdottir as sound engineer on vocals.

How did you choose Federico Angel as your producer for the album?

From the first day we started working together I knew there was something that clicked. It’s actually very simple, we’re both very straight to the point and he knows exactly what I want and how I want things to sound, sometimes even without fully explaining what I mean, he gets it. I mean it’s gotta be a good match when the artist is explaining a sound as a color or a metaphor and the producer completely gets it down.

You’ve had a pretty multi-cultural upbringing, can you tell us about some of the places you’ve lived and how they have affected your journey as a musician?

I was born in Lima, Peru but I moved to Lund, Sweden when I was 12, as an adult I moved to Los Angeles and as of last year I live in Iceland. All of these moves and amazing experiences with different cultures make my music what it is. Ultimately all I want is to unapologetically mix everything I know and write something I think will sound great and people will relate to.

Were your parents involved in music as well?

No, my parents weren’t but I have singers and artists in my extended family.

Can you tell us a little bit about Iceland’s music culture? Do you feel that it has influenced your work as a musician?

Funny thing about being like a sponge when you’re a musician, I sent my producer a demo during our Eyes To Land writing process and he thought it sounded Björk-esque, which obviously was a huge compliment that I most likely didn’t deserve but it really made me think about inspiration always changing and how it can be so related to where you are, I think it’s amazing.

I’m a really big fan of Icelandic music, coming from Sweden, I initially thought it could be similar but it’s really an art of its own. To me, the peculiar sound that Icelandic music has, has to do a lot with the isolation of the island and even modern Icelandic music has a characteristic sound with traces of the old.

Are you involved in any collaborations at the moment or are you mostly focusing on your solo career?

I’m working with a couple of artists at the moment for minor projects or songs I’ll be featured in but I’m mostly focusing on my solo career at the moment.

What five albums are you listening to most right now?

Garbage’s new album “Strange Little Birds,” Sia’s “This is Acting”, Kendrick Lamar’s “To Pimp a Butterfly” and waiting impatiently for the New Lady Gaga album and the new Beth Hart album!

If you didn’t become a musician, what profession do you think you might have chosen?

I think I would’ve still been involved with the arts in some way, I would’ve been around music and art in any way I could. I always try not to let plan B distract me from plan A though.