Marlon Chaplin Interview
Das Soundkartell hat den kanadischen Songwriter Marlon Chaplin ein paar Fragen gestellt.
Mit „Annabelle + Someone“ habe ich einen meiner absoluten Lieblings-Tracks aus den letzten Wochen hören dürfen. Der kam von Marlon Chaplin aus Toronto, einem Songwriter, der jetzt für dieses und nächstes Jahr größere Pläne hat. Das Soundkartell stellt ihn Euch vor und hat ihm einige wichtige Fragen gestellt. Außerdem dürft ihr ganz exklusiv seinen neuen Song „Fossils“ hier hören. Die kommt nämlich eigentlich erst am 07. November raus. Gibt es aber jetzt schon hier zu streamen!
Soundkartell: You’ve recently released your new single “Annabelle + Someone”. In which way this marks a new step in developing your own sound?
Marlon Chaplin: It’s another facet of what I want to say people haven’t previously been exposed to, another tile in the mosaic.
I’m asking because I’ve listened to older songs and they sound different.
My previous EP ‘Wanderer By Trade’ had an intentional looseness to it these new singles don’t possess. The idea with the EP was to gather the most competent, fluid players who’d had a history playing together in Toronto for a while, let their fluidity sort of guide the session and hit „record“. I didn’t give the band much time to learn the songs, I wanted them on their toes. “Annabelle + Someone” comes at the process in a more nothing-left-chance way.
For a young person like you are it seems difficult to stay true for your old sound because young people as we are are always “on the run” for searching new stuff. How difficult is it for you to stay balanced and find a balance in your sound?
My favourite artists have a common thread and that is, from project to project, they manage to progress and evolve without throwing too much of a curveball at the audience to the point where they lose them entirely. I’m aware of that with my own songwriting. It’s a paradoxical place to be in sometimes, but I wouldn’t want to create a ‚Wanderer By Trade‘ pt. 2, it would seem disingenuous and I’m most inspired by the truth.
As I listened to your new single the first time I got aware of this guitar-pattern that sounds like original from The Strokes. Is this a stylistic element you are aware of too?
Nick Valensi and Albert Hammond Jr. are the best guitar weavers since Brian Jones and Keith Richards. There’s no set lead player, no set rhythm player. It’s true, the conversation between the layered guitars on “Annabelle + Someone” echoes this sentiment. There’s a certain angular trait in this song that isn’t present on my previous solo work, but the process was very different this time around.
So there are many Indie-Artists out here. How do you want to stand out?
It’s all about the songs when it comes down to it. You’re right, there are an overwhelming amount of indie artists but very few of them have the tunes. That’s where I stand out. Too much time and energy is put toward aesthetic with a lot of bands I see, but there’s a hollowness. It’s because there’s no songwriting. It’s more wrongwriting.
And what is your concrete plan for the next few months to create an outstanding Marlon Chaplin sound?
That would be like giving your war plans away. But, basically the new single, as well as the upcoming “Fossils” – both digital releases – will be my focal point. Early in the new year, I’ll be releasing them on a 45 and touring. The first weekend of November, I’ll be playing NYC promoting the new releases and look out for more shows, all of which can always be found at www.marlonchaplin.com
You’ve decided to move on with a solo career. Where do you see for yourself the three most important advantages in producing music and spreading it to a new audience?
It’s always interesting to hear people’s feedback once you’ve put your art out into the ether. As far as advantages go, I’m doing this so the music ideally is always reaching new audiences, so that in and of itself is an advantage. More people hearing my music can only be a good thing, whatever they may think of it. The beauty of being behind your own work is, if someone doesn’t like it, it’s on them. It’s not my fault, you know? I love the production element of creating a record too, it’s one of the places I feel most stimulated and turned on. That, and performing.
Can you please give us three important personal stadiums in which a new song can be until you will go out to your audience and will present it to you listeners?
Well, that would have to be the Holy trifecta; top song, top performance, top recording.