ROMANS

Storytelling through song is an art, and adding a visual accompaniment allows the storyteller to guide our imagination; to see hollow synths, soaring vocals and a range of melodic progressions in the particular light in which the artist wants us to experience them. Such is the case with the chameleon-like producer and singer-songwriter, ROMANS.

Opening up a pandora’s box of wonderment with the release of three music videos, all part of a much bigger picture, as tipped off by the title ‘Act I’ which features elements named Chapters I, II & III. With nods to rockstar heroes of the past and a cinematic beauty to his lyrics, we catch up with ROMANS to find out more about his dramatic take on pop music and how he takes the idea of storytelling to new heights.

Your approach to music is very unique. I don’t think anyone else is writing cinematic three act narratives as a way to introduce the world to their music. Can you discuss the concept behind your three singles/EP?

I don’t usually like to explain the narrative itself, I think it’s important to leave room for interpretation. The 3 tracks felt like the right thing to do, there’s nothing I love more than a project and if I couldn’t jump straight into a full album I wanted to do a bit more than just release a couple of random tracks. I see the EP as a kind of modern operetta.

I love that ROMANS is a multimedia work of art. It’s as much about the visual accompaniment as the story being told through the music. Chapter 1 is a car crash, Chapter 2, death, and Chapter 3 a rebirth. ‘This Might Hurt’ hints at an emotional pain, rather than the physical pain already endured in Chapters 1 and 2. Are these three chapters meant to mirror your life, particularly your experience in the music industry?

Haha, good work Sigmund! I actually haven’t thought of that comparison before but it seems to fit too perfectly to be unintentional. I love the art of storytelling and I tend to not try and write about myself too much. Act 1: Chapters 1, 2 and 3 weren’t personal, or at least I didn’t think they were before this question. You’re good. Now, tell me about my mother.

Photographer Charlotte Rutherford directed all three of your videos. How did you know she was the right director for this project?

She’s outrageously talented. Charlotte had actually never worked with video before this project which made her perfect in my mind. I wanted to come away with something that looked completely fresh so working with a photographer instead of a director was the obvious option.

You’ve mentioned in interviews that you are heavily influenced by Led Zeppelin, which of course lends to the fantastic 70s feel to your sound. ‘Ballad of a Figure 8′ could be a mix of Madonna’s ‘Vogue’ era meeting David Bowie, who you’ve also mentioned is an influence…

There are quite a few early 90′s synths in the make-up of that track, so I know what you mean by the Vogue reference. The songs are still too fresh in my head, so I can’t remove myself enough to tell what was really influencing me at the time of making them. I love hearing what they remind other people of though. The fact that anything I’ve written reminds someone of Bowie is incredibly flattering. The man is a Demigod, I think most sensible people would agree on that.

Would you consider Bob Dylan to be an influence? What are your thoughts on him?

Yes 100%. Everything about him influences me. He is arguably the greatest poet of modern time. I remember when I was about 10 years old I had a CD Rom disc, it was some kind of primitive YouTube software with maybe 30 clips of live performances. One of them was Dylan singing ‘It’s all over now Baby Blue’ in a hotel room in front of Donovan. Still to this day I get shivers when I hear it, I actually put a clip of it on one of my last mixtapes.

Your sound is difficult to pinpoint. It’s dramatic and does an amazing job of painting a larger than life picture that acts like a revolving art gallery; moving from one emotion to the next. We’ve discussed concept, but can you enlighten us on your creative process?

Certainly. My process has no method anymore, other than trusting my ears and intuition. On certain songs I’ll write on piano and then program the production around the chords, and on others I’ll program an entire production, playing every instrument and getting a good monitor mix before I even think about vocal melodies or lyrics. I hardly ever set out with a vision of the finished product, I usually just build, layer by layer, making sure that each new element is adding something. I find it’s the only way I can create what I consider to be real music. I almost put myself on autopilot and let whatever emotions I feel on that particular day shape the blueprint of the track.

Your Facebook page was founded in 1948. Is that a reference to the George Orwell’s 1984?

It could be an example of Orwellian symbolism, it could even be a reference to the assassination of Mahatma Gandhi, but it’s far more likely that I just don’t know how to use Facebook. Far less interesting, but far more likely.

You quoted Joseph Conrad’s Heart of Darkness the other day. “Your strength is just an accident owed to the weakness of others”. It seems you are hinting at pieces to a much bigger puzzle. Can you give me any insight as to what that entails?

It’s a quote I’ve always remembered. I read Heart of Darkness after seeing Apocalypse Now for the first time. I’ve slightly touched on the subject matter in a song for my album (Act 2).

You were signed to RCA at age 16 – what was that experience like?

I was signed to a small London based production company. I left school on the promise of fame and fortune, the reality was somewhat more ordinary. It was a rude awakening to the shark tank that is the music industry but a necessary one.

Was there a catalyst that sparked the beginnings of ROMANS?

It was a happy accident. I’d all but given up on the prospect of being an artist and was producing for a singer (who will remain nameless). Things didn’t work out in the sense that we made about 2 tracks in 3 months but during that process I slowly came round to the idea of making something for myself again. I was creatively starved, I decided to start making tracks to no brief, for no one in particular. I just suddenly rediscovered the hunger and the enthusiasm to put my name to something. Quite like the tracks themselves, nothing was planned, it all just fell quite nicely into place.

What do you hope people take away from your music?

“Take away”! Clever pun, you’re good. I just want to make sure that I’ve done enough to make people stop and listen to it. Without sounding too much like a ranting hippy, music is an art form and like all art it should keep progressing. People are fed up of being numbed by the repugnant drone of the mainstream playlist. I want to have brought something slightly new to the table.

What’s next for ROMANS?

I’m currently rehearsing for my live shows. My first performance is 09 April at Madame JoJo’s. That’s also my first cheap plug. Act 1 is being released online on 26 May. Act 2 will follow when its finished. After that I’m running for President.