Hi and thank you for sparing time to chat with us.
Could you first introduce yourself/the band and tell us how it came to be?
PB – I’m Paddy Bleakley, from El Misti. Me and Kieran Gilchrist met in Rio de Janeiro in 2010. We had numerous beverages, a jam on the beach, wrote a couple of songs and recorded them in a studio there in a matter of days! Lord knows where those recordings are now…or just how terrible they sound. We got together and went our separate ways a few times in the intervening years. At the moment, we live next door to each other and we have a studio above the bar that I own…which is next door again. All very incestuous really. We got together with Mike and Rory about 9 years later, but me and Mike have been friends for a fair while and have always been meaning to do some work together. He actually used to work at the bar. What a barman that guy was!
KG – Yeah me and Paddy have been through a few different incarnations of making music with various setups and people but we’re pretty self-critical and never really thought that anything we’d self-produced would add enough to what was already out there. Paddy’s bar, Kash 22, has brought some special musicians into our sphere and we’ve been very fortunate to have Mike and Rory, who were connected to the bar, as part of the project.
How would you define not only your sound but the creative character of the band?
PB – Our sound is just us. The four of us, as the core for this record, all come from very different places musically. The songs are already written before we start so we just get in a room and play them and stuff happens. Rory has to take a lot of credit for the actual sound though. The boy’s got proper ears.
KG – As Paddy says, the overall sound is the 4 of us in a room, plus Rory’s sonic wizardry in the studio. We all come from quite different musical backgrounds and are involved in other bands and projects but have a lot of common tastes which unite us musically. It was never going to be a one-genre album, that’s for sure. In fact, you could probably say some songs in themselves don’t even stay in the same genre.
Are there any previous musical experiences for band members and how have they been embraced in what you do now?
PB – I’m sure Rory’s other production work and the bands that Mike’s been in have been influential. Personally, I just feel I’ve always just been waiting for this to happen. Kieran’s had a much more interesting musical journey than me though.
KG – I spent 2 years travelling through Latin America recently and played with a mariachi band in Mexico and a Cuban street band in Santiago de Cuba. I’m really into dub reggae too so the Caribbean kind of felt like a pilgrimage to me. I suppose it would be hard for some of those syncopated rhythms not to have come out on the album, but it would be hard to say exactly how and where.
Is there a particular process to your songwriting?
PB – As far as the writing goes, that’s a pretty private process. But then the band get involved and they help me make sense of it all really.
KG – Paddy very consistently brings complete songs to the band but opens it up to the room. I am generally the first person to hear them so I add some riffs and help with arranging a bit. The band tends to try a few different feels approaches and the best rises to the top.
Would you tell us about your upcoming self-titled album?
PB – It’s our first release. It’s been a long road but we’re pretty proud of it.
KG – Yeah, it’s been 10 years and lots of things have got in the way but we were both determined to make it happen one day and here it is. We’re big fans of the concept of an album as a story and we enjoy listening to whole albums, in what is now kind of an old-fashioned way. We always wanted to be able to make one of our own and thankfully these days, that’s a lot easier.
What are the major inspirations to its heart and themes?
PB – Experiences.
I am always intrigued as to how artists choose track order on albums and EP’s and whether in hindsight they would change that. What has been the deciding factor for you or do songs or the main do that organically?
PB – It was all pretty organic. I for one am a big believer in the album as a medium for expression. You can get much more across in ten songs than you can in one. All the songs speak to each other so the order just kind of revealed itself early on.
KG – Yeah, as Paddy says, in the end the order pretty much wrote itself.
What do you find the most enjoyable part of being in a band and similarly the most cathartic?
PB – Music is cathartic by its very nature and there’s nothing more enjoyable than being in a room with your mates making it.
KG – Yeah, that live creative process is the most rewarding.
For anyone contemplating checking you out live give some teasers as to what they can expect.
PB – I will endeavour to remember all the words.
KG – I will endeavour not to start a fire with my constant involuntary musical gesticulating.
What has been your most thrilling moment on stage to date?
PB – Personally, the thrill for me is in completion of a song.
KG – Playing with a mariachi band in Mexico was pretty special.
Do you have live dates coming up?
PB – We’re doing a release party for the album in my bar, Kash 22 in Frodsham on 24th March. Our mums will be selling the merch! Hoping to do a little tour later in the year, but more importantly we’re getting back to work in the studio.
What else can we expect in the near future?
PB – We’ll have another album out this year…maybe two.
What are the major inspirations to you sound wise and as a musician?
PB – Again, experiences. Also, background. I grew up in a house surrounded by music. Dad was always playing guitar and Mum singing. My sister is proficient on numerous instruments. There was always music playing. A lot of Celtic stuff, folk, country. I inherited my Bob Dylan and Van Morrison obsessions from my parents. Meeting Kieran had a big influence on me as a musician. I’ve also learned a lot by just playing with different people. There’s no substitute for that!
KG – Growing up in Toxteth, Liverpool, and around the Lark Lane area, I was exposed to a lot of sounds with international influences. My mum had great taste and had a big social circle with a good music scene, so there were lots of house parties and festivals we went to, and I was definitely infected by a lot of that.
And finally, what song or release would you say was the spark to your passion for music?
PB – A lot of the old records that were actually released before I was born. When I first heard them, they were completely new to me.
KG – Some people seem to have that eureka moment when they hear one record but, for me, music was something special from a young age. My spark has always come from the people I know – none more so than my uncle, who introduced me to guitar and the classics.
Check El Misti out further @…
https://www.facebook.com/elmistimusic/
Pete RingMaster
The RingMaster Review 24/02/2020
Copyright RingMasterReview: MyFreeCopyright
From an old single to the band’s new one in the warm embrace of Smiling. Just released to make a potent teaser for the album, the country bloomed croon gently glides along on a southern twang and again highly enjoyable vocals, that union alone brewing a catchy tempting under the track’s sultry air and blues seamed The Black Keys type serenade. Though not as dramatic as the first two, the song reveals the depth and adventure to the band’s songwriting and sound whilst indeed laying down a strong invitation for Twist Your Bones.
The pair of Great Lakes Morning and The Appin Indians takes the listener into the remote charms of inspiring landscapes and emotional reflections, each venturing through their own melody thick scenery of southern twang and personal exploration. Unlike their predecessor which leapt from the speakers, the tracks spread like mist, enveloping ears and consciousness to similarly strong success before From A Zafira Comfort raises the tempo again with its keen energy and bluesy rock ‘n’ roll. Though not necessarily in recognised sound, Sunny Day Machine is a blues album of sorts but bred from an ever evolving bloom of flavouring from across the past handful of decades.
forgetting a great throaty bassline in the first of the two, immerse senses and thoughts evocatively. Each pleases with their individual charms but it is with Push that another surge of greed hits ears and personal appetite. The fourth track is an instant drama with keys straight away looming and laying down a single prod before taking a pause, returning a few seconds later with the same Boomtown Rats like potency as they align to the alluring strum of the guitar. It is a mesmeric track, voice and music sketching an easily accessible and emotively connecting narrative in a dance of creative and vivacious enterprise.
bolder Americana suasion adds further texture and substance to the emotive encounter. It is an alluring introduction to artist and release, a soft and catchy coaxing awakening a quick appetite for the proposition which is soon reinforced by the first single from the album, Hymn To Hope. Similarly the track offers an elegant hug to the senses with its melodies and a great skittish rhythmic enticing which courts the thoroughly appealing and impressive vocals of Allison, her additional harmonies just as mesmeric as the track expands its provocative dance. As its predecessor, the folk seeded song complete with a healthy country twang, does not leap from the record but certainly raises further enthralling temptation for ears and imagination to immerse in.
another rhythmic lure to the unassuming yet eager start. It an easy and undemanding introduction with guitars bringing flames of melodic craft across the warm sky of the song whilst the vocals unveil an expressive tale with equally striking charm. Though it does not light any real sparks neither does it sow seeds of disinterest, the track laying down a more than decent welcome for the following likes of Down On Your Luck, Nothing & The Famous One, and the excellent Doghouse Blues to coax the ear with variety and accomplished enterprise. The first of these songs has a familiarity to it which is open and truthful in its inspirations whilst the third is a feisty and raw fire of blues borne incitement and riveting guitar enticement, a track which calls out the cry and breath of the working man.
spread an epidemic of a grooved riff upon the senses, its tone offering a mischievous invitation coated in an irresistible swagger. Stomping away with glee and enterprise the compelling lure is soon joined by the caustic riffs of Archer and Howells, their wonderfully abrasive yet wholly tempting sister groove recruiting any remaining doubts about the song. Settling into a steady stride as the vocals of Howells next lay another expressive persuasion upon the song, the crisp firm beats of Pilling frame it all with equally incendiary inducement. It is a heavy slice of pure rock n roll which makes no demands apart from subservience to its riff and groove sculpted call, something which is willingly offered within the first minute.