By: Staff
Breaking the wall of emotion between listener and performer, the Seafarers release "Everything I'd Do (to Get a Hold on You)," a self-described tribute to the iconic Nashville country ballads of the 1980s. We say "breaking the wall" because the emotion expressed and delivered by this singer's voice took us aback and made us feel like we were a part of this song. So much depth and feeling. The beat is gentle but firm in the way it carries the beautiful supporting musical arrangement. The clarity in the production is incredible, and we loved the horns. This is an absolute contemporary rendition of the amazing Nashville ballads. Having lived in Nashville for five years and grown up in the 80s, when I read Seafarers say they would deliver such a big song as “Everything I’d Do (to Get a Hold on You)," and then "bring it home" was an absolute delight to my ears!
We had a chance to get this artist in the Cage with us and learn more about them and we wanted to share it with you! Here’s what we learned:
Please tell us a little about yourself and when you started making music.
My name is Matthew Herd, I live in London and have been a musician for the past fifteen years.
I grew up in Glasgow, but moved to London to study jazz saxophone, which is where I met most of my bandmates in Seafarers.
If you are a duo or a band, how did you form?
We met through various connections on the London jazz scene. Some of us were students together, some played in bands, and some met later on through teaching music in schools.
What first sparked the passion for creating music?
Music was always played around the house when I was growing up. My mum’s side of the family love jazz music, my dad’s big on the songwriters of the folk revival, and my sister had a childhood obsession with Broadway musicals and the Great American Songbook. I guess I got caught somewhere in between.
Can you walk us through your songwriting process for this latest project? Where did the inspiration come from?
This is the first album that I’ve written whilst feeling part of a wider community of songwriters.
My two close friends and co-conspirators Sam Griffiths (of The Howl & The Hum) and Elanor Moss were both essential in making this record. Whether it’s struggling with a lyric, or needing feedback on a voice note, it’s a huge motivator knowing that you have a respected and listening ear at the end of the phone.
Where do you create your music, i.e. in a home recording studio or with a producer? How do you finalize your finished work, ie self mixed / mastered or another source?
I record demos at my flat which I then send to our producer, Euan Burton. We go through them together, making tweaks and edits, before sending them off to the whole band to learn in preparation for the studio.
We all ran off to a beautiful studio in Wiltshire called Real World last July for a week’s tracking, and then Euan and I finished the album back at my flat where it all began.
The album was mixed by the brilliant Iain Hutchison at GloWorm Recording in Glasgow, and then sent off to Patricia Sullivan for mastering in Los Angeles.
What was the most challenging part of bringing this project to life, from the initial idea to the final recording?
I spend by far the most time and energy on the songwriting. This is because it’s the part I most enjoy, but I also believe that the album’s success lies in writing good songs.
Some of my favourite albums have been made on a penny with plenty honks and squeaks along the way, but no matter what, they all have amazing songs.
What has been the most motivating force in creating your music?
This album came from being part of a wider community. Knowing other songwriters, being part of their process, spending time away with people, co-writing with new voices, all contributed hugely to the spirit and themes on this record. It probably makes this album the most crafty and knowing of our releases, but sometimes a raised eyebrow can be a good thing.
What part of the music making process is the most stressful, ie the creation, the actual release date etc?
I wish I was better at marketing, and selling our wares. I feel quite at home writing, being in the studio, working with musicians, collaborating on the artwork, even choosing fonts, but I always, always feel out of my depth when it comes to the business side of the music industry.
If there was one thing you could change about the music industry, what would it be?
There’s so much about the current state of the industry that amazes me, in a good way (I think), but I can’t help but lament the decline of physical albums.
Transatlanticism by Death Cab for Cutie was the first album I bought with my own money. I remember taking it home, running upstairs to my room, peeling off the cellophane, placing the CD in the machine and unfolding the booklet as it started to whir. I lay on the floor reading the words as the music played, truly immersed in that record. I wonder if some of that has been lost.
Where do you see your sound and artistry heading in the future? Are there any exciting new directions you're exploring?
I’m currently working on a solo record. Lauren Kinsella is the vocalist in Seafarers, and she has given such beauty and life to my songs over the past three albums, but I think it’s time to try delivering these stories myself.
Do you play any instruments?
I play the saxophone and the piano.
Please tell us about the last time you performed. Where was the show, and what was your experience?
I have a monthly residency called the Dalston Song Club at the Vortex in East London. Each month features a different songwriter, and we do a bit of playing on each other’s music. Last month we had Sam Griffiths who was typically prodigious, and I tried out some new material in front of a particularly friendly audience.
Have you ever been on tour and can you tell us a little about the experience?
Seafarers have never toured, sadly. But I have been lucky enough to travel round the world playing with various different artists as a session musician.
Mostly, I love it. It’s such a thrill to see so much of the globe through performing and meeting people. It does amazing things for the band too, brings people closer together and that’s usually incredibly beneficial for the music.
As with any intense experience sometimes you need a little space, but if you’re with the right people and the right music, it’s amazing.
What is your go-to song for Karaoke night?
“Laura” by Scissor Sisters
What is your favorite quote?
Emily Dickinson said “tell all the truth but tell it slant”.
Check out his latest release and listen to more of SEAFARERS on Spotify & YouTube.
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