Simesky+Fritch are a talented duo based out of Belgium and Wales whose latest double single feature “Back and Down Again” as well as “Colour Running Away” recently released on the 7th of July, 2023. They combine their talents to bring us music with wide soundscapes filled to the brim with cinematic appeal. They were kind enough to give us a peek behind the curtain and explore their dynamic, creative process and so much more!
Hi, thank you for taking the time to chat with us. Could you tell us more about yourselves and what your journeys have been with music?
Alex: Hi, thank you so much for having us, it's an honour! I'm Alex, aka Simesky, and before Simesky+Fritch I've been releasing music solo under the name United Simesky Institutes.
That project pretty much crystallized my fascination for 80's music and films (with a touch of 70's more prog rock attitude here and there). Speaking of film, I've studied music composition for media, but all this came to a head with Simesky+Fritch - Will's voice took everything to another level and we continue to dig deeper in the retro influences, this even wider sweep somehow coming about very naturally to us both (and we're not even that old)!
Will: Me? I’m the unassuming shy and quiet type. Just your typical ex-sci-fi CBGBs glamsleaze psychobilly Cramps-bound trash-hound high-heel-donning stage-breaker turned synthwave (via L. Cohen style acoustic wordyhoods and dabbles in no-wave nihilism). Alex turned over an 80s sheen rock and I found a new mossy elixir of life.
What have your biggest inspirations been as musicians? As an outfit living in different countries, have your cities influenced your music style and if so how?
W: It’s the people you meet and connect with. The bleeding and sharing of tastes. It’s that magic we call the need to create mixed with always being open and looking and available to new twists of sound. When you find that in others, something happens. And when it happens, I don’t dare to dissect it.
As for cities, there’s something in bigger places and cities that are packed full of people with multitudes of interests and wants that triggers that want to get making, that ignites that input and output. That is most definitely something I love.
A: A great question, I always wonder how the places I've lived in changed the music styles. The most interesting stuff happens cross space and time boundaries, perhaps. Speaking of "Back and Down Again", the initial tape demo was done in Romania when I was a kid. But I'm sure it wouldn't have turned this way if it weren't for all that I've learned in Belgium. Will's Welsh dimension added to this borders transgression, making this weird circle complete. As for biggest inspirations, it was initially instrumental electronic music - it all started with the likes of Jean-Michel Jarre, Vangelis, Mike Oldfield and, ugh, degenerated from there (Depeche Mode, Air, Pink Floyd, Radiohead...).
Your latest pair of singles “Back and Down Again” as well as “Colour Running Away” are out now. What can you tell us about these tracks?
A: "Back and Down Again" is the very first song that we've worked on together. It already traversed a few shapes and forms as instrumental demos that I had initially on tape (by the way, that is also the source of the very lo-fi loop used as the intro), ultimately taking its tracker music derived character. Will finalized the structure, added catchy but poetic lyrics and recorded vocal lines with incredible speed and machine like precision, and boom, like that, the track was born. I think the guitar solos came after that, I remember feeling inspired by the power the vocals.
W: Aww Alex you flirt. Let’s just insert a heart shaped emoji. But you’re right. That first track was alchemy. If ‘Back and Down’ had stuffed up, there might have been no more Simesky+Fritch. ‘Colour Running Away’ was just as quick, a lightning back and forth, I’d just gone through a loss and I had questions that needed an outlet. Sparked on by the chance find of photos and histories, well the track came together in no time, with the same blast of luck and good universe happenstance that seems to thread through Simesky+Fritch.
Do both of your artistic visions for a song ever contend with each other? If so how do you overcome the disagreements?
W: Damn! Now if I told you I’d blow my diplomacy ;)
Sure we get some differences but this weird and one-off trans-continental synergy hits so much more often than any hiccups. We might cut each other’s parts as we bounce songs back and forth, or less than subtly keep dropping someone else’s idea in the mix (don’t you think I don’t notice you, Alex!) but we can only do that because we trust each other. And there ain’t been one song yet that didn’t come out better for it.
A: Exactly, and trust is indeed a key element for all this to work. I can't function in a relation without mutual trust, and to be able to have this within this project has been a blessing and truly liberating. I think we're open minded enough to accept the better idea regardless of origin, but we can also keep track of a vision and "defend" it whenever the gut feeling intervenes. Balancing those aspects with Will goes very smoothly, luckily!
What would you call your biggest triumph and biggest failure as artists?
A: The biggest and also most recent triumph is "Colour Running Away" becoming a bit of a "hit'" in independent circles, but also being played on national radio here in Belgium (Classic 21). What an incredible feeling that was! Biggest artistic failure, hmm - not being born in the right decade? Perhaps from an outside perspective it might be not having a true hit yet, given our foray into pop sonic avenues. But internally I feel that I had the chance of seeing some good old dreams come true at least :)
W: I love that you just went all Disney on me. We’ll make them come true. Together.
And triumph V failure… I could spout about what you’re proudest of making not always being the stuff that sells most. I could say I loved touring hell-holes and bust toilets relentlessly and loved the dirt and the grease of the tours, though I wasn’t keen on the loss off teeth and ribs, but, damn it, I’ll go all Disney too… The triumph is never losing the want or the need to keep making and never choosing to close off. Could have packed music in so many times and with Simesky, well I’m glad I never did.
How do you nurture your creativity outside of music? Have you ever experienced creative burnout? If so how did you overcome it?
W: Feed it, and always after midnight. And burnout? For sure. Alex knows more than anyone I’m temperamental and excitable puppy blasting idea after idea his direction and demanding his attention at all hours. And for that Alex, I do publicly apologise. But that burnout is something we feed off… It’s when restless busy minds get productive.
A: Aww, man, no worries, excitement is where it's at - if there is no passion there's no use. The night has always been a good advisor for creative times, but in general I keep an eye out on all sorts of things, many of which aren't even remotely connected with music. This "researches" might some day seep in the music process in unexpected ways. Also, being aware of different creative processes can help prevent creative burnout - you simply select one that fits your current situation and needs. Inspiration can hit in very different ways like this, you're basically opening more doors for it to manifest.
What are the lessons you’ve learnt in your time making music? What advice would you give anyone trying to break into the scene?
A: Ooh, tough one! First off, it's basic stuff, but ask yourself if you really have the passion and drive to hold on to the dream until either the rest of the world is ready to catch up with you, either you catch up with the world and surf on the zeitgeist. If yes, you're ready to step into the void. Also, don't be afraid to learn, thinking that it might somehow hinder or diminish your artistic vision - the right knowledge should show itself at the right time and you must be ready for it. The right people might also find you when you least expect it (wink, wink, Will!). Finally, I believe that your art has to somehow be true, transcending artifice and passing conventions, but also be relevant and have a universality that can touch people. Finding the right channels for this process come with its whole heap of challenges too.
W: Everything you just said and I’m blushing. And I guess, and as bad as it sounds, just remember there’s no such thing as ‘wrong’. Passion and want and a willingness to make accidents, the freedom to fuck up and throw down emotions, that’s what all music and all art, is made of. So go do you and do it freely and with guts, and I guarantee someone somewhere will connect.
What can you tell us about your independent ventures as Simesky and Fritch, if any?
W: Oh the solo Fritch ventures are on hold. This is way too much fun and too cool. Though you’re of course welcome to look it up… out of lineage and historical curiosity (shameless plug I know, sorry Alex).
A: Oh, plug away, Will, it's only natural. Ass. Pretty much the same, the solo project is on hold except a few escapades here and there - an orchestral composition contest, a release with The Foggy Jefferson Orchestra (a collective of electronic musicians inspired by the early albums of Jean-Michel Jarre).
What is an emerging trend in the music industry you despise? What trends do you see that you’d like to capitalise on?
A: There were the loudness wars, but they seem to have diminished (pun intended?) in more recent times. The flat instrumental productions seem to subside though, sometimes you hear good hit songs on the radio with incredible dynamic vocals and quite poorly produced instrumentals, overly simplistic I'd say. When I hear that alternating, you know, big kick and huge layered snare with a thousand claps, tambourines and all the fluff, I always go, ah, here we go again. Only Queen can legitimately pull that off, right? Then they add like a lo-fi loop to put extra texture and edgy mysterious musings. Wait, am I describing parts of "Back and Down Again"? Noooooooo (Vader voice)!
W: I love the diversity of sounds we can tap into now because everything is available everywhere, but I miss the idea of subgenres taking dominance like punk did, like rave did, like Britpop did, like CBGBs did. There’s no chance for a groundswell or wave to rise up with the pool as wide and accessible as it is without a powerhouse or machine sat behind it. I love the infinite individuality but I miss the rise and rush of a community being able to spill out and catch all attention. I got no clear of which or if either is better, but it’s a fun thing to wrestle with at least.
What does the future hold for ‘Simesky+Fritch’? Where do you see yourself in the next, say 10 years?
W: Well… me and Alex are meeting for the first time next month. I’ll get to see him from shoulders down. How many legs do you really have anyways? I feel after 2 years I should know this. If he don’t hate me in person then it’s gonna be rehearsals and shows and more music. But if he does, call us the new Everly Brothers?
A: Oh, we'll see how it goes, but hopefully Will will appreciate the limo and red carpet at the arrival! But I'm quite curious to see how the musical process will continue face to face (and if any punches will be mutually thrown towards said faces!). I can imagine it like, Will says "play a C chord", and I'll be like, "man, you sure it's not a B sharp"?? Alright, I'll show myself out.
W: I’m flattered you think I know what a chord is.
Discovered via https://app.musosoup.com #sustainablecurator