ロミー（Romy）
UKを代表するバンドThe xx（ザ・エックス・エックス）のギターリスト兼ボーカル。2020年9月にシングル「Lifetime」でソロ・デビュー。2022年11月にフレッド・アゲインをフィーチャリングしたシングル「ストロング」をリリース。他にもファッションブランド「エックスガール（X- girl）」とのコラボも行っている。現在、ソロアルバムを制作中。「フジロックフェスティバル ’23」にも出演する。
https://romyromyromy.com
Twitter：@romyromyromy
Instagram：@romyromyromy

“Lifetime”, the solo debut single of The xx’s Romy, fills its listeners with an uplifting feeling of love over a gorgeous Eurodance beat. “You’ll be right beside me, I’ll be right beside you” – The dazzling euphoria of Romy’s fervent refrain is different from the subdued melancholy of the singer on stage with The xx, and is a vivid example of Romy’s new beginnings (debut).

This change is also symbolized in the song’s visuals clad in acid neon colors, a clear distinction from the signature black image from the singer’s past. In these images, one can clearly sense Romy’s attachment to the UK dance culture of the 2000s, a scene she’s been a part of since her teenage years, as well as the joy and ecstasy of liberation. 

“It was a fun, new challenge”, Romy, who visited Japan in early February for a fashion brand event, said of the significance of starting this solo project. The solo album, which was originally reported to be released last year, is still in the works, but the singer is scheduled to perform at Fuji Rock this summer. We have also been hearing more about The xx’s forthcoming album. We look forward to hearing what kind of product will come out of this so-called “challenge”.

The xx and the solo project

– Has it been a while since you were last in Japan?

Romy: It’s been five years? I haven’t been back since the last (The xx) tour. I’m happy to be back.

– Are there any spots you always go to when you’re in Japan? Jaime’s answer was record shops.

Romy: Jaime has visited Japan more than I have, and sends me recommendation lists. I don’t have much time on this trip, though. There’s a synthesizer shop Jaime recommended that I really wanted to stop by, but I couldn’t make it. I have to leave tomorrow, so I’d like to go if I have time tonight. I really like Japan’s nightlife. I went to the clubs NEW SAZAE and GOLD FINGER last night.

– It’s been a while since you enjoyed Japanese nightlife. How did you like it?

Romy: The DJ playing at NEW SAZAE was really great. She was only playing hit songs on CDs, which made everyone go crazy.

– I’ve seen footage of you DJing as well, which I was struck by. In contrast to your cool and reserved performance style with The xx, you were pumping up the audience, waving your arms in the air. It was like seeing another side of you.

Romy: I think I was excessively self-conscious when I first started The xx. I was incredibly shy, and very young, more than anything. But I think I gained more confidence as time passed. I was awkward when I was starting out, even when DJing. I gradually felt more liberated the more I let myself do what I wanted. It did take a lot of time, though.

– The word “liberation” is symbolic. With The xx, for example, you wore all black on stage. You even mentioned in an interview that your wardrobe was all black. However, the look and artwork for your solo work is very colorful, and is filled with euphoria. What changes in your own life would you say are reflected in this difference?

Romy: I’m glad you noticed that. But it’s not something I did consciously. Maybe it’s because I’m a little older and less concerned about what people think of me. Now, I’m more able to relax and accept what I like. I still like to wear black, but I also like neon colors, and would like to incorporate more playful fashion.

– What does the color black mean to you?

Romy: I think it signifies a sense of security. I feel secure knowing the clothes will work. It’s very cohesive when you wear head-to-toe black. We’re a band of three who feel comfortable together when we all wear black. But none of us have deliberately said, “let’s all wear black”. We all just naturally started to dress similarly. We all have different projects now, and have less opportunities to play on the same stage. Jaime and Oliver have both started to incorporate brighter colors recently, and I think each of their views on fashion are shifting, too.

– On top of your new fashion choices, was a large part of this solo project initiated by the desire to “express a new self”?

Romy: It was. The wardrobe for this new (※currently in production) solo album includes more casual clothes that you’d wear at home – closer to street wear, and in brighter colors.

In the past, I wore outfits that felt more like armor on stage. I sported blazers, angular clothes, and wore high heels, all so that I could be more confident. But now I know that I don’t need any of those things.

The relationship between fashion and music

– Continuing on this conversation about fashion and music, I think the two were more closely connected in the past. For instance, in punk, grunge, or 90s rave culture, you could easily decipher what music a person listened to based on their clothes. Have you ever been influenced by music to change what you wore, or conversely, have you been introduced to music through fashion?

Romy: You’re right, it’s hard to tell what music someone enjoys based on their fashion choices nowadays. But I think that’s what makes it cool. Personally, because I’m very interested in music from the 2000s, I like fashion that goes well with that music – the neon colors of rave and trance, pants and training wear that dancers wear, and other styles that remind me of that era. So maybe I’ve consciously or subconsciously chosen these clothes.

– Do you have any outfits you reflect back on and wonder, “why did I choose to wear this”?

Romy: I do (laughs). When we first played Coachella, we decided to wear all white instead of all black, because we thought we’d be too hot if we dressed in black while playing in the desert. We were young then, so we chose our outfits ourselves. But when I look back at those photos, I’m like, “Oh God…” (laughs), and we have to laugh at ourselves. I wore a cream-colored jumper, which in retrospect, is embarrassing (laughs).

– Did you get rid of that outfit? (laughs)

Romy: I don’t know where it is anymore (laughs).

– Are there any musicians you’ve come across in your musical career whose style was the reason for your interest in them?

Romy: That’s a good question. But I think it’s more common for music to come first for me. Of course, if I see someone’s photo and I like their style, that may spark my interest. But I spend more time listening to music than I do looking through magazines, so it’s more common that I listen to someone’s music first. And if something intrigues me, I might look them up and learn about their fashion and sense of style.

– Who is someone that sparked your interest in that way?

Romy: My mind went blank the second you asked me that. I can’t think of anyone (laughs). I’m sorry.

– No problem (laughs). You mentioned that you enjoyed the Tokyo nightlife last night. I’m sure the London clubs that you were frequenting in your teens before The xx were a doorway to encountering various cultures that incorporated music and fashion.

Romy: I was around sixteen when I started going to the London clubs. I don’t know if sixteen-year-olds can even get into clubs nowadays (laughs), but I was lucky enough to have been let in. I started frequenting one of the queer clubs, where I met many people that I still consider to be some of my best friends to this day. The first DJ opportunity I had was also at this club, so that place is very special to me. 

– Have those experiences remained a significant part of you?

Romy: Absolutely. I think the music I make today has been inspired by the events of that period of my life, and is closely tied to that era. The freedom and sense of community that existed there is directly reflected in my current work. I think the connection between the two is very significant. 

– However, some of those special spaces have been lost due to the COVID pandemic, and in recent years, there have been reports of shootings at queer parties.

Romy: Yes, that mass shooting (which took place last year in Colorado Springs,  Colorado) was shocking and such a tragic incident. Those places are safe spaces where so many people go to live their lives, express themselves, and connect with similar people. Those spaces were also very important to me. Once a place is no longer safe, it’s difficult to find another.

On top of that, it was heartbreaking to see so many of these places close because of COVID-19. I was reminded how much I loved nightlife and clubbing, and how much I wanted it. Connecting with people, feeling liberated from everyday life, and escaping reality are very important. It’s not just about drinking and getting high, it’s about listening to music and feeling euphoria.

A solo project as a new challenge

– The word “euphoria” that you just mentioned seems like a keyword in your solo project. Why did you start a solo project in the first place?

Romy: I had no intention of starting a solo project initially. But I like writing songs, and wanted to continue writing music outside of The xx. In fact, I did write songs for other artists (Dua Lipa, King Princess, Halsey). Eventually, I met and became friends with a producer named Fred Again, who I really enjoyed making music with. One day, when he asked me who I was writing for, I answered, “I’m thinking of writing for myself”. That was the catalyst. 

– You’re also a guitarist, which means that in the event of a solo project, you had the option to sing while playing acoustic guitar. But instead, you chose dance music. Was that an inevitable choice for you?

Romy: No, it was a challenge. I wanted to challenge myself. I wanted to know what it meant to put down my guitar. The guitar is like a comfort blanket to me, so I let it go on purpose. It was a fun, new challenge. 

– Did you feel like you discovered a new side of yourself or a new aspect of yourself during the songwriting process?

Romy: Definitely. It was like a self-renewal process. I think I was also wanting to grow. 

– Oliver mentioned that he acquired advice, knowledge, and inspiration from other queer artists like John Grant and Perfume Genius for his solo album released last year. Are there any artists like this for you?

Romy: Of course. Robyn is a major figure, and I think the music I make has definitely  been inspired by her. I’ve only talked to her a couple times, but she’s very supportive and has given me a lot of advice. Connections like that are so important to me. I’m also inspired by artists like Bjork and Madonna, who have strong ideas and like to be involved in every detail of their musical processes. Bjork in particular is very involved in the production process and has many good ideas involving different aspects of her art. I’m always impressed and empowered by her work. 

– Many female and nonbinary producers like Planningtorock, Jayda G, and HAAi, were chosen to remix your new songs “Lifetime” and “Strong”. 

Romy: First of all, I wanted them working on my songs because I just love them all as artists. Second of all, it’s important to me that I support and spotlight queer and nonbinary people like them. But the number one reason is because I’m a huge fan of all of them. That’s the biggest factor.

– “Liking” something is important. 

Romy: It is. I want to support them because I like them, not because they’re queer or nonbinary. 

– “Strong” is a song that was written about confronting past sorrows. What does “strength” mean to you now?

Romy: It means “weakness”. I think “weakness” is also “strength”. That’s what I wrote about in the song, but that doesn’t mean I can always think that way. I had never considered my vulnerability and sensitivity to be strengths, and even now there’s a part of me that struggles to think that way. That’s why I think I’m trying to be like that now. I’m learning to be “weaker”.

Translation Mimiko Goldstein

The post The Significance of Romy of The xx Starting a Solo Project: “It Was a Fun, New Challenge” appeared first on TOKION - Cutting edge culture and fashion information.

It’s no secret that black midi has been one of the frontliners in the booming UK rock scene for the past few years. Their creative ideas inspired by all kinds of music from all over the world, their high level of songwriting and performance skills, and their expressive abilities all make them stand out from all the others, and their new album, Hellfire, released last summer, was a strong reminder of this.

The band is led by a vocalist/guitarist Geordie Greep, who has a particularly strong personality. black midi is a group of musicians from diverse backgrounds who studied at the prestigious BRIT School, and Geordie’s curiosity, which extends beyond music into a variety of other fields, is undoubtedly a key element in shaping their style and philosophy.

On stage, Geordie plays the guitar and does the salsa steps, sometimes changing his voice tone and acting out different characters. What is the source of the band’s leading player’s passion for music and art, and how does it drive the black midi today? A few days after their first performance in Japan in three years, which had been postponed due to the pandemic, we spoke directly with him at the music studio in Shibuya.

black midi
black midi is a three-piece band based in London, consisting of Geordie Greep (vo. gt), Cameron Picton (vo. ba), and Morgan Simpson (dr.). The members met at the BRIT School, a prestigious performing art school in England that turned out Adele, Amy Winehouse, and King Krule, among others. 2019 saw the release of their first album, Schlagenheim. With this work, which was listed as one of the best albums of the year, the band was described as “the most exciting band of 2019,” and nominated for the Mercury Prize. The band released their second album Cavalcade in May 2021 and their third album Hellfire in July 2022. 
https://bmblackmidi.com
Twitter：@bmblackmidi
Instagram：＠bmblackmidi
YouTube：@blackmidi5762

— I remember that you mentioned in a previous interview that you were very fond of bossa nova and Argentine tango. Listening to the new songs like “27 Questions” and “The Defence,” both of which were performed at the recent show, I could see  stronger influences from that sort of music and the fruit of profound exploration of melody and harmony that the band experienced during the term from your last album Cavalcade to your latest Hellfire. What do you think about that?

Geordie Greep (Geordie): The answer is quite simple. For example, the intro of “27 Questions” was inspired by Astor Piazzolla, and our aim was to express tango-like chords in our own style. I can’t remember the name of the song, but I liked Piazzolla’s album called Tango -Zero Hour and was drawn to its angular yet passionate nature. So it was directly based on Argentine tango.

–What made you to develop your interest in that sort of music? 

Geordie: I don’t really remember. There is a lot of music out there that references Argentine tango as an exotic tone from far away. Even more, there is a lot of pastiche-kind of music in the world that references all sorts of things like Peking Opera, and of which you don’t even know what is at the core at all.

As for our own music, many of our songs have sections that reference Argentine tango, and fewer songs have sections that sample movie soundtracks. For me, Piazzolla and Dino Saluzzi were certainly the gateway to my infatuation with Argentine tango, and I love the push-and-pull kind of musical composition, the sensual yet harsh and rough feel of that sort of music.

–For you, what is the value of Argentine tango that needs to be reevaluated today?

Geordie: A lot of South American music pieces have a very high quality of musicality, very complex in terms of chords, melody, and rhythm, but they are made for a wide audience. I hate a kind of music that denies such an essential enjoyment of music, music that the listener cannot get into the tempo or rhythm of, or music that is just complicated and difficult to understand. Good music, or the best music, has a very complex structure consisting of melody, rhythm, and vocal, yet is very easy to listen to, and makes the esoteric elements accessible. Tango has a particularly devilish sound, wicked and passionate at the same time, and it has a different charm from many Latin American popular music such as salsa and bossa nova. Every tango song has a similar structure, starting with an angular, peculiarly shaped riff that twists and turns to form a chord that creates overall impression of the whole, and that riff appears here and there throughout the song, with a number of chord changes, before slowing down and coming to a stop. Then they look at each other romantically and whisper, “mi amor (my love)” (laughs).

— Haha, I see (laughs).

Geordie: But tango dancing is very difficult. That is something that real professionals can only do, and I can’t do it at all. Dancing in a salsa club is fun, though (laughs). Salsa is all about rhythm, not so much about the precision of the steps. Tango makes me tingle and almost causes cramping when I dance it (laughs). Have you seen the movie Tango Lessons? It’s a film by a female director (Sally Potter) who made Orlando, an adaptation of the novel by Virginia Woolf, about a white English woman who tries to become a professional tango dancer through a series of lessons. The movie itself is not my cup of tea, but the concept is interesting and the scenes where protagonist devotes herself to tango dancing to become a dancer are very impressive.

–Hearing what you’ve talked about music, it seems you are interested not only in the music itself, but also in the culture and history behind it.

Geordie: I feel like I’m getting more interested in a lot of thing. But I don’t have any distinctions or lines in my mind, like “this is good because it came from that country,” and I don’t have any particular fetishism for a particular region or country. I just genuinely love something. I think it’s true that there are good things that come out from South America. But it is a product and a boon of certain misfortunes. South America has a terrible history, which has never been good, but has brought together a diversity of things. There are a variety of people involved, including indigenous South Americans and immigrants from Italy, Spain, and France, and as a result, many different kind of histories and cultures have been fused together to create a unique sensibilities, as can be seen from their music, literature and movies. It’s these people who came together that created an interesting culture.

The trigger for developing an interest in music other than British and American rock and pop music

–What were the roots or origins of your interest in music other than so-called Anglo-American rock and pop music?

Geordie: Well, I’m not sure. But my father was very passionate about music, and  has imprinted on my mind from a young age the idea that “there are good and bad music, and there are no boundaries between genres.” He always told me that I should be honest about my emotional reaction to something and not push my value on someone else. If I don’t like what everyone else likes, I can say it’s not for me. But on the other hand, if I really like something, there is no need to be ashamed of it. My father is a man who has listened to a wide variety of music in this way, and his existence is a testament to the variety of music and art that has been brought into my life as well. Also, I have family members who come from different areas, have different kinds of musical tastes, or who encourage me to “check this out.”

–So, the stance that you and black midi have today is something that was fostered by your family environment, right?

Geordie: In my case, the first music I got into was classical music, so a lot of the music I like is very far removed from my personal life and experiences. Because of that, I came to realize that it’s silly not to like something just because it was geographically distant from me. Suppose the music I like was written at a time when life revolved around the Catholic Church and their music—in other words, when music was written for the Church, played only once, and never heard again, I might have been executed for a really insignificant reason, like just because I heard that music. But in this day and age, it doesn’t matter what we listen to, whether it was written 20 years ago or in another country, why should we deny ourselves the joy and pleasure of listening to that kind of music?

–Yeah, you’re right.

Geordie: Needless to say, the great thing about music is that it doesn’t have to be verbalized, so anyone can enjoy it. I love translated books and movies. Most of my favorite books are French, and I love movies of every kind of genre, but especially I watch a lot of movies from Hong Kong. But when a language is translated, there is always the fear that something has been changed or lost.

But again, the great thing about music is that it sounds the same to everyone, even though you can’t translate the major third. Music is the most immediate and most mysterious art form in that everyone can enjoy it and everyone can get the idea of  what a happy or sad song is like. But it’s such a mystery why major scales are happy and minor scales are sad. It’s completely beyond our comprehension, but at the same time, it’s undeniable.

Influences from Japanese culture

–In relation to music and art outside of the U.K. and the U.S., black midi is also known for its deep ties to Japanese alternative music and culture.

Geordie: That’s exactly what I was thinking. I had a show in Nagoya a few days ago, and the DJ at the show was ∈Y∋ of the Boredoms. Boredoms are one of my favorite bands and I respect them from the bottom of my heart.

I was first exposed to Boredoms’ music when I was 13 or 14 years old, I think, when Vision Creation Newsun was released, and it was a significant event for me. I saw their live show at the Barbican Center in London, which is a very prestigious venue where classical music concerts are usually held, and they were playing with a big band with 5-7 guitarists, 4 drummers, and many keyboard players, led by ∈ Y∋ performing as a DJ. In addition, ∈Y∋ had 88 random people play cymbals. It was full of all kinds of gimmicks, but at the same time a spectacular show.

As it turned out, it was truly fantastic, because the way they did it was not just a gimmick, but they really tried to do something crazy and silly. It was a very rare and unique experience to see that kind of sound being created right in front of my eyes. I remember the cymbals sounded so lyrical, like the sound of the ocean. Technically, a PA can make any sound, but the sound reproduced through a machine is always slightly altered and sounds strange. But with their sound and performance, you could feel the slightest change in frequency just by moving your head, and it was probably one of the top three best shows I’ve ever seen in my life.

–I totally understand what you meant.

Geordie: That’s how I got into Japanese noise music, like Otomo Yoshihide’s Ground Zero. Their Revolutionary Pekinese Opera is especially fantastic―and of course I love Consummation and Consume Red too. Melt Banana is also great, and I love OOIOO by Yoshimi of the Boredoms, Afrirampo and many others. Anyway, they are all great music.

I’ve always been wary of those who are obsessed with one country or culture, and this encounter with Japanese music was a great reminder of that. I also like Toru Takemitsu, who makes classical music – he did the music for Akira Kurosawa’s film Ran, and he has done a lot of beautiful music and symphonies. I also love Japanese films. There are many, but I love Kenji Mizoguchi’s Ugetsu and Masaki Kobayashi’s Harakiri as well.

— I remember you posted a picture of your band member with Kyary Pamyu Pamyu on SNS prior to this Japan tour.

Geordie: I remember that when she first came out, there was a lot of positive reaction in the Western media. So I listened to the album and thought, ‘That’s pretty good’ (and he starts humming the chorus of “PONPONPON”). I saw her live before at Coachella and unfortunately didn’t get to meet her in person (*bassist/vocalist Cameron Picton is in the photo with her), but I remember being very impressed with her performance. Originally, I don’t like live shows where the vocalist just sings along to a backing track, but her live show had energy, passion, and an aura of authenticity, and I really enjoyed it.

— What do you think about Japanese video games and anime?

Geordie: When I was little, Kaidi (Akinnibi), who plays the saxophone for the band now – my best friend in life – he recommended Cowboy Bebop to me and I used to watch it a lot. It was cool because it was somewhat perverted. I also loved Satoshi Kon’s Perfect Blue. Satoshi Kon was an animation artist, but his work has a very sophisticated style and is very artistic. The American director of Black Swan (Darren Aronofsky) bought the rights of the work, so basically Black Swan can be said to be a remake of Perfect Blue. In fact, there are many scenes in Black Swan that are recreations of scenes appeared in Perfect Blue. Story aside, some scenes are completely plagiarized. It’s very interesting that he was able to do that because he bought the rights of the film.

–How about Japanese video games?

Geordie: I love them. I especially love Metal Gear Solid. Also, I used to play Tekken a lot. And Super Monkey Ball when I was a kid.

Becoming a frequent customer at Sushi Zammai on the second visit to Japan

— This is your second visit to Japan. Did you have any opportunity to visit any places and experience Japanese culture?

Geordie: This time, I had the first day free, so I spent the whole day exploring the city. But I still only went around the neighborhood of Shibuya. However, I went to Sushi-Zammai five times.

— Five times(laughs)?

Geordie: It was wonderful. In Japan, I was impressed by the hospitality of the staff in restaurants and clubs, and even when you get take-out, they are all very kind. Also, it’s great that things are cheaper now (due to the weakening yen exchange rate). I was able to buy a Giorgio Armani jacket for about 1,000 pounds less than in England.

–By the way, do you think it is possible to be inspired by Sushi-Zammai, which you frequented so much, and to have it feed back into your songwriting in some way?

Geordie: If we can emulate the quality of efficiency and professionalism that can be found at any Sushi Zammai restaurant, I think we could be a very good band. It’s run with a speedy and excellent operation.

— In a previous interview, you mentioned that you had already started writing songs for Hellfire at the time of the release of your last album Cavalcade. How about the situation now?

Geordie: Well, I’m not sure. Because I’ve spent a lot of time away from home in 2022; I haven’t been in London for more than two weeks in the nine months since March. So I’m really looking forward to getting back to London and getting back into the swing of things there. So at this point, any plans for this year or the next album are unrealistic and mostly hypothetical. Well, who knows what the future holds for the group, this will possibly be the end, we’ll see.

Translation Shinichiro Sato
Photography Haydee Yamane

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