palecolorbouquetmag-blog

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Cosmo Pyke is a skater from South London who’s become known around the world for his unique singing, songwriting and guitar music. His unique sound made such a big noise it was heard by millions of people and many of them quickly became his fans. But in conversation you discover his passion for his music is as strong as his love for skateboarding and making art. Skating and playing the guitar gripped him from a young age and he picked up both naturally. But it wasn’t just his talent to string together well written songs and lines on his board that helped him to be the artist he is today. It’s also the excitement he gets from expressing his thoughts and ideas through them that stokes him out. Inspired to push for perfection with his pursuits and through taking his skills in a creative direction, he was further motivated to make art and his music career moved forward. Cosmo has been a No Comply Network member since the start and to see his meteoric rise as a musician has been immense. Four years since he released his impactful first EP and a week before the release of his latest offering, we had a chat about how he learned to skate and play guitar, shredding South Norwood, Peckham Rye and Bromley Skateparks, Ben Glasser and Max Critchlow, seeing US pros at demos, BRIT School, WITH Section, Slam City Skates, Southbank, street skating, making graff, recording his breakout EP ‘Just Cosmo’ with Fraser T Smith in the same studio as Stormzy, behind-the-scenes stories of all of his music videos, playing the last ever show at The Montague Arms with King Krule, filming ideal skate clips in Birmingham and Barcelona, playing live gigs, why his latest single Piper for Janet is one of his most meaningful to date, making tunes in Lockdown, the release timeline of his new tracks and his favourite skaters, spots, skate videos, art and photos and much more.

Glad to get a hold of you man, it’s been a while!

Yeah, it’s good because I’m releasing my first tune in a while in six days. It’s really good timing, we’re getting to chat now.

So when did you first see skating and think, I want to do that?

I used to skate when I was younger, maybe when I was about 7 years old.

That’s young, where did you get your first skateboard?

I got my first board from Brixton Cycles, which was next to Stockwell Skatepark at the time. I used to skate Peckham Skatepark. But not too much. I was always going to Stockwell and Kennington Bowl with my mate when I was really small. But then I stopped skating and started rollerblading…

Why on earth did you stop skateboarding to rollerblade?

It was my mate that I mentioned earlier. His older brother used to skate in my area and he was like a bit of a king in the graffiti scene. We always used his skates, everybody learned on his skates. We used to rollerblade at Whites Grounds, the skatepark in London Bridge, when Reuben De Haan’s cousin used to run it.

What year was this, 2005-2006?

Yeah.

So you started skating at age 7, stopped for a few years and started again. What motivated you to get back on board?

Yeah when I was 12, in year 7, Louie Dobbs, my boy he got me on it. We used to skate with Max Critchlow as well.

Yeah the day I started skating again I was at Bay 66 Skatepark, on the mini, on blades, with a party of people and at Bay you had to wear a helmet if you’re on blades but not if you’re on a board, it’s still like that. So at the time I was like fuck this!

I tried to drop in on the mini on a board and I was like look, I put my Vans on and went for the drop in on a skateboard and just did it! Dropped in first try on the mini and I was like fuck this! I’m skating from now on. I could always ride into the bank in Peckham but I’d actually never dropped in on a skateboard up to this point.

When was the first time you made your own music?

Well it was from about the age of about 9-10, maybe 11-10. I went to this thing called School of Rock at the Prendergast School in South London. It was called Felix’s School of Rock – run by this guy called Felix. You get put into a band, it was sick. In the holidays you’d do it for 4 days for a £100.

Like a kind of music boot camp for kids?

Yeah. Max Critchlow used to do it so it was really cool. It was sick. We weren’t allowed to bring skateboards and skate in the hall because they were scared we’d break our necks it was funny man.

How did it work?

You’d’ get put in a band with a Jack Black kind of figure and then on the fourth day there would be a battle of the bands type event and you’d do a gig on the stage. There would be like 90 bands, all just like loads of small kids playing  and the winner at the end wins chocolate, whoever screams the loudest wins basically!

Sounds hilarious man

From there, I was put on the stage, those were my first shows and gigs as a kid, just playing guitar, not even singing really, I did that School of Rock like nine times over the course of the next 5 years over the holidays and shit. Then I moved from Prendergast to Thomas Tallis School and then I started working there when I got to the age of like 18.

At the School of Rock?

Yeah, my first gig was there! Playing gigs, I was really scared before I got on stage as well. Because I cared a lot about what I was doing from such a young age. Cared about how I did.

Once you’d finished school and were looking to go to College, were you making music a lot or skating a lot?

I kind of wasn’t even doing anything religiously. Skate one day. Music the next day. Day after that do some graffiti. Never do one thing; I’ve always been juggling three things at a time. Going to school and school was just…school, you know?

For sure. What was it like studying at the Brit School?

It was really cool, I loved it, I was so happy really. I wasn’t at my rubbish school I was at previously. It had a uniform. This had no uniform and liberal teachers.

That’s dope

Yeah BRIT was crazy. It was like Uni as a 15 year old, no school bell, just like be on time.

So it made you be more independent

I didn’t go to Uni. I went to Sixth Form and then just finished school,  recorded my tape when I was in year 13, towards the end of my school, so it all patterned up well. When I finished school. I was touring all around London, South, West, East and North. In all the pubs.

I guess you made such a big impact; you were waiting to make something on that level or better

The way that I do Graff is the same way I do music. My friend even told me the other day. My songs are like the same way I do a piece or skate, just perfected and something I’ve been doing for a long time, so they are all really similar for me.So what stopped you from releasing those other songs?

I went up to Leeds and recorded with this guy, stayed with him there and recorded in his house. It just felt like the act of making music felt forced. I felt mad going up to Leeds sleeping in an Air BnB and focusing solely on just making music. Now I could do it a lot more but at the time I didn’t have the concentration.

Now I know a lot more but then I wasn’t ready. I made some good stuff and I really like it now and at the time I kinda like it as well but I kind of didn’t want to release it because it wasn’t the same process as the first record that I made with a big old studio with live musicians. This was just me on my own with no drummer, my mate, my drummer wasn’t there, it didn’t feel natural.

I tried to do some other stuff, that will come out in the future that I will re-record but I did stuff that I wasn’t 100% happy but this record I’m putting out now. This latest record, I recorded the way I’d done the first one with all live instruments.

Sounds like you needed some inspiration on this one. What music inspires you as an artist?

At the time I was coming up with loads of bands that played in the Montague Arms in New Cross and The Windmill in Brixton. There were loads of bands playing there at the time

Like who?

Horsey, my cousin’s band a cover band called The Bodies and King Krule.

You and King Krule played the last ever show at the Montague Arms in New Cross, what do you remember from that gig?

Yeah, there was a queue down the fucking road. The first person I saw in the queue was King Krule. I was like what the fuck!? why are people coming to see me. I never really had confidence in myself but you know! Yeah that was the first time I experienced people acting weird man, from those days at the Montague.

Yeah, when you get fame people treat you differently. But what was it like for you?

I learned my social skills from skating so I was always just completely…When you do my line of work, you meet a lot of fans. So it’s like when you meet someone and you’re a fan of their skating, it’s just about being nice to people and it was nice at the time and I miss playing.

The last gig I played was in Jakarta and I haven’t played since then. I’ve been dormant for 2 years. It’s such a long time but you know due to Lockdown it’s just extended that really.

Do you have a favourite artist?

Matthew Klarwein.  He did Miles Davis’ album cover artworks and then I really like Peter Green too; he’s a musician from Fleetwood Mac.

I also like John Piper, he’s the artist who’s art I’m basing this next record I’m about to release on. It’s called a Piper for Janet because my granny’s friend drew a John Piper style painting for her, he used a lot of watercolour and collage so the front cover of this record is based on him and he’s a British Painter. John Piper, he’s pretty cool

I like Edward Ruscha; he’s a photographer but he did a lot of stuff like taking photos of carparks and gas station in LA and Route 66 from specific perspectives back in the 60s and stuff like that.

Dope. Lastly when are all your new songs going to be released?

Next couple of months; they should all be out in January

Sounds good, look forward to it. Any last words Cosmo?

For anybody who’s out there reading this thanks for supporting me.

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Tyler Ransom is every bit as charming and talented as he is good looking. We hung out with the teenage heartthrob to talk about his music and growing recognition

To say that Tyler Ransom is into music would be a massive understatement. He’s been writing and recording since the age of 13, and today Tyler’s carefully carved out a reputation for himself in the LA Music Scene. Still in high school, Tyler’s put out a handful of singles and a highly praised album titled “Prom Night”. His most recent single, “sunset”, explores emotions far more mature than those his age.

What music did you listen to growing up?

There was never really a specific genre of music being played in the house when I was growing up.  I discovered music on my own.  There were people I looked up too and I engulfed the artist that they looked up to. Some of the artists/bands that have shaped who I am today include Radiohead,  Stevie Ray Vaughan, John Mayer, The Velvet Underground,  and Richard Swift. I have a ton more but in terms of major significance on my persona and music I feel they are my go to’s.

Describe your sound

That’s always been a tough question.  I feel that the moment you call something “alternative”  that means you have put certain alternative bands in the person’s head, and they begin to associate your sound with those groups.  So if I was to simply say I’m alternative theres really no spectrum to identify if I’m talking about coldplay or pearl jam. I don’t really like to label my sound as one genre, but I guess I would label it as “indie”.  I don’t really want someone to listen to one of my songs and think “ah ok I get it.”

Prom Night is currently trending amongst a lot of Rex OC fans because you focus on the topic of love a lot.  What’s PROM NIGHT about? 

Haha. It’s about a handful of things.  The title itself is pretty significant. School is filled with a whole lot of drama queens and theres always been a heavy emphasis as “prom night” being the night that defines your teenage years.  All those songs came to me at separate times from January 2017 to March 2018. Each song means something to me, but I don’t really want those feelings shared. The feelings the songs make you feel should be unique to the listener.

What kind of growth do you see with this album?

I’ve definitely matured a lot in terms of emotion and song writing. I’ve gained a better understanding of myself as an individual and my song writing process hasn’t really changed.  I tend to really over obsess about an idea, and I work on it until it’s a complete song.  I work really slowly so I don’t rush into anything I’ll regret later.  Once I finish, I play it back a couple of times, maybe even send It to a friend, and make necessary changes. No song can really be written and show someone’s full capabilities in a day or two to me at least. 

How’s it like being in high school while already building a brand for yourself? Are you treated differently?

My high school career has been all over the place, and the few people I hang around with at school knew me before I released prom night, so I’m not really treated that differently.  I try to spend a majority of my time alone at school though, because there are really only about a handful people I really vibe with; but there are a couple underclassmen who are aware of my music and ask for the occasional photo.

Plans for the future?

I just want to continue staying true to myself and creating things that are authentic. I’m grateful people can take something from my music, and as funny as it sounds music is my life. I’m always working and expanding. 

Tyler Ransom isn’t going anywhere anytime soon, and we’re excited for whats to come. Until then, check him out on bandcamp (or any other music platforms) to stay updated. 

https://tylerransom.bandcamp.com/

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The cars and ocean of LA are already getting old for 17-year-old Hana Vu

Every morning when Los Angeles-based artist Hana Vu wakes up, she listens to ‘Promiscuous’ by Nelly Furtado. Pop music, particularly the top 40s of the early 2000s, is Hana’s go to playlist first thing. It makes her feel good and sets her up for the day.

In the afternoon, or maybe when she’s writing, she’ll switch to artists that are more familiar with her songwriting style, St Vincent, Porches or Japanese Breakfast, for instance. Hana is still growing her musical tastes and, in turn, has created a hybrid of genres in her own music. Rhythmic drumming and repetitive jangling guitars sit behind her pop bravo voice that could easily nestle within the commercial and alternative music charts. Both come together on her second EP, and her first on Fat Possum’s new imprint, Luminelle.

The refreshingly honest way Hana lists her music tastes, (Natasha Beddingfield andMichael Bublé are both what she’s been playing when we speak), could partly be down to her age. Hana is currently 17, this is the music she grew up with, noting the brilliance of both Destiny’s Child’s songwriting and Lana Del Rey records as influences. In many ways, stars like Taylor Swift  – “a genius” who she recently based her college entry essay on – are also her contemporaries, picked up by record labels at a young age just as she has been.

While Hana’s young age will always be brought up in relation to her creative pursuits – mainly because it’s so impressive – it’s not the fascinating thing about her. Instead, her age filters into a narrative about how you interact with the world in your late teens. While other LA-based bands write about the area’s idyllic beaches and lifestyle, Hana’s songwriting is carved around the relatable concept of being a fed up teenager stuck in the place you’ve always known. “I love LA, it’s the best,” she says, “but it’s so chill, you can do whatever you want. It gets old after 17 years, but anywhere does. It’s cars and the ocean, you know?”

Cars and transport in general are the unlikely protagonist of Hana’s new EP. Its title proves this (‘How Many Times Have You Driven By’), as does its lead single, ‘Crying on the Subway’. Public transport isn’t regularly the songwriting spur for artists but it’s where Hana spends a lot of her time; she can’t drive after all. “You can be 16 and drive but I don’t want to,” she explains. “It feels like a lot of effort on my part.”

Instead, Hana gets the red line, the most popular in the city that travels through all corners of Hollywood before heading downtown. “It’s sort of what every valley teen takes,” she says. Her journeys on the subway began “when I was younger… I mean when I was younger than I am now,” she laughs. She played a lot of shows downtown as part of the DIY scene, in backyards and at parties, and her “commute” was where she listened to music the most. “That’s why I love being on the subway,” she says. “I don’t really like where I’m going and I don’t like where I was, but I like the in-between. I guess transportation is a thing for me, subconsciously.” Her lyrics speak this sentiment just as she does in conversation: ‘In my dreams I am in the grey room / In my chest I’m feeling dark blue,’ Hana sings on the EP’s opening track. ‘Take the red line into downtown / I’m trying to escape you, crying on the subway.’

The teenage diary-like account that flows through Hana’s lyricism has made her music so relatable. It’s a comment about her music she enjoys hearing too, when she says, “someone texted me saying they were listening to my song on the subway and I was like, that’s what it was made for!” But at the same time, this isn’t purposeful as she goes on to explain: “I read somewhere that was like, ‘Hana Vu’s music is so relatable to teens,’ but I don’t mean it to be! I’m just this kind of person and everyone’s kind of a version of each other. It feels good for me to hear that people like my songs, and know I’m not the only one crying on the subway.”

A large reason why Hana’s songs evoke such a strong sense of feeling glum as an adolescent, a little dramatic and hopeful in equal measure, is due to the time period the record was created in, from November 2016 to now, or between the ages of 15 to 17 in Hana years. It’s also a characteristic Hana believes to be the reason Luminelle signed her after stumbling across her video on a Reddit thread: “I think what my label liked about the album is that a lot of the songs are really different from one another. But I think just depending on what time I wrote them they’re all a little bit about the same thing – being in the city as a young person it’s very lonely but also not at the same time.” By developing her songwriting at such a young age also means that Hana is self-taught, producing the EP herself through what she admits was “trial and error”.

Her set up in the bedroom of her parents’ home (“I don’t even try to record when my parents are in the house.”) is minimal. “I don’t have a lot of equipment because I don’t have my own space,” she says. “I’d love to get a home studio going but right now I have my interface, I use a Logic keyboard, and I don’t have a proper microphone. I think for all the vocals on the EP I used my Apple headphones, but mixed it to the maximum.” This effect creates a very endearing quality to Hana’s release and a sweet image too. “You have to hold them [the headphones] a little far from your face, so it doesn’t distort. Get that sweet spot, turn the air conditioning off and close your windows and you’re fine.”

At the time of speaking, despite putting out two records in her own time, Hana is juggling high school, music and a part time job. High school appears to be the least necessary in her mind. “I don’t go too often these days,” she says. “I try to go twice a week, at least. I try to do well enough so I don’t have to go. I do all this other stuff during the day; I don’t really have time for it. And it’s almost done!” Despite her college entry essay on the brilliance of Taylor Swift, university is an idea Hana isn’t keen on either for a multitude of reasons. Firstly, “the college system in America is ridiculous; no one can afford to go,” coupled with a pining to make music “my full time thing.”

Hana’s blatant honesty continues when she mentions her ideal future too: “I did apply to college, so that might be on the cards. But if I think about what I want to do this year, I kind of just want to be a rockstar.” She lists a want for stability but views this becoming a reality through touring places like Denmark, Sweden or the Midwest rather than just moving in to a dorm room. “It’s a bit juvenile and nothing-y about the future, but right now I just want to be a rockstar.”

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Rex Orange County

Rex Orange County is Tyler, The Creator’s secret weapon on Flower Boy. His dreamy, searching vocals usher us between Tyler’s verses on opening track “Foreword” and his spritely cadence demands attention on album highlight, “Boredom.”

Growing up in Haslemere, a suburb of Surrey, England, Rex’s earliest musical memories are as a five year old in the choir—singing at the school where his mother worked. Yet, his proper musical renaissance happened around age sixteen.

Following a move to London, his transition from small town to big city living led to a slew of music discoveries all at once, prompting him to start making his own. Among those new influences was Tyler, The Creator.

So how did Tyler go from major influencer to collaborator? As it turns out, Tyler is a bonafide Rex Orange County fan.

Rex excitedly explains the roots of their connection: “He had emailed me in the summer of last year. He told me he liked my songs, and which ones he liked the most. I didn’t believe it was him, initially, but then he hit me on Twitter. We were talking for a while, which is crazy for me because I was one of those kids who was a big fan. Through him I found The Internet, Earl Sweatshirt, Frank, and all of them. Tyler was a big influence to me even before we worked together, so when we started working it was like ‘Wow!’“

Collaborating with Tyler challenged Rex’s own creative process. After finishing “Boredom,” they had a studio day left over and Tyler suggested Rex lay vocals for “Foreword.” Unlike “Boredom,” where Tyler had the lyrics ready and was waiting on Rex’s voice, “Foreword” still needed to be written.

“'Foreword,’ which opens the album, was my first experience of writing on the spot, in the studio,” Rex explains. “I gave it a go and we spent a couple of hours on it—by the end it was the one. The pressure of wanting to have my voice on the album made me write better than I ever had. I’d never written off-top in front of other people, but now I have.”

Since the release of Flower Boy, Rex’s music has reached a wider audience, directing new ears to his excellent 2017 Apricot Princess album.

While it is titled after a pet name for his girlfriend and singer, Thea, the album is much more than a collection of love songs. Apricot Princess is an endearing rumination on Rex Orange County’s emotional state, combining deceptively dark moments with somber pivots on songs like “Untitled” and “Never Enough.”

Pointing out a difference between Tyler’s album and his own, Rex says, "Flower Boy is quite an outdoor album. You hear it and feel like you’re riding around on a bicycle, surrounded with trees and it’s really sunny. Apricot Princess is like an inside album. You can listen to the album and feel all of those emotions within one night. It can be happy and dancey, and then you can think of something that you’ve fucked up on.”

Looking to build on his recent success, Rex tells us, “I want to make myself better and get working with some of my biggest influences,” and mentions that Young Thug is one of his dream collaborators.

Listen to Apricot Princess below and continue for our full interview with Rex.

What’s your earliest music memory?

Singing in the choir when I was five or six years old. It was at this school that my mom was working at, and I ended up spending time there and singing when I was super young.

How has being from Haslemere colored your music? I had a delayed reaction to finding a load of good music. When I fifteen or sixteen and was in London, moving from a small town and now going to a big city, I discovered so much new music. Finding all of that music and being inspired that much all at once, that was the benefit of being from a small place.

Was that what initially prompted you to begin making music? Definitely! I was playing drums before that period happened, and as soon as I heard all the new music, I started to sing.

Could you imagine making music without having moved to London? Yes! But I wouldn’t be here today. I’d still be playing music and making music somehow, but going to London was for sure the point at which I was inspired to take it more seriously.

Where do you see yourself going from Apricot Princess and Flower Boy, what’s the next emotion you’re going to capture? I would probably maintain the spectrum of emotions to be able to talk about positive and negative things, not just love songs. I would love to expand and challenge my own lyrics. I want to make myself better and get working with some of my biggest influences, and make the best music I can.

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A blissed-out amalgam of Motown’s golden era and mellow ’80s-style synth grooves, Taipei-bred five-piece mavericks Sunset Rollercoaster’s Jinji Kikko EP evokes classic American sounds without empty mimickry. One minute, lead singer/guitarist Kuo’s soaring falsetto recalls The Stylistics’ Russell Tompkins Jr.; then, he drops back to Earth for a gravelly Lou Reed murmur (as he showcased in the group’s blues-soaked 2011 debut Bossa Nova). Which raises the question: How did a soul-psych outfit from Taiwan get so far into different aspects of retro American pop culture?

“The Internet,” Kuo says bluntly. “Ten years ago, I was surfing the Web and clicked a ‘related links’ page, and ended up listening to Velvet Underground. I was like ‘Whoa! What is this?!’ It sounded lazy, a little skewed, but awesome!’ That’s where it started.” The 28-year-old old-soul musician, who also cites influences as far afield as The Eagles and Guns N’ Roses, credits a raucous, now-defunct DIY venue with providing the space for Sunset Rollercoaster to bloom.

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Making a career in the music industry isn’t simple. Traditional methods of breaking into the scene are dying and whilst the internet can trigger overnight success and virality, it’s near impossible to receive considerable exposure amongst the oversaturated market of upcoming musicians online.   Algorithms, however, are evolving the way we approach music on a daily basis. Gone are the days of manually searching for new music, with platforms like Spotify and YouTube doing the work for you - providing tailor-made recommendations based off your search history. Think of it as a digital form of word of mouth. Now, if your music is lucky enough to get caught up in a random algorithmic wave and you’re genuinely talented, quite frankly you’re laughing. This is exactly what happened to 19-year-old Norwegian artist Boy Pablo. Since the release and viral success of his algorithm-assisted track “Everytime” , garnering over 6.5 million views since its release last year, his life has changed profusely. Don’t get us wrong, Pablo is far from a one-hit wonder; his debut EP “ROY PABLO” and newest single “Losing You” has been enough to solidify a core following, allowing him to pursue his first European tour. 

Let’s start off with the basics, how did you get into music? My whole family’s into music, and I’m the youngest one, so it was natural to start playing the guitar or the drums. My brother plays both guitar and drums, bass and piano. My Dad also plays all instruments… Ok, so you come from a very musical family and background. Who were your inspirations growing up? Are they the same now as they were back then? When I was growing up I remember one day in the car, my brother had just brought a CD of the Beatles, so I was really into the Beatles when I was like five or six. My other brother showed me a band called the Ramones, so I was really into that - I like both bands right now *laughs* still. But today it’s more kind of indie music and hip hop, yeah. Could you give us some recommendations of artists you feel are underrated? Or perhaps your top five list of people you’re listening to now? Well, that would be an artist from Norway who’s called Sondre Lerche. It would be Young Dreams, who’s also from Norway. I don’t know, I like Tyler, the Creator - he’s really cool. Yeah, that was gonna come up in another question I have… Yeah, ok cool *laughs* So, how did you feel about your song ‘Everytime’ being picked up by the YouTube algorithm? I don’t know… I think it’s weird and cool and lame at the same time that it got picked up by the algorithms. It’s a new and cool way to get noticed and, well, it’s been great for us - me and the band. Do you think there was more pressure for you to have a follow-up song that would blow up just as much? No, not at all. The new single - I started making that almost two years ago. So, I don’t know, I put out the songs that I Iike So, you’re basically just doing it for you... Yeah, I want people to like it, of course. But I can’t be a sell out because I got noticed.

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Cosmo Pyke (that’s his real name) is an 18-year-old songwriter and multi-instrumentalist from Peckham. Raised on a diet of blues, jazz, hip hop, and neo-soul, he writes warm, lo-fi songs that he describes as “spacey, beautiful, and lazy”. His songs draw less on other music and more on his everyday experiences growing up in south east London: reading books, going to pubs, playing football, and other simple pleasures in life.

Besides being a musician, Pyke is also a skater and spraypaint artist as well as a model. He has made an appearance in Frank Ocean’s “Nikes” video. “I’ve become a lot more clued up about fashion this year,” he says, “It’s definitely given content to write about. Whether it’s been positive or negative, it’s all about the moments.”

Pyke’s newest release is “Social Sites”, a song about an ex-girlfriend and social media’s role in a relationship. Its video fits the laidback vibe of the song, shot in his home borough and the surrounding areas, as well as in his grandmother’s house. There’s a retro feel to the video, seen in the 70s wallpaper that lines the walls and the analogue film stock used to capture the footage. The track features on Pyke’s forthcoming debut EP.

We look forward to seeing what he has to release in the future, but for now we can lay back and enjoy his lofi indie jazz vibes off his solo EP, “Just Cosmo”. Available everywhere you find your music.