You know those early morning sun rays that shine through the crevices between the leaves and fall on fresh green grass? In his new single “Midsummer Skies”, Chesterfield-based singer-songwriter Aza Brown seems to have captured that feeling of basking in the sun. The strings in the opening have a biblical effect to them, sounding like a classical piece. It could not be more clear what this song is about – the solstice, and how it brings hope. The transition of the strings into a riff adds an interesting layer of grandeur to the song, much like classics like The Verve’s Bittersweet Symphony or Coldplay’s Viva La Vida. This catches your attention again during the build-up to the bridge, where all Brown is doing is vocalizing on the melody without saying any lyrics. His low, grounded voice is gentle and encouraging, mixing with the arrangement like an instrument of its own. The entire production is like some sort of a new-age Beatles sound – but being very unique in terms of Brown’s vocal style and the repetitive string section. The song makes you realize the magic of just being alive, and value the time that you have, which is something that has the potential to resonate with everyone.
What really piques your curiosity is the eccentric production process of this song. FNE got an opportunity to get a glimpse into it in an interview with the immensely talented Aza Brown. Here’s what happened.
FNE: Now the story of the song is very interesting – how you decided to only work for one day of the year. Could you tell us more about the creative process behind the song-writing?
AB: Well, it was just one of those majestic Midsummer Days (this time 2001) when there was an almost tangible magic hanging in the air, and I just had the idea to try and lock the magic into the song by only working on it on the Summer Solstice – also with one eye on the historical and astrological importance of the day. I’d just been writing it in my head really, and carried on for a couple more Midsummer’s Days, until a few crap Summers, and maybe “life getting in the way!” made me forget about it. The magic was reignited on a lovely day whilst on holiday in Llandudno, Wales, a couple of years ago, when the song had laid dormant for over a decade. I knew I had to seize the moment, and grabbed the iPad and started putting it together. I made my girlfriend drive back from Wales to Chesterfield, kept writing in the passenger seat, and by the time we were skirting ‘round the bottom of Manchester (halfway home), most of it was in place.
FNE: All in all, I found it to be a very positive and uplifting soft-rock experience. How would you describe your sound here?
AB: Thank you! Yeah, that’s what I was going for, although there’ve been a few different incarnations of it before settling on this version with amazing producer (and mate!) – Danny Burton. I wanted a few “cosmic” noises going off in the background too, and the original demo possibly had too many! I’d given it to a former guitarist in The WonderWhys to produce, and, whilst I’m grateful for the effort he put into it, it didn’t capture the feel I was going for. There was an epic guitar solo in it, which was a bit more Slash/Guns ’n’ Roses than I’d have liked, and went a bit widdly – which wasn’t what I was looking for. Danny and I put a version together last year, actually, and it had a bit of an early 90’s feel – a bit like The Lemon Trees (Guy Chambers’ first band), which I loved, but we didn’t have a proper ending. It’s now morphed into a huge anthemic psychedelic symphony – complete with soaring strings and layers of angelic harmonies. I hope I managed to “seal the magic in” and make it a really inspiring song for everyone.
FNE: This song seems to have taken years in its making and you must have seen yourself evolve musically. Who would you cite as your influences?
AB: I only worked on it in about 5 of those 20 years since conception, but certainly the production techniques have really progressed, and by having easy access to apps like Garageband, it’s meant that I’ve been able to write whilst travelling. There are some great presets on there, and I’ve worked with keys a lot more as a result, whereby it was more guitar-based before. My main influences aren’t really represented particularly on “Midsummer Skies” – I think it’s fairly unique – in concept and style. As well as The Beatles and Frank Zappa, though, one of my biggest influences are early 90’s band Jellyfish – who I’m completely in thrall to – virtually everything they’ve done! The songwriting, musicianship, pop sensibilities and harmonies are truly outstanding – as is most of the work of Crowded House and Neil Finn in my opinion, and I feel I have them to thank in respect of my ear for a hook and a melody. Neil Finn of The Divine Comedy is another huge influence of mine, and I’d love to try and emulate the wicked sense of humour he conveys throughout his works – without losing any integrity – and actually adding to it. A very clever songwriter.
FNE: What inspired you to write this song? What is the story sought to be conveyed through the music?
AB: As I mentioned, it’s about the magic that was hanging in the air, and I wanted to try and capture that magic and encapulate it in a song. It’s also about seizing the moment, and staying in that magical moment – lost in time, and perhaps sharing it with someone you love. “I’d savour every moment we spent. And I’d know there’s no such thing as tomorrow, ‘cos tonight we’re gonna fly”.
FNE: What would you describe as the best way to enjoy your music?
AB: I went out into nature to shoot the video for “Midsummer Skies” – I shot 90% of it on Midsummer’s Day too – trying to capture that magic in the video too. I got time lapses of the sunrise and sunset in some of The Peak District’s most beautiful places, plus shot a few bits at Stone Circles and a weird, almost alien rock with very strange inscriptions on it. I’m very lucky to live in a place where I can drive 20 minutes in any direction and be surrounded by astonishing countryside and dramatic rock formations. This forthcoming album “Exennial” has an ethereal sheen about it running throughout – perfect for a road trip, or being out in nature. One review of my third single “Only One Way” suggested it was “music to watch a sunset to” – I’m not sure if I could ever have a better compliment! Come and visit The Peak District and be similarly inspired yourselves…
FNE: How do you think your sound finds relevance in the current pop culture landscape? What do you think is the most unique quality that your music has to offer?
AB: That’s a tough question, and I know I’m not pulling up any trees here, but I’d like to think that whilst I’ve got a definite 90’s sound, it’s been updated with various production techniques to sound relevant today. I’m really proud of my songwriting throughout, and I’m hoping that will shine through. I think that the most unique quality of my music – certainly on this album – is the optimism and hope that I poured into it – I’m really hoping it will inspire people to be happier. I’ve really gone to Town on the harmonies and BV’s, and I think people will appreciate quite how accomplished they are, and how much they add to the songs
FNE: So whats next for you as an artist?
AB: Well, from being someone who was embarrassed to showing and sharing my work, to being as prolific as I am now, I have a number of options. There were a lot of songs that didn’t make this album, as they were either a bit rocky or a different kind of feel, and including them would have made this album lose it’s coherence. “Exennial” doesn’t step on any toes – in a good way – it’s very Summery and uplifting. I’ve got a dirty rock ’n’ roll album in me, and some other experimental stuff which just wouldn’t have fitted this one. I intend to tour “Exennial” next year, and playing it out in it’s entirety will be a massive buzz and sense of achievement for me. Other than that, working with producer – Danny Burton – has been amazing, and he’s really nurtured these songs along into what they are now, and I’m incredibly grateful for everything he’s done. After hearing what I can do with harmonies and BV’s, he asked me to do exactly that all over his own solo album – “Night and Day”, which was a great honour, and to which I duly obliged (big Beatles sound on album track “Half a Chance” – check it out!). We really bounced off each other, and I can see a lot more collaboration with him down the line…