Surreal pop powerhouse and right hand of the elusive London Based Oil Records music collective, SlimDali is iconoclastic and eccentric; not just multi-dimensional but extra-dimensional. Straddling the line between art and pop and never inhabiting reality quite as we know it, SlimDali’s surreal and danceable music is reminiscent of Talking Heads, Japan, Metronomy and the Human League. Having just released the second of a series of EPs, The Clan, SlimDali is preparing for his third release The Clique, incorporating another trilogy of videos to further reveal his vision of the world.
Tell us about your start in music! When did you realize it was something you wanted to pursue? I’ve always been interested in different artistic forms as a way of expressing ideas, and music seems to be the best medium for what I am trying to convey. Throughout my works I have been trying to get a balance between dancability, emotional content and provoking thought. The latter being something I have noticed that in popular music can sometimes be overlooked, that power it can have to question.
You’re planning to release your 3rd EP, The Clique. Could you run us through a few of the tracks?
1 – Holes: This track is the ‘heaviest’ in the canon so far, influenced by ‘Nine Inch Nails’. The chorus is a repetition of the word ‘Holes’, which is intended to build the tension and draw attention to the chord harmonics leading to release in the second Chorus. I’ve performed it Live and seems to go down really well.
2 – The Hourglass and the Party Cat: My main instrument that I am most accomplished on is the guitar and so I wanted to play around with the instrumentation in a ‘Sonic Youth’ textural kind of way, so a lot of inversions of the chords. I tried to play around with the sonic field as well going from mono verses to stereo chorus to add impact.
3 – Disguise: ‘Depeche Mode’ all the way. I haven’t been able to use the low part of my voice that often so I wanted to write a track to display it. I really like the intro to this track as I think it can be quite disorientating with the phased drums.
How is this EP different from the previous two you have released? This EP has taken a darker electronic edge to it and the inspiration stems from the surreal painter ‘Magritte’. I feel as though there is a certain darkness to his paintings that I wanted to get across. The last EPs were based on ‘Dali’ and ‘Andy Warhol’ respectively, and so had a lighter style.
What was the recording process like for The Clique? The recording process for this EP has been hard with a lot of material discarded to whittle down to the final three tracks. At present I work in a very solitary environment, acting as writer, producer and mixer. This EP has seen me really test my capability of being objective in each of the different roles. However, I think it has paid off, as it seems to me to be a progression from the last two EP’s, both in quality and interesting mix of sounds (there’s an oboe in one of the choruses).
Anything else in store for you in 2015/2016? I will be recording the final EP in the run ‘The Clutch’ to be released around March. I’m looking to build up interest in the music and potentially collaborate with a few interesting people on the second set of EPs.
I’m also starting to work on an EDM project based on a very slowed down Afro-Beat, and using out of tune brass with octaved drum patterns.