Today’s Track of the Day comes from Kalon Rae. We talk to the artist about his new song ‘The Day That I Was Killed’, his influences and what’s in store for the future.
Bursting onto the scene with his debut EP ‘The Day That I Was Killed’, Kalon Rae is a wonderfully unique artist who deserves your attention. Boasting a contemporary style which dabbles with many genres, from urban to indie to pop, Rae brings together carefully crafted arrangements with his powerhouse vocals to great effect.
Having been highly active in the UK and international music scenes for a while now, working with the likes of Rita Ora, Paloma Faith, Take That, Muse and Coldplay, it’s time for Rae to unleash his own material on the world and take centre stage. Released on May 20th, his debut EP has a rousing, cinematic quality, fronted by his deeply personal and evocative lyrics.
We talked to him about the leading track ‘The Day That I Was Killed’ and more…
‘The Day That I Was Killed’ is the fantastic lead single from your new EP. What is it about?
‘The Day That I Was Killed’ is about memories I believe I have from a previous life and the questions that arise from them. We’re all born with our own quirks and I’ve often wondered whether those are something ancestral and deeply rooted within our own souls. If I’d been born to different parents would I be an entirely different person? Are my hopes and dreams my own?
Your new EP plays with a lot of genres, including urban and indie. Who are your musical influences? How did you come about your sound?
There’s an array of artists and sounds that I have grown up with. From Handel, to Edith Piaf, to David Bowie, to Kate Bush, to Jeff Buckley and Alison Moyet. Of the most recent artists I love Florence and the Machine, Paloma Faith, composer Yann Tiersen and indie band Spiritualized. While very different, they all foster in me reactions akin to the feeling of reading a good book, when you find yourself seeing and reliving the scenes and atmospheres set by the author. My songs usually come from images I have – I then try and translate them into music.
You’ve worked with a lot of big names in the past (Muse, Paloma Faith, The Who etc). How has that influenced you as an artist? How does it feel to have the opportunity to showcase your own material?
I’m immensely grateful to have worked with artists I admire. I have felt the excitement of supporting something bigger than myself and I have observed and analysed from up close the elements that make them true artists. It has also been frustrating at times for I’ve often found myself dreaming of being the one at centre stage. Being able to share my own music with the world is a completely different feeling. The gamble is much more personal and so are the risks of rejection. But so too are the rewards. And I wouldn’t change it for anything in the world.
Would you consider any more collaborations in the future? Who would you love to work with?
I would cherish the opportunity to work with iconic artists like Annie Lennox and Kate Bush.
In another life I’d have loved to work with Freddie Mercury, David Bowie and with my all time favourite artist, Edith Piaf. I’m actually currently writing a song about her. Of the current artists I’d love to work with Florence and the Machine, Lianne La Havas and Hozier.
Have you got any plans to tour and what can fans expect from a Kalon Rae show? Where do you see yourself musically this time next year?
The response I have got to my EP has been overwhelmingly positive and encouraging. I am now working out the logistics of a UK tour, which will take place after the summer.
My fans can expect honesty, first and foremost. I like to think I sound the same live as I do in studio!
More importantly, I want my shows to be a conversation, where listeners can drop their guard and be able to receive my vulnerability and respond with their own.
I dream very big and work even harder – next year I’ll have released my full album, which I’m working on at the moment, and I’ll aim to share my music with the whole world.
This Kalon Rae article was written by Suzanne Oswald, a GIGsoup contributor.