![]() ![]() ![]() “I really like to play around with the English language, to be open and free, and I want my music to mean something more, or to have different layers to it if you look closely enough.” Soaring melodies and upbeat, peppy tempos make walking down a sad, gum-trodden pavement feel as remarkable as developing wings and taking flight, and the poignant vulnerability of his lyrics, so vested in the beautiful banality of daily life, have a distilled quality that grants the listener a rare, auto-biographical authority. It’s a reality that even a dreamer wouldn’t dare to believe, but listening to Augustine’s music, it makes sense. To top it off, his most played song on Spotify, Guts - a song about a boy celebrating the nonchalant invincibility of being hungover with a lover - has over five and a half million streams. With his first, second and third singles all hitting number one on the Hype Machine Chart, just last year the 24-year-old artist added Pop Artist of the Year at the Swedish Independent Music Awards to his list of accomplishments. It’s safe to say that the experiences definitely got bigger. The unmistakable lunacy of falling in love.” “It captures the feeling of daring to be hopeful, and the gnawing nibble of insecurity that follows as a result. I always dreamt about the bigger cities, feeling bigger emotions and having bigger experiences.” “It was a very small village and I was always a dreamer. Describing where he draws inspiration, the musician chuckles to himself softly: “It changes all the time I think, but ultimately I’ve taken lots of different turns.” He references the likes of “the greats” coming first, David Bowie and Bob Dylan paving the way as they so readily do to a musical love affair, but it was GREEN DAY and THE KOOKS who inspired him to get a guitar, and Foster the People who ultimately lead him to purchase a synth. ![]() Recounting memories of childhood, he cites the subtle, ever-present constance of music within his daily life whether playing in the car on the ride to football practice with his two brothers, or humming out of the stereo in the kitchen at home. What it really is, is genius.Īugustine’s story starts in Jörlanda, a small village just outside of Gothenburg. And on top of all of this, it’s an aftertaste of emptiness, an acknowledgment toward those periods of time where it feels impossible to feel in the first place. ![]() The unmistakable lunacy of falling in love, of being delusionally carefree to everything going on in the world around you knowing that, with just one person, you could face anything at all. It captures the feeling of daring to be hopeful, and the gnawing nibble of insecurity that follows as a result. Nonsensically, yet simultaneously, it conjures the adolescent, existential dread of a drab school corridor, the jaded resignation that comes with throwing a party and realising too late into the evening that no one is going to attend. It’s an all-encompassing irrational sense of elation like the kind felt only at a festival, when you’re surrounded by mud and tin cans and you’re sticky with tent-warmed cider, when you’re dancing with your friends holding a cigarette in one hand and a tube of stale pringles in the other. Trying to explain AUGUSTINE’s music to someone that hasn’t heard it requires being able to articulate what it feels like to be alive. ![]()
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