Jeremy Warmsley
Jeremy Warmsley is a 22-year-old musician currently residing in London. He's literate, bespectacled, wears braces, and, certainly most relevantly of all, has written, performed and produced one of 2006's most intoxicating listens in debut album 'The Art Of Fiction'.
Recorded across desolate, wintry evenings from the ending days of 2005 through to the warmer midst of our present annum, 'TAOF' is a heady, venturing blitz of electronica-strewn, folk-belting soul. It marks the culmination of a young lifetime of assorted musical fiddling.
Ask him what music soundtracked his formative years, and the barrage of responses is predictably unpredictable (of the highlights, Paul Simon, Sam Cooke, Mozart and Beethoven). Ample travelling around at a young age with his Brit/French family, meddling with four-tracks, and a few years at Cambridge University (studying philosophy, since you ask) beckoned, as did the slow evolvement of music-making.
"I had always dabbled with making electronic music, but had never tried to do it seriously; I tried, and my friends hated it. Not everyone else did though, which was nice."
Hence where we are now – a blissful, transient state between deft, Bowie-sized epics such as 'I Knew Her Face Was A Lie', home-leaving, strings-bolstered anthems such as "Dirty Blue Jeans', the 'it-should-have-happened(-but-didn't... or-did-it?)' tragedy of '5 Verses', and intricate, laptop-bleeping remorse of 'If I Had Only'. But it's also about celebration and unification – the righteous thrill of learning what your bits are for in 'Modern Children' and the sensuality of the opposite sex ('I Believe In The Way You Move') – in other words, universality we can all nod heads to, whether embarrassedly or otherwise.
And the origins, other than Warmsley’s head and then fingers, for this produce? His own bedroom. Where else?
"What began out of necessity turned out to be a strength; recording at home allows me tremendous freedom and time to get everything just so.
So, 11 songs in hand, cataloguing Jeremy's ascent personally and professionally from keen student artist to Transgressive-signed, budding superstar in waiting... where next? Retelling bitter, adolescent beefs until your hair thins? Hardly.
"I'm looking forward to trying some much more stripped-down stuff on the next album, although I have some fairly complicated plans for a couple of the songs," reveals Jeremy, smiling coyly. "I actually already have most of my next two albums planned out. The first is going to be half pure pop, half high-concept; I have a whole story planned out that I'm going to tell in song form. All the songs are written; I can't wait to get back into the studio."
Suitably, we wait with baited, desperate breath for the next chapter.
Recorded across desolate, wintry evenings from the ending days of 2005 through to the warmer midst of our present annum, 'TAOF' is a heady, venturing blitz of electronica-strewn, folk-belting soul. It marks the culmination of a young lifetime of assorted musical fiddling.
Ask him what music soundtracked his formative years, and the barrage of responses is predictably unpredictable (of the highlights, Paul Simon, Sam Cooke, Mozart and Beethoven). Ample travelling around at a young age with his Brit/French family, meddling with four-tracks, and a few years at Cambridge University (studying philosophy, since you ask) beckoned, as did the slow evolvement of music-making.
"I had always dabbled with making electronic music, but had never tried to do it seriously; I tried, and my friends hated it. Not everyone else did though, which was nice."
Hence where we are now – a blissful, transient state between deft, Bowie-sized epics such as 'I Knew Her Face Was A Lie', home-leaving, strings-bolstered anthems such as "Dirty Blue Jeans', the 'it-should-have-happened(-but-didn't... or-did-it?)' tragedy of '5 Verses', and intricate, laptop-bleeping remorse of 'If I Had Only'. But it's also about celebration and unification – the righteous thrill of learning what your bits are for in 'Modern Children' and the sensuality of the opposite sex ('I Believe In The Way You Move') – in other words, universality we can all nod heads to, whether embarrassedly or otherwise.
And the origins, other than Warmsley’s head and then fingers, for this produce? His own bedroom. Where else?
"What began out of necessity turned out to be a strength; recording at home allows me tremendous freedom and time to get everything just so.
So, 11 songs in hand, cataloguing Jeremy's ascent personally and professionally from keen student artist to Transgressive-signed, budding superstar in waiting... where next? Retelling bitter, adolescent beefs until your hair thins? Hardly.
"I'm looking forward to trying some much more stripped-down stuff on the next album, although I have some fairly complicated plans for a couple of the songs," reveals Jeremy, smiling coyly. "I actually already have most of my next two albums planned out. The first is going to be half pure pop, half high-concept; I have a whole story planned out that I'm going to tell in song form. All the songs are written; I can't wait to get back into the studio."
Suitably, we wait with baited, desperate breath for the next chapter.