Hello, great thanks! Lots of release stuff going on at the moment.
Can you talk to us more about your new track “This Machine”?
It’s sort of a commentary on capitalism and modern consumer society – they create a lot of positivity and opportunity, and that’s really cool, but also what’s the bottom line we’re trying to achieve? Profit? A fair society where everyone can realise their potential? Somewhere in the middle? I guess you could describe it as a song about vague, large, abstract ideas being daydreamed in small, cramped, normal places. Like the bus, or waiting for a taxi outside.
Did any event in particular inspired you to write this song?
Like a lot of this EP, it wasn’t so much a single event as a culmination of nothing. I imagine snapshots from a film when I listen back to it – maybe even like a flashback or a 50s noir style dream sequence in black and white, except it’s somebody stood at a bus stop sighing, or a street corner where it’s drizzling to itself. Just mundane stuff really.
Any plans to release a video for the single?
Maybe so, there’s a few bits of cool video stuff I’m looking forward to sharing over the next few months!
The single comes off your new EP Holiday – what’s the story behind the title?
It started out as a working title, as I was writing and recording the songs over summer. From there, a loose concept for the EP started to take shape and ‘Holiday’ seemed to sum it up nicely in a single word. Finally, I was in the pub with Steve from the label and he was like ‘I need a title Emilio’ and ‘Holiday’ just came out, and it sounded good out loud so I went with it.
How was the recording and writing process?
It was a lot of fun but it was the most indecisive I’ve ever been working on a record. I probably shelved about five different versions of this EP because I kept changing my mind mind on what I wanted to release next. I typically record everything at my house and I tend to demo stuff as I write, which is great cos it gives you loads of freedom to get things how you want them, but it also makes it impossible to finish stuff sometimes. It’s like, there’s always something you can tweak or make better. So yeah, it was an easy record to make when I finally decided on which songs to go with.
What role does Liverpool play in your music?
I think over the years I’ve been here, it’s filtered into my music more and more. For me, this EP has been shaped a lot by the people I’ve been working with on other projects. Over the last year I’ve been mixing stuff for other Liverpool artists like TV ME, LUNA and Jazamin Sinclair, and just being in a different creative headspace for each project has ended up influencing my own way of thinking about music when I go back to my stuff.
How Elliott Smith and Car Seat Headrest has influence your writing?
For me, Elliott Smith’s been a huge influence since I was a teenager. I like how when you watch live videos of him, the songs sometimes make more sense when they’re stripped back. There’s one of him playing ‘King’s Crossing’ in a theatre in LA and I try to use that as a philosophy for my own stuff – aiming for songs that could still work in a big venue when stripped to the basics. I only got into Car Seat Headrest over summer but I like how lyric heavy some of the songs seem, and how they kind of meander along sometimes. I was listening to Teens Of Denial a lot and I think some of that seeped into the new songs a little maybe?
What aspect of the holidays and the mundane did you get to explore on this record?
I saw a film set in a small town where this guy had a million different jobs. He’d wear a different hat for each one, and assume a totally different personality. It got me thinking about real life, where we become different people depending on the situation, and I just found it really interesting. Like, would we all be happier if we were the holiday versions of ourselves all the time, in day to day life? That’s part of what I was trying to get at with this record. And then in the gaps, I wanted to look at the world around us and ask how it’s influencing us to be these different versions of ourselves. This Machine in particular is maybe the closest thing to a social commentary I’ve ever written/would ever want to write.
Any plans to hit the road?
I’m on tour in Europe at the start of November, and then I’m launching Holiday when I get back to Liverpool, on the 13th. It’s happening at a record store/cafe/venue called 81 Renshaw Street, and it’s going to be super fun. Also, it’ll be the first chance for people to get their hands on one of the limited edition cassettes I’m getting made especially.
What else is happening next in Emilio Pinchi’s world?
Once all the release and tour stuff is over, I’m going to take a holiday. Just kidding, it’s never over.