No XLXIII Gabe by Inked Kenny

Page 12










PATINA Sam Frankl

Hailed by Billboard as “multi-talented” and described by Wonderland Magazine “one to watch out for”, the Brixton based indie-pop wizard Sam Frankl is pleased to announce details of a brand new emotive, groove-laden track ‘Patina’ due this January. Frankl details the track: “The song is about a couple after a break up. The girl is asking, quasi masochistically, about the boy's new relationship. I don't know if you relate but it's about that odd desire to self-harm emotionally rather than succumb to complete indifference; as though to suffer at someone's hand is preferable to being dismissed by it completely.” Written in Palomino, Columbia during his travels across South America in 2017. Frankl spent his time collecting scraps of songs and lyrics. ‘Patina’, the thin layer or covering that forms on various metals due to oxidisation, became an idea for the song where “the girl is trying to scrape off a top surface to reach some more extreme emotion beneath in the boy”. ‘Patina’ is a breathtakingly soulful record that sees Frankl effortlessly drawing on electronic, soul and modern South American pop influences, resulting in a truly immersive soundscape that juxtapose themes of hope and love over melodic, samba styled rhythms.

An accomplished poet and writer, Frankl’s previous single ‘Gold Rush’ was a poignant social commentary on local housing issues taking the Heygate Estate in Elephant & Castle, a 5 minute walk from his flat, as the basis of it’s inspiration. Clash Magazine described it as “a salute to the solidarity that exists between working people of all cultures and communities in South London”. p .


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photo courtesy of SAM FRANKL

He goes on to add: “Towards the end of the trip we found a house overlooking the coast on the Palomino river and stayed there for ten days to allow us to catch our breath and for me to finish what I'd been working on. I wrote the song as a samba but always had a clear idea of incorporating more modern dance music elements into the syncopation of the track. The percussive stabs that feature so prominently in the chorus are actually (among other things) layers of the nylon string guitar on which the song was written. I wanted the production to retain something of the provenance of the song even as it became slicker and more contemporary. The original finger pattern even appears, quite briefly, in the first pre-chorus; sort of a fragile tendril attaching the song to its beginnings, I can't hear it without thinking of that house on the river by the coast.”


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