Exclusive Interview with SMAIBLUE

A house in disrepair in the Indonesian woods near a small town- this is where this project began, surrounded by rusted musical instruments occasionally utilized by church groups in the village. It is an obsession for SMAIBLUE to perform live, spontaneously, or with written content between London and Brighton.

Since this all began in 2016, a novel (Wanita’s Quest), five albums, and a few collaborations have been released. Currently, the calmer half of the sixth album has been released; the hyperpop/electronic half will be released in the near future. One CD was a blues-inspired collection of anguish titled Volume, with all Artist earnings going to the charity Against Malaria. The album has been a tremendous success thus far. During a tough time in 2020, an ambient album titled Lunar Dreams was made, as well as a compilation of love songs titled That’s Enough Love Songs – See You Soon and a collection of odd songs inspired by the subconscious and deep sea noises titled Avenue of a Dying Place. The most recent album, Sanctuary, is a blend of Asian classical music, chamber folk, and ambient music. The album’s title track is a standout, and it is aimed to transport you to your Sanctuary, wherever that may be for you. Check out the song I Blushed Before Your Kind Soul and the exclusive interview below:

1. Can you tell us a bit about where you come from and how it all got started?

SMAIBLUE: Hi! I’m based in London/Brighton but I’m half Indonesian. This whole thing started after David Bowie released Blackstar, we share the same birthday & I felt this strange compelling thing was happening to music in 2016. I was in Indonesia at the time & there’s actually an old song that uses a ‘ghost’ voice captured during a practice session in Jakarta. She’s this beautiful English voice saying ‘don’t let it disappear’, the mystery of that & that time in Indonesia started this whole thing really. I’d always been able to do music but I like that reminder, ‘don’t let it disappear’, whoever that mysterious angel was, she formed something special & she freaks out people that hear that clip & learn about her origins.

2. Did you have any formal training or are you self-taught?

SMAIBLUE: I learned how to play ‘Big Ben’ on piano in formal classes & had a few small theory lessons, but music’s always just been a natural thing that I do. I still find myself butting heads with elitism or people really pushing their opinion forward about how to be an artist from time to time still. Technique is important to learn when it comes to instruments, including the voice but the key will always be the creativity & what you can offer in what you do.

3. Who were your first and strongest musical influences and why the name ‘SMAIBLUE’?

SMAIBLUE: There are a lot of people to grateful for when it comes to influencing the music. Listing them might be a bit tough as they’ve offered special bouts of inspiration in their own way, it’s actually often not even musicians that get my creative spark going or that benefit our lives as a whole. In terms of first there’s actually a huge backstory about Indonesian music that I’ll get into one day. Smai’s who I am & blue is the main colour in this colour wheel of music I dive into.

4. What do you feel are the key elements in your music that should resonate with listeners, and how would you personally describe your sound?

SMAIBLUE: I’ve had a very dream-like, spiritualistic & atmospheric approach to music for a long time, it’s always going to be part of that dimension but I am adventurous in anything & everything that fuels that spirit of creativity. The moment it’s boring or unimpactful or unenjoyable for the artist & listener it’s all over so.. My sound works towards never doing that & producing work that’s unique, whatever the cost it takes on myself.

5. For most artists, originality is first preceded by a phase of learning and, often, emulating others. What was this like for you? How would you describe your own development as an artist and music maker, and the transition towards your own style, which is known as FOLK?

SMAIBLUE:

It’s interesting that you see me as a Folk Artist, my all time favourite artist in terms of natural folky music is Ichiko Aoba, Windswept Adan is my favourite album of all time. She’s amazing. My life’s tended to dip into different places with wildly different philosophies & approaches to music. One day you’re making a live music video with a punk musician who keeps getting his table stolen by a woman, the next you’re joking about sitcoms with a rockstar you used to watch on tv. These things have always happened, but I’m always very much into the arty/communal/inspirational aspect of it. I’m actually a bit put off by the whole tiktok, this is my channel kind of thing we’ve made ourselves become, but in saying that how do you market yourself in an oversaturated market? I guess you’ve just got to lift your game & make more stuff that’s good/interesting.. Especially when you’ve got the huge nose & awkwardness that I have.

6. What’s your view on the role and function of music as political, cultural, spiritual, and/or social vehicles – and do you try and affront any of these themes in your work, or are you purely interested in music as an expression of technical artistry, personal narrative, and entertainment?

SMAIBLUE:

For BLM I released an album exclusively for a charity called Against Malaria called Volume. All the Artist proceeds went to distributing mosquito nets around Africa, it’s tricky because you could easily spin this as ‘do something good for your brand’ kind of thing but it’s not like that, I didn’t gain anything profitable from it but that truly doesn’t matter. It’s been amazing to see the numbers of nets that were distributed through that effort. There’s a song called The Perfect Storm which was quite drifty in the album, I’ve been revisiting it live & enjoying how it’s become a fiercely bluesy song live. I always think of these firm handed fellow friends who struggle with the same prejudices that I have through skin tone blasting their fists in the air in defiant dignity & saying ‘we shall not budge’. That song is one you HAVE to embrace its political stance through. So really, it depends on the song & intention behind why you make art in the first place really. I hope this answers this question well because it’s a big one, thanks for that interesting thought!

7. Do you feel that your music is giving you back just as much fulfillment as the amount of work you are putting into it or are you expecting something more, or different in the future?

SMAIBLUE:

I actually hate the sound of my own voice (expression in using it, technician in checking how you performed.) & get really tired of my songs/albums once they’re done because I put so much into them, I’ll check into them for the purpose of practice or on a thoughtful level but I’m so into the creative aspect & I believe that’s the thing that matters that the fulfillment will always come from making something that is quality enough to inspire other people.

8. Could you describe your creative processes? How do usually start, and go about shaping ideas into a completed song? Do you usually start with a tune, a beat, or a narrative in your head? And do you collaborate with others in this process?

SMAIBLUE:

The songs all tend to revolve around different things & occur in different situations so it’s really difficult to give you a concrete sense of progress. Sometimes I improvise a lot & push myself to the limit.. Other times the song just bursts out of a moment that means something, you feel it when it happens. A good example of what often tends to happen is in the song Kingdom of Passing. The high rolling sound in that song was something I had stuck in my head at random times when I’d be at the fridge or something, eventually I pieced it into something tangible & I no longer hear the sound outside of the song. This often happens but not always. I’m filled with all these barrages of music/arty ideas, the novel I’ve released explains this delightful madness better than the music does.

9. What has been the most difficult thing you’ve had to endure in your life or music career so far?

SMAIBLUE:

I’ve been through a lot, like a lot of people in the world. It’s always nice to know that people understand or relate to your struggles though & returning that humanity is the root of our kindness. My work can answer this question better than I can.

10. On the contrary, what would you consider a successful, proud or significant point in your life or music career so far?

SMAIBLUE: They all matter in so many different ways. I do really love what’s happened with When We’re Vulnerable We Come In Peace. There was this magic spell that really started everything. I do have a soft spot for Gentle, I Miss You, Sanctuary & all of the songs from 2022 though.. It’s tricky, I think making Lunar Dreams with Amy’s beautiful art & writing the novel during 2020 was a really important ‘okay we’re in this insane situation, how will we keep going’ moment. Keeping going with the creativity no matter how terrible thing have gotten… & grief & stuff like that is the bit to feel success over I suppose.

11. With social media having a heavy impact on our lives and the music business in general, how do you handle criticism, haters, and/or naysayers in general? Is it something you pay attention to, or simply ignore?

SMAIBLUE: We should follow our own path. It’s not that I don’t believe I can improve or think I’m perfect or anything like that & some people do have legitimate criticisms. The key though is to make sure the art comes first & to make sure something can be the best you & whoever you’re with can make it before you release it. I am a dorky goofball but do take the art bit seriously & while it is a really intense & personal process that takes all of me, it’s up to people how they respond to it, it’s not really my concern if they don’t like what I do. Unless of course, it’s a huge disaster, but I’ll fight to the bitter end to make sure that never happens because I love it. It’s nice to know you’ve made something that’s inspired others or made an impact, I really believe in that & do like that aspect of social media, the gallery in the pocket as opposed to the loud shouting billboard in the pocket.

12. Creative work in a studio or home environment, or interaction with a live audience? Which of these two options excites you most, and why?

SMAIBLUE: They’re all exciting in different ways. It’s great when you see people really getting into & experiencing what you’ve worked really hard at. It’s a beautiful thing when you see people inspired in that way. Making the work itself in a studio or home studio setting, whether privately or with someone else is also satisfying, but a totally different thing. They both have meaning, I suppose you can liken it to writing a letter to someone & then visiting them & reading it, both are just as important for that person & letter, but for different reasons.

13. Do you think is it important for fans of your music to understand the real story and message driving each of your songs, or do you think everyone should be free to interpret your songs in their own personal way?

SMAIBLUE: Once you release a song, album or ep, it’s been given to someone else. I’m also a very private & respectful of people’s privacy type person & when I’m not being disorientated by a panic attack or disassociation, I’m comfortable in my own being to not care about what other people think of me. I don’t see the point in people knowing details about my life that aren’t worth being made into great work. I’m hugely grateful for anyone that’s interested in my work, some people’s reactions have been amazing. I remember someone crying & wanting to talk to me about her life afterwards or a mother & her young son wanting me to teach him a song on the piano. I always make sure I remember & honour those… well all the positively meaningful people in my life & their time & interest, they’re the most important people in what we do at the end of the day. We’re here to inspire, however that works for you.