The Music Of Sound is an Indian-British postclassical cinematic dreampop trio featuring young South Indian vocalist Sherin, English flautist and current BA student Elena Trent and veteran Welsh composer and keyboardist Neil March. The band was formed by Neil when he was invited to play the BBC Introducing Stage at Latitude in 2017 and has been through several line-ups and three record deals in the time since. Now signed to Monochrome Motif Records, their long-awaited debut album Eleven Short Stories came out on 26th July 2024. New single You Lost Out came out on 4th October 2024. Check out the exclusive Interview below:
1. Your roots can often shape your journey. Can you share a story or moment from your early life that had a significant impact on your path into music?
SHERIN: From a young age, I always had a passion for singing and writing songs. But like many people, I was encouraged to pursue a more traditional path, so I ended up studying a professional course. I even worked in IT for six months during the pandemic, but it was during that time that I realized it just wasn’t for me. That’s when I decided to take a leap and move to the UK to pursue music as my career.
ELENA: A stand out moment for me is playing in my local youth wind ensemble. As we were students, we were at the early stages of learning our instruments so whilst the music was not always perfect, and mistakes were made, feeling that sense of community made me realise how important music is. Many of those students wouldn’t have met if not for the band, but seeing how happy and excited the group was to play together was such a great feeling. As I am now entering my career, I hope to bring that sense of joy and community into my performances.
NEIL: My parents were musicians and my mum was the music teacher at my junior school and local piano tutor on our estate so I grew up learning instruments. However, the key moment where I realized I wanted to play pop music was hearing the Jackson 5 for the first time and discovering that my classical tutors were wrong about pop being unmusical noise! I was 9 and I formed my first band the next day. We didn’t know enough chords to play covers so we wrote our own songs from the outset. 6 weeks later we played our first ‘gig’ in school entertainment time. From then on, I knew that was what I wanted to do with my life!
2. Did your musical journey begin with formal training, or was it more of a personal exploration? How has that shaped your unique approach to your craft?
SHERIN: My musical journey started as more of a personal exploration rather than formal training. I was drawn to singing naturally and just followed where it led me. This approach has really shaped how I create, I’ve learned to trust my instincts and find my own sound.
ELENA: Mine began with formal training from a classical background. I remember one of the music teachers at my school looked at me and said ‘you look like a flute player’. She then let me play on a flute at school and since then I haven’t stopped playing. I have always loved classical music and still play regularly in different ensembles. Now that I’m older, I also now believe it should be made more accessible, and hope that somewhere in my future career I am able to help bring classical music to more people.
NEIL: Mine definitely began with formal training and that classical element has become a key part of our sound. I walked away from the classical world when I was in my late teens but I came back later in life and did a masters and PhD in composition. The Music Of Sound began as a contemporary classical and industrial group when I was invited to play the BBC Introducing Stage at Latitude in 2017 but it has evolved into a cinematic dreampop band. Elena coming on board brought an air of real class to our music and Sherin joining the band has transformed our sound even more so.
3. Who were some of the most influential figures in your early musical life, and how did they inspire your sound? Also, what’s the story behind choosing the name ‘THE MUSIC OF SOUND’?
SHERIN/ ELENA: Over to Neil for this one!
NEIL: The name The Music Of Sound, as well as being a pun on ‘The Sound Of Music’ referred to my use of everyday sounds I could record that had a pitch (construction machinery, sirens, engines, coffee blenders and all sorts of things). But, instead of using them as sound effects, I would use them to create harmony so the sounds of my day to day environment became musical instruments. We still use that element but it is more subtle now compared to when the band first started. There’s a track on our album that is entirely derived from pre-recorded industrial sounds that I have played about with in Audacity and turned into a progression of warm chord patterns. So that remains a unique component of our music.
4. What do you believe sets your music apart? How would you describe your sound to someone discovering you for the first time, and what emotions or experiences do you hope to evoke in your listeners?
SHERIN: Our music has a dreamy, atmospheric vibe that leans towards dreampop, but we’re always experimenting and trying new things. I’d describe our sound as a blend of lush melodies and a sense of escape. We hope to take listeners on a journey, evoking feelings of nostalgia, wonder, and maybe even a bit of mystery.
ELENA: I believe that we have a unique blend of instruments. When most people think of the flute, they imagine orchestras and big classical concerts, and that is so different to how I play in the Music of Sound. While there have been some instances of flute playing in rock bands and occasionally in the background of some pop songs, having the flute become such a forefront in our band is amazing.
NEIL: We call it postclassical dreampop. Firstly it is unique because no other band plays music like ours using piano and flute as their main instrumental sounds and Sherin’s voice is so enchanting and unusual. Also the classical element permeates everything we write and play. We always struggle to name artists we are similar to because we can hear that we are influenced by people like Cocteau Twins, Julee Cruise, Chromatics, Stevie Wonder, Keane and even Steely Dan but anyone listening to our music would probably say we sound nothing like any of those artists! I also sometimes have a tendency to play the right hand of the piano like it’s a guitar! I think the combination of our influences, the unusual instrumental mix, Elena’s goose-bumping flute playing and Sherin’s beautiful voice set us apart.
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 INDIE?
SHERIN:
I’ll let Neil answer this one!
ELENA:
I have always loved playing alongside other musicians and for anyone reading this who has started learning, I would strongly suggest finding other musicians and playing alongside them. For me, working with Neil has helped me learn about the inner workings of the music industry. He is also so ready to help me and teach me and I am so grateful to be able to work with him.
NEIL:
We are unusual because we are a trio of two young female artists collaborating with a veteran male composer. So I have always strived to be as original as possible without being obsessively ‘different’. Sherin only came to the UK in late 2022 so almost all the music we are influenced by has been completely new to her and would not have had any exposure in South India. She is much more into mainstream Pop artists like Taylor Swift and Raye but she has been so open to listening to new music and she has brought her own style to our music. Elena, like me, is from a classical background but has been getting more into pop music. She is just such an outstanding musician. She’s only 20 but she is amazing.
6. Music often transcends entertainment. 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?
SHERIN: I see music as more than entertainment it can connect people and reflect the world around us. While we focus on personal stories, we are also aware of the broader impact music can have. Sometimes, themes like social issues or cultural identity naturally find their way into work in the future. For me, it’s a mix of personal expression and reaching something bigger.
ELENA: I personally believe that music can and should be used in both contexts. There has always been a political side to music- whether that’s in the actual story in the music or in the context it has been written. For those who write music, I think if they can use that to help people, then it should be political. Music has always been used to convey political ideologies and I truly believe that showing these ideas makes it more accessible, so should be encouraged. However I also understand that for many people, they listen to music for a form of escapism, which can be just as important and vital as music that is written for a political function.
NEIL: I have always written songs that are socio-political or observational. These days I write mainly from a detached angle, observing other people and their stories more so than my own. I teach in a university and I regularly challenge my students to consider the incredibly important role music plays not only in being a vehicle for conveying important messages and commentaries but also in terms of the mental health and well being of society. People who say music cannot affect political issues should remember the impact of songs like ‘Free Nelson Mandela’, ‘Glad To Be Gay’ and ‘Bring The Noise’. Maybe it is not so commonplace or explicit now but music always has the potential to reach people with key ideas in a way that politicians and social commentators in other media struggle to achieve.
7. Do you feel the rewards of your musical career match the energy and passion you invest in it, or are there different kinds of fulfillment you’re
SHERIN: The rewards of my music career definitely make the effort worth it, especially when I connect with listeners or see my work resonate with people. It’s incredibly fulfilling, but I’d be lying if I said I didn’t have other goals I’m still working toward.
SHERIN: There’s always more to explore and achieve, and that keeps me motivated to keep pushing and growing.
ELENA: I am still currently a student so I am at the very start of my career. I feel that I put in lots of time and energy and have been able to take part in many groups/gigs. I am also lucky to have met so many great people this early on, like Neil and Sherin, and I am excited for our future as a band.
NEIL: It is early days for this band but, in general, yes. We have an unusual model because Sherin and I run a not-for-profit business together that receives funding for live events and other activities including our blog, radio show, YouTube channel, merch store, books and educational activity and we have made the band part of the business so we pay ourselves to work together and we pay Elena per gig and per recording which means we have a way of supporting our activities. But of course we long to gain wider recognition and have a much bigger audience. But this line-up has only been together since about May 2024 and we have achieved a lot already so we hope we are moving in the right direction.
8. Can you walk us through your creative process? From the first spark of an idea to the finished track, what’s the most essential part of your process, and how do collaboration or external influences shape your work?
SHERIN: For now, I will leave this to Neil to explain.
ELENA: For me, I perform the compositions written by Neil. Generally my sight reading is good so I am able to pick it up quite fast. However, to make sure I give my best performance, I use a process to learn the songs. First I will normally just play through the music and see if there are any stand out parts that I might find tricky; then I listen to the recording (if there is one); next I will break the music down and play short excerpts over and over so that I understand the music and know it well. Finally I will then add any expressions, dynamics and possible changes to vibrato.
NEIL: At the moment, it is me who writes the songs but that may change as Sherin and Elena become more confident about throwing their ideas into the pot. I guess because I am classically trained, I usually hear the songs in my head and already know the melody, chords and basic structure before I have gone near an instrument. But I then use Sibelius to put all the music together (again, typical classical musician!). I will usually put a demo together in Audacity with me singing (unfortunately!) and a programmed flute. Then I will send that to the other two with lyrics for Sherin and the printed flute score for Elena. So, when we rehearse, everyone should already know the songs and we can work on them as a band from that point.
9. What’s been the most challenging hurdle in either your personal life or music career, and how has it shaped you as an artist?
SHERIN: One of the toughest challenges I faced was stepping away from a stable career path to pursue music full-time. It was a big risk, and there were definitely moments of doubt along the way. But that experience taught me resilience and made me even more committed to music. It shaped me as an artist by showing me that sometimes you have to take risks to follow your passion, and that’s a mindset I carry into my work every day.
ELENA: For me I am very early on in my career, however one moment I guess that sticks out is a recent injury I had in my wrists. Luckily with the help of a few doctors and sticking to the prescribed treatment I was able to overcome this issue. However it was very hard as I am such an avid performer, learning to have the self control to stop myself from over working was a hard lesson. Whilst challenging, I feel that it is a vital thing for all performers to learn, especially those who hope to gain a career in performance.
NEIL: Oh crikey, there have been so many! Becoming a parent was a challenge. On the one hand, it was a beautiful experience but it also suddenly meant it was hard to be gigging and rehearsing because of childcare responsibilities. I think that was why I returned to the classical world for a time because it was easier to be a mature student and composer. But I came out the other side when my son became old enough not to need childcare! My school years were challenging too. I had a difficult, dysfunctional time and couldn’t last more than two and a half years at any senior school. My form tutor at my second senior school always had faith in me even though I was always in trouble and failed all my exams. She came to our gig a couple of months ago when we played in my hometown and it was so special hanging out with her as she is now and laughing about how she tried to sort me out when I was 15! She is so proud of me now that I have a PhD and teach in a university!
10. On the flip side, what moment or achievement in your career so far has made you feel the proudest, and why? And let’s talk about your latest release and future plans.
SHERIN: One of the moments I’m most proud of was performing live for the first time—it felt amazing. Working in the music industry has also been a huge achievement for me because it means I get to do what I love every day. As for our latest release, I’m really excited about how it turned out, and very proud of the responses. Looking ahead, we have some new projects in the works, and we are eager to keep experimenting and growing as a band .
ELENA: My biggest achievement so far is being able to study music. I remember from the minute I first picked up a flute, I knew this is what I wanted to do with my life and I feel so grateful to be able to do this. Studying in higher education has been amazing for me and it has given me the opportunity to meet so many wonderful people and to better myself as a person and musician.
NEIL: Our new single ‘You Lost Out’ has made me really proud. I feel like we have found the sound and style we were searching for. Our next single ‘Cold Weather Man’ is going down a storm at gigs and will further consolidate that development. So I feel really proud and excited about the band right now. We have so much new material. These singles and others we have planned will eventually become an EP. Our label Monochrome Motif Records is run by the wonderful and talented Andrew Hartshorn and he is so supportive. There is also the remix album which is our recent album with all the tracks remixed by guest artists. So that is exciting too.
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?
SHERIN: To be honest, I haven’t really encountered any brutal criticism on social media yet. I know it can be harsh out there, but so far, most of the feedback has been positive or constructive. I think it helps to focus on the supportive comments and the connections we’re making. If I do come across negativity in the future, I’ll try to handle it by staying focused on what matters; creating music that resonates with people and staying true to our vision.
ELENA: Personally I am lucky and haven’t had to deal with hate comments on social media.
NEIL: I have only ever twice had to deal with online trolls and, in both cases, I battered them into submission pretty quickly and had a lot of support from the grassroots music community. But I stay away from controversial threads and subjects on social media so it is very rare for me to come across anyone being horrible to me. It is a worry more generally though. People need to have support to handle that hate and pressure if it does happen to them. I guess, if we do become more well known, it is something we may have to deal with. Probably the best policy, if that ever happens, is to simply block the haters.
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?
SHERIN: I really enjoy live performances . There’s something electric about connecting with an audience in real time. While studio work is great for crafting songs, nothing compares to the thrill of performing live and feeling the audience’s energy. It truly fuels my passion for music.
ELENA: In my experience I prefer interacting with an audience. I feel that it is such a unique and unmatchable experience performing in front of a live audience and seeing their reactions. Especially within an ensemble or band, sometimes it feels like we all react together and it creates such a community. Playing in front of an audience can also help further the outreach and accessibility of music as many people still have never had the opportunity to hear live instruments close up.
NEIL: I love both for different reasons. I love the creative process and the recording and mixing processes with the possibilities they offer. But then I also love the buzz of playing live and connecting with audiences.
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?
SHERIN: I think it’s important for fans to connect with the story and message behind our songs, but I also love that they can interpret them in their own way. Music is personal, and everyone brings their own experiences to it. I hope our songs resonate both with our story and in a way that allows listeners to find their own meanings.
ELENA: I believe both are important. Whilst it would be great for the audience to understand the message we are trying to show them, it is also a great experience for them to create a message for themselves. Music can be such a personal experience and they should be able to create their own journey as well as joining ours.
NEIL: I used to think it was but I have come to the view that people should be allowed to interpret songs in their own way, especially if they have meaning and significance to their own lives. So I will always happily explain what a lyric is about or what inspired a piece of music but I don’t want to impose my perspective on other people. Jacques Derrida pointed out that any piece of art, once in the public domain, is no longer the sole property of its creators. Meanings and associations change and you, as a writer, don’t necessarily have any control over that process!
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