"Although I didn't write this song, it spoke to me in a way that made me feel as if it was my own story,” Brandon said. “I found myself playing it over and over again in my bedroom, remembering situations that I've been through.”
Check out the video for yourself below.
JIL, the trio and quasi-quartet that sounds like psychedelic soul with elements of electronica dedicate this episode to debut Virgin Atlantic, an escalating and experimental soundscape from a subtle band still in the societal shadows. The show turns up the volume with a voice-over interview that offers us another aspect in understanding the off-beat band. This element, unique to the series is the epitome of DRØME, strengthening the support of those taking art elsewhere and aiding in understanding artists deemed too alternative by segregating and stale standards.
At what point are you so over men’s bullshit that you have to write a song about it?
[CW: sexual violence] The thing about being a woman, trans or otherwise, is that there's generally no straw that breaks the camel's back when it comes to men. Just as there's no "aha" moment for when you decide to hate other nuisances like middle school or hormonal acne or Crocs, there's certainly no point at which your distaste for men defines itself. I've been sexually assaulted, catcalled, harassed, talked over, cheated on, ghosted, patronized, invalidated, and erased by men. There was no moment when I yelled "fuck men!" but rather a slow, steady build—a tonal shift.
In reality this song was borne out of needing a button for this EP, as it didn't quite feel "done" artistically. I'd written a slew of misandry-lite songs and figured why the hell not get straight to the point? I thought, "Sure. I'll go there."
Could you tell me a little bit about the importance and inspiration behind your new EP?
Part of me wants to be mysterious about where this EP came from emotionally, physically, and spiritually. But the truth is my favorite artists are generally the ones with the least to hide, and I've been hidden for too long anyway. My primary musical influence is Amy Winehouse, whose middle name is Jade. I named this EP Jade after her because these were the first songs I wrote from a deliberately female headspace. At first, [Jade] felt almost like an alter ego until I figured out it was just me. I had a realization that the songs I write that sound too masculine (whatever that may actually mean) are the ones I care about the least. I told my producer and collaborator Theodore that I need to write as a woman to feel honest. Little did he or I know that I would begin transitioning shortly thereafter—just a wild guess, but I think they may have been correlated.
In other words, the project is an homage to my most important female influences, both musically and visually. A large part of being trans—for me at least—is collecting figureheads from whom you source your femininity. I want Amy's ability to be frank and cheeky; I want Sia's joviality and force, Adele's sincerity, Erykah's self-sufficiency, Lorde's lyricism. These women are where I come from, so I owe it to them.
On a cloudless July afternoon, we meet the budding artist in Crystal Palace, a borough South of the river where he has spent most of his life. Sat in the local park, Benny opens up about his approach to the craft and working with the Places + Faces crew.
Take us through you story, how did you first get into this?
It happened on a drunken night. I went to a party with one of my friends from the Brit School who happened to be a producer. Embarrassingly, I ended up freestyling in front of the whole crowd. When I showed up at the Brit the next morning, he told me that I had to join him in the studio.
How do you choose the producers you work with?
I am very, very picky about the beats. Very often, I choose to work with producers who are happy to make bits of music from scratch. I much prefer producers that play live instruments.
And thus approach music differently! But does it not limit you to London-based artists, exclusively?
Surprisingly not! I work with a guy in Leeds and some in Brussels.
It seems that there is a lot of pressure on acing each and every studio session in that case. Do you always come prepared, with bars?
Often, I have lyrics prepared for my sessions but the majority of the time we build from scratch; start with a drum loop, then freestyle for half an hour, maybe an hour, saving it into my voice notes until I am mentally there. From that point, it seems really easy.
How did the P+F project come about?
I was in the Alps and Ciesay texted me, saying he wanted me on this tape. I got back a week later and recorded with Wize, Kasien, Crave (Moore), Darq (E. Freaker), my boys, you know what I mean? And then we had a party at the Studio spaces.
What do you view as the main London exports at the moment?
Jazz is a big thing in London right now. A lot of bands blend jazz with hip-hop and rap. Hence, I’m interested in producers who make their own beats from scratch, someone like Yusif Kamaal whom I grew up with.
Have you really blocked your dealer or is there a new man in the picture now?
Everyone looks at me and thinks I’m an indie kid, aesthetically. When I put out a song with that title (Blocked My Dealer), people assumed that I had gone down the wrong path. But I have way too much anxiety to take drugs!
That song is actually about a day in Whitechapel when these guys just blew smoke in our faces, randomly. You’re from London, you know you just kind of get on with your life in these types of situations. My boy Connor said it didn’t smell like weed and right after that I just felt these needles going through my body!
The feeling that gave me, sparked the energy that track carries. Hence, it’s so hard to listen to, it’s heavy.
Do you see the final product as the residue of the process, or vice versa?
The making is always the main thing for me. I don’t write until I feel like I can really write to a certain beat.
Do you make the music for yourself?
It’s a way of release but I don’t allow it to be a way of release. When I’m stressed, I just do some activity. As I grew up as a dancer, it’s still my my main thing. I need to let music to be that, too. But I’ll never make a song for anyone else.
