As Geordie Greep approaches his 25th birthday, the former Black Midi frontman is embarking on an exciting new chapter in his personal and professional life. Just months ago, he made waves on Instagram by announcing, “Black Midi was an interesting band that’s indefinitely over,” a statement that surprised both fans and fellow band members.
While the news of Black Midi’s disbandment shocked many, Greep has reflected that the ending wasn’t entirely unexpected. “It wasn’t really emotional because it was a long time coming,” he explained. “So many things changed, and so many things didn’t pan out how I expected, so it was like, ‘well, it was never gonna last forever.’” He insists that it’s a positive transition: “It’s not a sad thing. Bands don’t always go on indefinitely.”
Greep joined Black Midi in 2017 alongside friends Matt Kwasniewski-Kelvin, Cameron Picton, and Morgan Simpson, creating an improv-driven funk-punk sound as teenagers. With three acclaimed albums and a Mercury Prize nomination, Greep’s next move is to release his debut solo album, The New Sound.
Embracing eclectic influences, Greep combines sounds from Black Sabbath to Igor Stravinsky, church gospel music, and Argentine tango in his new work. Despite going solo, he collaborated with over thirty session musicians in Brazil and London to bring the album to life.
“I wanted to do music under my own name and diversify my approach,” he said. “So, I always had half an eye on doing my own album as soon as possible.” The creative process took about nine months, with recording sessions spread out over time.
The New Sound carries a sense of melancholy nostalgia, showcasing Greep’s distinctive vocal style and witty narratives. He described the album-making experience as fulfilling, where every decision—good or bad—was his responsibility.
The album’s first track, “Blues,” allowed Greep’s collaborators to explore their skills. “What really set the tone was when we recorded in Brazil in December,” he said, noting how the local musicians influenced the sound significantly.
Greep emphasized the importance of serendipity in assembling the talented group of musicians, explaining that he shifted plans from a high-production London session to take advantage of touring in Brazil. He praised the efficiency of the Brazilian musicians, who nailed their parts in just one take.
Produced by longtime friend Seth ‘Shank’ Evans, the project began as a potential duo album. However, Greep’s extensive collection of songs led to the creation of The New Sound as a solo endeavor.
On the track “Motorbike,” Greep collaborated closely with Evans to craft sardonic lyrics, inspired by the song’s evocative, desert-like feel. He utilized various guitars to achieve a distinct sound, often recording them directly for clarity and impact.
Greep’s unique guitar approach includes an impressive collection, from a Fret King Elise to a 70s Gibson Les Paul Recording model. He expressed enthusiasm for an Eastman orchestra-sized acoustic guitar, noting its bright tone and affordability.
Another standout instrument is his K Yairi nylon-string guitar, essential for creating Latin-inspired sounds. Greep has also recently acquired a custom-made pedal steel guitar, which has proven challenging to master.
His signature sound also stems from a vintage Boss Bass EQ pedal, known for its distinctive, gritty quality. “You can basically use them as a distortion pedal,” he explained, highlighting its unique frequency-boosting capabilities.
Looking ahead, Greep is eager to translate the album’s diverse sound to international stages. “It’s a bit like jazz music,” he noted, expressing his desire to continue collaborating with different musicians around the world. “You can play these songs in a lot of different ways.”
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