Hopefully, you could be transported into that mindset. I think we've created a great storyline, and it's very much about New York City and my experiences in it. AllMusic relies on advertising to keep providing the reviews, biographies, historical information and new release coverage our users have relied on for over 25. I hope that my music can have that affect on people. “On this record I think a lot of the strings, the horns, the arrangements were written for those songs, so it's just become this otherworldly thing. “There's a cinematic quality to those things, and I've always been drawn to that,” he says. Those were the guys who got me to start writing music. “David Bowie was huge for me, Elton John was huge for me. It's a sign of his ambition – these are songs, designed to be heard, to be savoured by a big audience. Snapped up by Glassnote, Tor Miller's material has enabled him to open for the likes of James Bay and George Ezra during high profile Stateside shows. I don't want anything to ever be streamlined or samey, I need the peaks and the low points.” “Well, live music is where I came from, it's my upbringing and everything and so, I've always found that variety is the key to a great set, so I implement that throughout my music and my Eps and albums that I work on. It’s showcased on songs like “Baby Blue” and “Midnight,” his solemn, streetlight-lit ode to the city he loves.Coming full circle has enabled Tor Miller to take full advantage of his experience. Their influence rings out in the percussive chord progressions that drive his uptempo solo work, like “Now and Again” and “Headlights.” On slower tracks, his voice, ranging from a throaty tenor to a soaring falsetto, calls to mind the melancholy vocals of Rufus Wainwright and Jeff Buckley. When Miller’s parents separated and he moved from Brooklyn to “a horse farm in nowhere, New Jersey,” his mother introduced him to the music of David Bowie, Elton John, and Ray Charles, which provided the soundtrack to their long drives between their small town and the bustling city, where Miller continued to go to school. Miller was only fifteen when he played his first New York gig on the synths in a pop-punk band. As a kid, he’d begrudgingly taken piano lessons, but it wasn’t until he met piano teacher Anthony Rufo, who taught him basic song composition and encouraged him to sing, that he started to take music seriously.
“I wanted to be a professional musician right out of high school,” he says.
His Seventies-inflected, piano-based pop is the result of years spent honing his craft-first spurred by suburban boredom, then, upon realizing his talent, by the drive to forge a career.
0 kommentar(er)
