Brought up on a diet of Jimi Hendrix, Pink Floyd, Tame Impala and War on Drugs, self-taught multi-instrumentalist Richard Allan – aka Sleep Council – shares his glorious new single Serious.
A frantic outpouring of euphoria, the self-produced Serious has a distinctive British band sound, combining riffy synths with electrifying indie tones that perfectly challenges Allan’s emotionally raw vocals. It has been mixed by revered producer, Callum Barter (Courtney Barnett, Kurt Vile).Allan’s former musical projects have seen support from The Mahogany Blog, as well as sharing a stage with Bob Dylan…and if this wasn’t enough, Allan is also a keen sci-fi novelist, full time business owner, and extra, having stood in for Johnny Depp in Pirates of the Caribbean.
Speaking to the motivation behind Serious, Allan explains,
“Lyrically this song is quite a basic lament about two people damaging each other in relationships, so in a sense it’s like any kind of ‘sad song’ really. Sonically though, it’s a different story. It’s essentially a frantic outpouring of euphoria.
“When my relationship ended a few years ago, this was one of a handful of songs that came with it. In its original form it was a slow acoustic number and for a long time I liked it like that. But over the past year or two I’ve been honing a different sound, and in the midst of writing a lot of new tracks, I suddenly had this vision of how I could give this song a totally different but ultimately appropriate platform. For me it will always remain a sad song at its heart. But my music now is more a celebration of the electrifying feeling places I go to when I write and play music. This track is pretty much a platonic representation of that.
“The song had originally operated in one dimension only, kind of dwelling alone in this painful state of loss and misery; a kind of overhang from my early acoustic-led days from a few years ago, when I would let my music wallow in sadness, and I would wallow there with it. I don’t really like my music to do that anymore. Maybe I’ll wallow in sadness away from music, away from my recordings, away from the stage, but my music has to offer salvation from the gruesome feelings that lead me to write. It must help me transcend the grief and boredom of everyday life, otherwise it’s not worth releasing or even recording in the first instance. In its acoustic form this song provides me with a bit of short-lived catharsis, but it was far too tinged with unhappy feelings and for that reason was not worth revisiting very often. In its current form though, it gives me what I want: that momentary euphoric departure from the norm.”