Formula Indie Sessions Interview First Day Of Spring
Originally hailing from the Thames estuary coastal town of Southend-on-sea but now residing in London, First Day Of Spring, a 5 piece outfit led by Samuel Jones’ songwriting, has bloomed. Previously in bands such as The Bellybuttons, Velvet Morning, Rocket Ship TV & Mr. Yolk, the band has always been involved in different musical projects. First Day Of Spring’s music has various themes, from storytelling to a focus on sound. Euphoric and exuberant or gentle and melancholic, First Day Of Spring’s main aim in their songwriting is to take the listener out of their own reality. Ultimately, First Day Of Spring wants you to feel something. Their influences range from such luminaries as Sparklehorse, Spiritualised, Modest Mouse, Silver Jews, Sonic Youth, The Clean, Cleaners From Venus, Cocteau Twins and many more.
What is your earliest memory connected to music?
I used to go round my friend Dexter’s house after school around age 9, and his sister used to be a legit Southend-on-Sea ‘grunger’, which is something for anyone outside of Southend after around 2000 won’t fully understand. You would think image-wise, it was more Nirvana, cardigans and ripped Levi’s, but it was more Slipknot, 2 ft red Mohawks, cargoes, chains and Platform boots. It was quite horrible in hindsight, but I remain quite fond of that being a thing at the time. We used to sneak into her room and look at all of the miniature trolls she had situated around her bedroom, and look through all of her CD collection. One time, we took The White Stripes ‘Elephant’ from one of the piles of music she had and, by chance, happened to love it. I went to Woolworths the next day, bought it for a fiver and listened to it on repeat for the remainder of the week, whilst at the same time treating the CD with very little care until the eventuality of becoming no longer playable would arise.
How did your passion for creating music begin?
The more I got obsessed with listening to more music, the more I gravitated towards the people who did too. Then you start having talks about making it yourself. Then, for me, as soon as I started to attempt making it, it pretty much became everything straight away.
What’s the story behind your current music project?
I was writing for my last band Velvet Morning, which was a band that pretty much all of us did 100 per cent always. After about 5 years, I kind of got sick of oil projectors everywhere and people manufacturing themselves to suit what was happening, so I called time on it to create in a different way and make music that was other than. I did smaller writing projects like Rocketship TV and Mr Yolk whilst being at art school doing my degree to keep that part of my mind working, but they weren’t heavy projects. I actually tried to make efforts in not writing any music to benefit my visual stuff, but I think with music it never really goes away. It can take you off guard and hit you from nowhere. That kind of creative wack in the face cn sometimes be enough to want to do a band again. I guess I missed doing it properly and putting everything into things, so I formed First Day Of Spring. It has been an endless learning process for me as an artist, and I am incredibly content in the space I am in, where I can kind of go anywhere with the work, whilst still sounding like First Day Of Spring.
How would you describe your sound to someone who has never heard your music before?
I would say to them to listen for themselves and be the judge, but I suppose that would be me being lazy and a bit contentious. Really my aim is always to make timeless pop music but with loads to delve into, interesting quirks in production, lyricism, structure of the music and general aesthetic of sound that keeps it being different and interesting. How all widely consumed music should be in my opinion.
What is one thing you’ve learned that completely changed the way you make music?
To not follow leaders. Music scenes are easily disposable, so if you manufacture your band around what you are being told to do, there is only so much time before the next ‘new thing’ arrives, so I would say I’ve learnt to get better and refine what I do, where I am going and what my condition is for the quality of the work. I also don’t believe in the pretence of bands being a ‘debut’ or ‘new’ band these days either. What often happens also I have also found, is that people just re-think their approach and present themselves as something new when actually they are the same people in the same places, who have been around for ages but are playing into the fabrication that being ‘new’ is in any way better than being experienced or, in actuality, honest.
What tools, instruments, or software are essential in your creative process?
My methods for initial demoing at home are horrible, lazy and not inventive in the slightest. I use the monitors in my laptop, a lot, at best, are the d.i in my focus right 2 input interface. I use guitars a lot to get that initial sketch down. I bang things. I also send voice notes to myself on my phone, often causing strange looks from people in Sainsbury’s. The engineer I work with in the studio I have been in for the last 7 years, is also a pretty good tool. That last part was in no way meant vitriolically.
Which indie artist or song are you loving right now?
I was listening to A.I On Cocaine by Beguiling Junior this morning, that was pretty good.
How have your personal experiences influenced your music and artistic vision?
I think it might be because I am not an academic that I have fallen back onto things in a very autobiographical kind of way more with age. Especially in the music I am putting out in the coming few months. That is the most personal I have ever written about. I was hospitalised in June of this summer just passed and it has essentially incentivised me to live in a very different way. I feel a bit like a child re learning a lot. It’s terrifying and beautiful in equal measure.
What emotions or messages do you hope listeners take from your work?
If people listen to my music and have some sort of escapism from their own reality to whatever degree, I am happy with that. I think WANTING people to feel a specific way when listening to my stuff would be fairly psychotic. However, I can understand how when things are more literal in their vulnerabilities in the music then it is naturally going to lean towards the ears of people who are akin to that kind of emotion. As long as people feel safe I am happy.
What’s the most important lesson music has taught you so far?
To not be easily fooled by bullshit and try to get as close as possible to the perfect version of what you do and who you are, and do it with complete conviction. I am still working on that.
What is a dream venue or festival you would love to perform at?
I like the sound of Woodsist Festival, maybe, who knows
If you could collaborate with any artist, past or present, who would it be and why?
If I can drag Lene Lovich out of wherever she’s been hiding that would be good. Maybe I can drag Cosey Fanni Tutti away from her cabbage patch to join also.
Where can our listeners follow and support your music?
Spotify: https://open.spotify.com/artist/56dinQa5eT6VFf7HxiWn9T?si=dFWjUVJqT7mhMpCFiLOUXQ
Instagram: https://www.instagram.com/firstdayofspringband/
Looking forward the future, what’s your dream for the next chapter of your musical journey?
To be as prolific in all my creative practices as possible and in turn continue to grow/change/heal/live my life
What do you hope listeners will discover about you along the way?
Again, I don’t hope they discover anything about me, persay. That discovery by its nature is in their eyes only, and it is none of my business.
