In his interview feature, we get to know the most radicalist up and coming stars on the planet. 

This time, we chat with psych-pop songwriter Chelou. 

From an expertly crafted 2015 EP titled The Quiet, through to an exciting experimental piece called ‘Damned Eye See’ which saw him manipulate various household objects into instruments. Into his current album Out Of Sight, Chelou has been slowly building his songwriting career into quite the object of beauty. The album has been praised across the board and he continues to develop his live show. 

A once elusive media presence allowed Chelou to develop a cult following of devoted fans without necessarily knowing much about him (his name even means ‘shady’ in French), but The Most Radicalist have been lucky enough to sit down with the man himself to discuss a range of topics, from the changes in his style to Red Hot Chilli Peppers and more.    TMR: What are the biggest differences between the sound of 2015’s The Quiet EP and your debut album Out Of Sight? Has your style changed?

I think the process and intention behind the creation of the music has remained pretty consistent, although I’d say that sonically the album was pushed further than earlier works. Much of the creation of this album, like my original EPs, was achieved through a process of me writing and recording acoustically and then building up production around that structured song. This is why I feel there is an accordance between my first EPs and Out Of Sight. Maya’s production influences this record along with other producers which is what makes it stand out for me in a slightly different light. The Quiet EP is close to my heart, not just because it was my first record, but because I was so clueless at the time, so all the production is at its rawest and most organic state, which is ironically hard to achieve when you’re a more advanced musical technician.

TMR: What about lyrically? Do you think the way you write songs has changed or is there consistency?

Lyrically, I suppose the context of what I’m writing about has remained fairly personal, but as a writer I’m exploring ideas fluidly now and just hope to naturally develop through reading more and new experiences. I don’t think I’ll ever change the way I write music, I explore inwardly and metaphorically to create my lyrics, while addressing topics and personal issues in a way that others seem to identify with. This is why change; good and bad times, are always welcome in my life as it gives me things to sing songs about!

TMR: There’s a clear personal connection and sincerity in your music, have you ever considered subverting your audience’s expectations and releasing something completely un-Chelou?  

It’s funny you say that because in a way I thought I already had : ) the nocturnal sunshine project or Potè or Kojey Radical collaboration were, in my eyes, completely un-Chelou and it was really nice for me to work outside of my comfort zone. But obviously, they were only features, so doesn’t really count as my own release. Truth is, I have made so many un-Chelou songs I could fill several albums, but as we’re still just trying to establish our sound in the world and I guess best not to confuse the listeners just yet. But I can’t wait for you to hear the un-Chelou back catalogue some day!

TMR: If you had to narrow it down to three artists, who would you say your biggest influences are and why?

Jeeeze that’s the ultimate impossible question. How can I narrow it down when there are so many? I can narrow down my memory to a point where certain artists had such profound effects on my life. 

Jack White was that hard-hitting, guitar-slinging motherfucker that I needed in my life at a transitional age where I was angry and confused in the world. I played heavy rock most of my life, which is why the Chelou project being so subtle is funny for me, it’s not how I expected things to go.

I don’t think there has ever been a time in my life where the Red Hot Chilli Peppers haven’t been one of my favourite bands. I go through phases with them, but I’ll watch Funky Monks once a year to remind myself why I make music. It’s amazing that after so long I only discovered John Fruscantè solo album To Record Only Water for Ten Days a couple of years ago. It’s one of my favourites now and I hear so many things that remind me of Chelou in there.

Neil Young has to be in there! Not because he’s the best of the best, but because of a tape my Dad had made which I’d listen to on repeat as a child on summer holidays in the South of France. I was just at the age where I was developing my music taste and beginning to play guitar so after hearing lyrics like, “hey hey, my my rock n roll will never die,” it was safe to say I’d found a musical guru. I’m constantly asked where my sound comes from and songs like ‘Cowgirl In The Sand’, ‘Thrasher’ and ‘Cortez The Killer’ were the soundtrack to my life at the time and became the inspirational foundations of which I began to write music upon.

TMR: Who would be your dream collaborator?</b

I’ve had the privilege of collaborating with such incredible artists it has surpassed my dreams, but having Amp Fiddler lay keys down on a ballad I recorded earlier this year in LA and having him show me around town is something I'll never forget. 

TMR: With your recent Glastonbury set and the positive response to your EPs (among other exciting career moments), you’re really starting to break into the scene. When did you first get the idea that music might be something you could pursue?

Ever since I was three-years-old, I knew I was going to be a performer in some way. I was drawn to acting first because I grew up watching lots of films and TV but after seeing myself act in a small production, I vowed to never do it again, trust it was embarrassing. That’s when music really started to take a formative role in my life. Thing is, the above are both ridiculous career choices that often just feel like an unrealistic dream never to actually be reached. The fact I’m touring the world as a musician today is unbelievable to me and such an honour. TMR: What was your first experience actually making music?

One of my earliest experiences of actually making music was me and my buddy with a banjo and guitar writing a song about a one-eyed man who lived in a tree. I’m glad my lyrical content has become more progressive over the years haha. My first two attempts at producing on Logic were released tracks ‘Aneurysm’ and ‘The Quiet’, which was beginners luck if ever I’ve seen it.

TMR: If you had to choose one of your tracks to introduce someone to your music, which one would you choose?

‘The Quiet’ would be the best introductory track in my opinion. For me, the song includes all the best features that the Chelou project embodies. Lyrically, the tone of the vocals and spaced out production is what I seemed to have become renowned for, and this was the one I used my little sisters voice as a sample and in which had also become a trademark for my sound. This track will forever be dedicated to her. 

TMR: Do you get more satisfaction from the response to your studio releases or the reactions of fans at live shows?

The responses are obviously different but equally as moving. I love seeing the response online when we drop a new animated video and it just takes on a life of its own, reaching places in the world I haven’t even heard or seeing arguments break out in the comments about completely unrelated topics, e.g. Power of Jesus versus Allah (true story). But that can’t be compared to the instantaneous gratifying feeling I get after a good gig; what the combined energy of audience and performer feels like is wholly unique to that one moment which is a beautiful moment to be present in.

TMR: You’re about to go off on your first US tour, how does that feel? Do you think your approach to performance will be any different over there?

I’ve always been intrigued by the landscape and culture in the USA so getting to tour there is going to be amazing. I don’t think I’d need to change my approach to performance out there, I think my style fits quite naturally in the scene across the pond and my sound may even suit better to trends in the UK right now. 

Questions and introduction by Dan Peeke