Who is TyLean?
Not an image. Not a stage name. Me. Maybe the image isn’t ALL of me, but still me.
To what kind of Music did you listen as a kid? Did you grew up with a lot of music?
I grew up with an extremely diverse musical background! Everyone in my family had dramatically different tastes, from Country Western to Heavy Metal. We also watched a lot of movies, and the film industry was my first aspiration, when I was about 10. I saved up my money to have head shots done. Then I ordered publications that list auditions and started sending 8x10s to agents. When my Mother refused to drive my to New York City for auditions, we came to compromise that I would get involved in community theatre.
That’s when musicals entered my life, and then I wanted to be on Broadway. Original Cast Recordings were the type of CDs I could usually been seen purchasing as a kid.
Most singers start their career singing with a hairbrush in their hands in front of a mirror, how did you career start, what was the
turning point for you that made you decide you wanted to be a musician?
When I was 14, I was exposed to Mozart’s The Magic Flute for the first time. I absolutely fell in love with opera, particularly Mozart’s operas. THAT was what I wanted to do with my life and started singing incessantly. I also started to learn piano on my own at that time and write my own songs, and I worked on writing my own musical. A friend who had not a shred of talent, but wanted to become a pop star and bang Alanis Morissette, convinced me write and perform songs with him. I never would have stepped foot in a recording studio had it not been for him…. He’s dead now, and I refer to him as the Dead Fag.
Have you ever played in any other bands before starting your own project?
Only the Dead Fag. He was very abusive, especially psychologically, and had me convinced that I had no talent and needed him. We split up when I was 17, but I kept recording. He was still in my head though, and I was convinced I was a horrible songwriter. It wasn’t until after he died that I found the courage to record my first album.
It was not a pleasant experience, as he got addicted to harder and harder drugs, and then wouldn’t leave me alone when I tried to get him out of my life. But on the scale of shitty experiences in my life… it ranks rather low. Even at that point, I was already hardened from my childhood. I’m also quite persistent, and I wanted this career so bad that nothing was going to stop me.
You grew up in Pennsylvania, USA but now living in Bristol, England. Why did you move and how was it for you to move. Are there things you still miss?
I was dead set on leaving America. I came to England, because my method of evacuation from the States was via a Master’s degree. I applied for a few programs in a few different countries, but Bristol was my top choice. I intend to have a British passport someday, so no, I won’t be moving home. I do miss Pennsylvania sometimes, especially in the autumn. I always want to be in Pennsylvania for Halloween.
You describe yourself as a “vocalist, pianist and cello-rapist” what is a cello rapist according you and in what way does it deviate from the traditional cello players?
A cellist uses their instrument to the best of it’s potential, making beautiful sounds, or love. A cello-rapist forces the cello, against it’s will, to experience it’s nastiest qualities… the horrible sounds it’s capable of that cellists usually try to hide and cover up. Those are the sounds I seek and exploit!
Did you take lessons to learn how to play piano and cello? If so, how was this for you, were lessons a torture or a blessing?
I was self-taught on piano from the age of 14 – 22. When All Else Fails (EP) was written and recording before I had any piano lessons. I went to University to do a BA in music. I was a recording major, but we still had applied lessons, and I did voice and piano. I had an amazing – but very tough – piano teacher. It was extremely hard work, but I loved it. I often wish I had an excuse to justify spending my days learning classical and romantic pieces of music all day.
I started playing cello in 2007. I had a handful of lessons from a friend of mine. We never spent time learning pieces. Instead we spent our lessons figuring out the best way to play pieces I had written on piano, but intended for cello. I can hold my own on piano, but I’m in NO WAY a classical cellist.
In 2005 you released your debut ep “When all else fails” How do you look back on this release, was it a learning process for you?
A tremendous learning process…. Overall, not something I look back on fondly.
I was still struggling to find my sound at that point, and some of the songs just didn’t turnout as I wanted them to. But it wasn’t the recording process so much, as I was already a bit seasoned in recording and had gone to school to become a recording engineer… it was the fact that I finally had something out there, and I was not prepared for the criticisms, and hadn’t found my niche yet, so I was flogging the album to everyone. No one understood it, and I took every slight to heart.
For this ep you started your own label “Bast Records” why did you do this. Was it about having total freedom as a musician or was it hard to find a label?
A label? You must be joking! I was dead set on releasing my own album with or without the help of the label. At that point, the industry was already in such a state that you wouldn’t be signed – even to an independent – without first releasing your own album and showing a track record of album sales.
How does this make you feel, labels want a band to have a lot of fans before considering signing them as well as they want instant success, instead of giving a band time to grow?
Unbelievable frustrated, because there is nothing I can do about it. The labels are not the bad guys though, and the picture is much, much larger. We are no longer nations of people, just shareholders of corporations. In order to exist in the corporate world, everything must be done on mass production levels, which is impossible for any person to do alone. The world does not require persons of intelligence with skills and talents… it requires cogs for the wheel. The less you think, the better you will function in this life. Thus… I am fucked!
What are your goals for the label, is it a vehicle to release your own music or are you having plans of releasing other artists as well?
This is a topic that – literally – has kept me up crying all night. At the moment, it is only a vehicle to release my own material, but that was only intended to be the beginning, and I always dreamed of signing other artists. 5 years later… I realize that I will never have the capital to make this happen.
Your first full length album ”Between 10 and 2”was released in 2007? How were the comments on that album?
Most were impressed by it, most said they would never forget it… however it’s too unnerving for most to ever care to listen to a second time.
It has several references all rolled into one… but all related to time. Between the 10th month of October and the 2nd month of February. Between 10:00 PM and 2:00 AM. The quiet, hibernating, sleeping times. I opened the original release with a sound recording of the old network sign-off from the 1980’s… this was to let you know that this album is set during the insomniac’s portion of the day.
The album is for a big part autobiographical, dealing with a dark period in your life. Was it hard to write about it? How do you transfer personal thoughts, feelings and experiences into songs?
It wasn’t hard to write about, because I was still experiencing that dark time. In fact, I hadn’t even reached the depth of that darkness until after the album was released. The songwriting process isn’t something I ever think about. In fact, if I’m thinking about it, I have no business writing a song, because I clearly have nothing to say and am writing for the sake of writing. When I feel inspired, my world stops for the sake of creation. I have quit jobs because I had a creative inspiration!
Still it must have been quite heavy to do this, reliving moments and so. Do you have to shut them off in order to finish a track or go through the pain again?
No… if anything, I welcome the pain.
Since it was very autobiographical, is there any song, lyric that still is extra special to you?
They are all special, otherwise I wouldn’t have included them. I would never use a filler track. In fact, many were cut, because they didn’t really fit in with the album as a whole. “Rosalyn” is most precious to me though.
In your music and lyrics you challenge your listeners rather than pleasing them when enjoyable, easy access music. Why is this, is it about musical integrity?
I am a personal who becomes very unhappy – and unpleasant – when I’m not being challenged, or if I am existing in a state of complacency. I believe most people are this way, except they have not and will never realize it. The people who knit-pick at other people’s grammar and bitch about medical conditions they don’t even have… these people are so worried about everyone around them, because they are terrified to take a good look at themselves. To do so would push them well beyond their comfort zone.
I feel most accomplished when I have brought people out of their comfort zone – and yet – I am not a noise artist, my music is quite musical and memorable. But what I have to say, merely observations of the human race, are things most will turn a blind eye to their whole lives.
What would you prefer, having a huge underground hit or touch someone’s heart with your music?
I have received a lot of contact from people who have been touched by my music. One man was suicidal until he heard “Out of Sight, Out of Mind,” because that was exactly how he felt – screaming inside in agony, and no one could hear him and went out of their way to ignore him. I have personally experienced all of my songs, and those also experiencing can sense that I think.
I think it’s better to touch a few deeply than hordes on the surface. Although… an underground hit would be awesome! I certainly wouldn’t complain!
I was approached by Danse Macabre Records about a re-issue last summer. The European distribution far exceeds the currently availability of my albums, and it opens my music up to a whole new fan base. I’ve been doing this long enough to try to avoid having expectations though! The Danse Macabre version will be re-mastered with a different track order and slightly different artwork.
Why rereleasing the album instead of giving them a new album?
That’s what I was offered…. Besides, I am releasing a new album. :)
You already have recorded your new album called “ The unforgivable, the unforgettable” based on persons and/or events in your life. Do you always work a certain theme on your albums?
Yes…. It always tells a story.
Does the story always have to be about you or can you imagine writing about other subjects as well?
Every writer writes about themselves, because it’s always from their perspective and quite revealing to their inner turmoil. But no, in fact, I have a song cycle album that I wrote in 2005/2006 that have never finished recording that is based on fictional characters.
Between the “the unforgivable, the unforgettable” and “between 10-2” is a gap of 3 years, what did you do in this time?
Not quite 3 years…. Between 10 and 2 came out in December 2007, so just over 2 years. I spent 2008 studying for a Master’s degree. That was when the new album was written. I was also mentally very unwell for much of 2008. 2009 was the worst of year of my life for personal reasons, despite being mentally sound. 2009 was also the first time in a LONG time that I was a full time musician. I have worked tirelessly this past year and have enjoyed much success, but very little money. The album would have been out much sooner if I didn’t have to work so hard for so little.
I did it to challenge myself. I was on a kick this past year of facing all of my biggest fears head-on, and playing live has always caused a lot of anxiety for me. Also, I wanted the flaws and the in-the-moment-ness to come through in a way that a studio album cannot.
Do you still suffer from stage fright? How do you deal with it? What do you do before going onstage, any strange rituals?
Not really. I’m over it now. As long as I can remember to eat, I don’t pass out on stage, and all is well! I wouldn’t say I have any rituals, just a checklist of things any musician would do (packing equipment and such).
What can people expect of a live show? Do you have to alter the songs, it is impossible to sing, play piano and cello at the same time?
My shows are quite intense and a bit demanding on the audience, but I’ve had a great response. The vast majority of my songs are piano based anyway, but I do reductions to piano where necessary. I’m slowly incorporating more cello into the show.
Recently you joined Attrition, how did you come to join this band and what are your expectations?
I was supposed to be performing in Imprint for Sin D’rella (the former female vocalist of Attrition). One day, Martin Bowes and I started chatting online, and we got on quite well and became friends. When Sin left Attrition, Martin was looking for a new singer, and I was very interested, so I sent some audition tracks of me singing Attrition songs.
I love Attrition, and I’m quite honored to be apart of it. I love that I’m filling a role now, rather than running the whole show, and it’s enjoyable in a way that my solo career can never be. Plus… I get to tour on a level I have never experienced before… which is a dream come true.
Any last words for the readers?
Stay in school… and don’t study music!
Would you have listened to this advice yourself?
Not a chance.
www.tylean.com