Who is fink musician
Ives, Cornwall is een artiest die zijn sporen heeft verdiend als dj, maar nu als singer-songwriter zijn muziek de wereld in brengt. Onder andere onder de artiestennamen Fink en Sideshow produceert hij albums van andere artiesten en brengt hij zijn eigen muziek uit. Fin Greenall groeide op in Bristol in een gezin waarin zijn vader professioneel muzikant was en zijn moeder manager van wereld- en folkartiesten. Verschillende muziekstijlen werden hem hierdoor met de paplepel ingegoten.
British Musician. Sign in. Welcome, Login to your account. Forget password? Remember me. Electronic Folk International. Jazz Latin New Age. Aggressive Bittersweet Druggy. Energetic Happy Hypnotic. Romantic Sad Sentimental. Sexy Trippy All Moods. Drinking Hanging Out In Love. Introspection Late Night Partying. His escape came through songs. As a hip beatmaker he'd find himself asked to produce up and coming singers, including a then unknown, teenaged Amy Winehouse.
Rather than just provide backing tracks, he found himself writing with her, and as with production a world opened up: songwriting wasn't a "dark art" either it was a skill to learn like any other.
Meanwhile he was rediscovering his dad's records, and deepening his own love of acts like John Martyn, discovering "something honest, something filterless" about acoustic music and live music. Gigs by acts as diverse as Radiohead, System Of A Down and 60s folk legend Dick Gaughan turned his head: "this was what I wanted, not the same club spaces night in night out, week in week out.
Eventually, Fink Mark 2 was born - but it involved going for broke. A lucky break with a track on a movie soundtrack in gave him a payday that would keep him going for six months, and the moment came where "I thought, 'if you don't quit your job now, you'll never quit. Are you going to do this music thing or not? So he gave it all up, and scraping by on savings and tiny gigs, the album that would become 's Biscuits for Breakfast was years in the making, honing a sound that still had that Bristolian low-slung groove - a little beatbox here, some Hammond organ soul licks there - but with all electronic elements discarded, and the songs paramount.
But Ninja Tune stuck by him - in fact it was them that pushed him to fully trust his songwriting; he'd imagined he'd combine beats and songs but Skev and Peter at the label told him that if he wanted to "go singer-songwriter" it should be all or nothing. From there, it was step-by-step, bit-by-bit, gigging and hustle, making the odd dance track as Sideshow, gathering musicians, trying to get a foothold. But, says Fin, "I never looked back. Not once. Trekking around with my guitar on my back, even if I was playing a toilet venue in Mannheim on a Wednesday night, I was happy, because I knew how few bands even get there.
Songwriting, too, became "a kind of psychoanalysis - where I hadn't really spent any time on myself in that relentless period of my 20s - and the more I did it, the better it worked for me! Since then, with a solid fanbase worldwide, Fin and his band have played the venues and festivals they want, and if not plain sailing what is? Add to this a sideline in co-writes on records by the likes of John Legend "a beautiful thing to do, where you can just enjoy the craft of making a song," , a few soundtracks and the occasional excursion into dub or techno to keep things interesting after all he does live in Berlin now , and Fin is doing OK.
Both the acoustic album and the book are a document of the first ten years of Fink Mark Two, - "that whole arc, from my bedroom to having a proper hit, playing the big festival stages with big production, and all the rest. To rerecord those songs with the maturity that Fin and his band members have achieved is about viewing the past through the lessons it has taught, not just remastering and repeating it. This was a chance to listen back through all the records, appreciate them for what they are, separate from the usual demands of which songs work on stage — and then give each song the treatment it deserves.
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