'Throw In Some Acrylic With That Oil Paint': Oscar On 'Beautiful Words' And Embracing Eclecticism

Discovering good, honest character in a commercial artist is unicorn, pot-of-gold-at-the end-of-the-rainbow rare. But, like a reassuring phoenix rising from the ashes, the melancholy manchild Oscar shuffles unassumingly forward, flanked by a full, anthemic summer sound.

Signed to Wichita and now well versed in the art of crafting effective and thought-provoking lyrics, Oscar discovered an almost intuitive talent for songwriting  while simultaneously realising that a degree in sculpture at St Martins wasn’t for him.

Burrowing in a creative cubbyhole, the initial disappointment at his abandoned career choice was replaced by an original, tangible sound. Raised by parents who instilled the importance of sound as part of his development, Oscar’s piano training allowed him to integrate discipline and professionalism into his productions.

He understands of the importance of good composition, structure, instrumentation, melody and soul within music and all of these five elements simmered before being brought to a magical boiling point on his recent ‘Beautiful Words’ EP. “I don't really see myself relating to that many current artists,” he says. “It sounds weird but I don't really identify with any genre. You will see me dancing to Weezer just as crazily as I would to ‘Pure Garage Vol. 1’, or some Bashment.” Stereoboard caught up with Oscar and his dog, Jasper, to discuss life and music.

You’ve said in interviews that a lot of your music is instinctive, so hearing a new piece back must be quite a progressive experience on a personal level.

It’s one of the best feelings, listening back to a track that you're happy with. People never know the work that can go into making a song, because there are just so many possibilities that can overwhelm you in the process. I think all the elements and emotions of coming of age are in there. I was a late bloomer and didn't have a typical childhood so it took me longer to become a proper adult as I felt that carefree time was a little too short lived. Making music is enlightening in general, as you might not know how you're feeling until you write a song and you listen back and step outside and think: 'OK, so that's what it is...' That's the progressive part.

Establishing your sound before the debut album is released is an important process. Are there any limits you have in place with regards to maintaining a musical style? Or have you allowed yourself to explore wherever creativity takes you?

I think I've tried to stay as true to the roots of where the music started. I set certain limits. I knew that the live band was going to influence the production on the album somewhat, particularly the rhythm section, so I've made sure that it doesn't dominate the ramshackle quality which some of the earlier recordings had. I really want the debut to be a hip hop record in many ways, production wise, for the samples to be at the fore and for it to have come from that ethos, as opposed to a more traditional or guitar-centric headspace. I also completely admire and embrace eclecticism as I don't believe that artists should ever limit themselves to one palette. Throw in some acrylic with that oil paint.

You’re very eclectic with your musical references, but the sound is accessible in such a pleasurable sense. Despite attending St Martins and being London born and bred, pretence is not visible on your tracks or present in your interviews. Is that a conscious awareness you have of yourself?

That's a really good question. I am aware of people's pretences and it is a very off-putting character trait to possess. I am just a loved up guy in general so I like people to be included and for it to feel universal, and pretence goes against that. It's all about honesty. The egalitarian spirit.

Your parents sound like a whole bunch of fun. Was music a big part of your childhood? What’s your earliest memory of experiencing music and finding it stimulating?

Music was such a big part of my childhood. My parents would always have parties and lots of their friends were musicians and artists and so music was always on or being played. My mum and dad were always recording demos in the sitting room and so that was another thing bringing music to my ears. I remember hearing Lemon D's Manhattan Melody when I was about five and being completely entranced by its sounds. Then at six it was TLC's 'CrazySexyCool' album that I was obsessed with. I found in my dad's girlfriend's CD collection. I remember that I pored over the lyrics and the mysterious red front cover and couldn't stop listening. Then the Spice Girls followed not long after that. 

What track in the world are you the most attached to lyrically?

Where Is Love from Oliver by Lionel Bart. Because love is a global conquest. Everybody wants it, nobody really knows what it is. That song is probably one of the greatest songs about love I've ever heard. The way in which the melody weaves in and out of major and minor perfectly mimics the ups and downs of love, the unknowingness, and the way it physically affects you.

Does heartbreak or love inspire you more creatively?

Probably heartbreak. Typical, I know, but these things can't really be avoided.

How’s Jasper coping now he has to share you with the world?

Jasper is great. He's just had his hair cut so he's looking pretty dashing. And he's coping with the fame quite well.

You said in a past interview you wanted to be a rollercoaster engineer when you were younger. What’s the best ride you have ever been on?

The best rollercoaster I've ever been on was probably Saw: The Ride at Thorpe Park in Surrey. Absolutely terrifying, but addictive and such a beautiful example of engineering.

The 'Beautiful Words' EP is out now. Oscar will open for Los Campesinos! at the Scala on November 22 as part of Wichita's birthday celebrations.

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