INTERVIEW: New single from Leo Aram-Downs

Originally hailing London and based in Brighton, Leo Aram-Downs is a singer-songwriters and multi-instrumentalist who presents an entirely original musical offering. His musical journey, shaped by his tenure at The BRIT School and Goldsmiths, tracks a relentless pursuit of innovation and creativity.

His sonic identity is a fusion of genres, aptly described as “progressive pop,” which combines the technical intricacy of prog music with the catchy familiarity of pop. Armed with impeccable fingerstyle acoustic guitar skills, Leo cuts across genres from folk to pop and jazz to metal, showcasing his versatility as a musician.

First capturing his sound on his debut record titled For Glory! in 2017, he’s been on a creative whirlwind, releasing multiple singles and EPs over the last few years that showcase the sheer diversity of his sonic vision. Now he’s getting ready to drop his upcoming full-length LP Megastructure, a progressive pop project set against a cyberpunk backdrop. Bringing us the first taste of the record, he shares the lead single “Money on the Wall,” a track that presents the perfect snapshot card of the forthcoming album’s style.

“Money on the Wall” covers themes of imposter syndrome, social influence and wealth, all while maintaining an infectious and vibrant listening experience. Jumping straight in with pitched down vocals riding a grooving rhythm of laid back shuffling drums, skanked guitar chords and pulsing synth tones.

Spinning soulful vocal leads, Leo’s smooth voice hover above the funk-inflected alternative pop arrangement to craft a hazy sound of subtly catchy writing and intoxicating instrumentation. Flowing between pitched vocals and bright leads, “Money on the Wall” is at once intimate and lofty, serving up a highly unique sound full of surprises, mellow energy and superb ebb and flow throughout.

Capped by slick guitar leads, Leo injects his astonishing instrumental ability over the stuttered rhythmic stabs to provide an energising outro as his notes tumble and dance above the increasingly lively drum beat. It’s a truly thrilling outing from this talented songwriter and musician that builds the excitement for the release of Megastructure.

We caught up Leo to find out more about his musical journey so far, his new single “Money on the Wall” and what he’s got lined up for the future. Check out our interview with Leo Aram-Downs below.

Hey Leo, how’s things?

Things are good! Absolutely no complaints. My Englishness would have me complain about the weather, but that’s on it’s way too. I’m currently a little achey, I’m training for my second marathon at the moment and it’s starting to feel like it!

What’s your earliest memory of making music?

My earliest memories of being involved with music are probably much the same as most people, which was having piano lessons. I’m not sure why, but I never really got into it as an instrument, it was only when I picked up guitar that everything really started to click for me. That said, those piano lessons were still crucial! I got a lot of foundational understanding from it, and I’m grateful to my piano teachers for their patience.

Which artists do you draw most inspiration from?

Artists who don’t feel the need to await anyone’s permission. Artists who are serving something bigger than them above all else, even themselves. Artists who you can tell have been doing the work since they were capable of doing it, and are going to keep doing the work just because that’s what they’re in service of.

How else do you find inspiration for your music?

For me personally, I just find joy in the consistency. I try and turn up every day, and I create a lot of stuff that is garbage, but it’s learning to follow through on those things regardless that lead to things that really grab you and make you want to commit to the ideas. I feel like a lot of my writing is responsive to other experiences I have with other people’s work, either directly or indirectly. This single is quite explicitly cyberpunk, borrowing a lot from that canon and those aesthetics, but filtered through my temperament and experiences.

What was your highlight of the year for 2023?

Either running my first marathon or finally getting my driving license.

What do you love about the Brighton music scene?

The really tangible sense of support that you get from people. I’ve long disliked jam nights, because the ones I went to when I lived in London always felt a little bit competitive, but I’ve started going to a couple down here that have just felt much more communal. People are allowed to just get up and express themselves and experiment. Nobody’s vying for anyone else’s position, they’re just there to improve and enjoy it.

What would you say is the perfect setting for listeners to enjoy your sound?

There’s a section of the London Overground that runs between Whitechapel and Dalston Junction, and it’s just a really enjoyable little journey. You can this great view of the city, you feel incredibly involved while also being slightly above it all to have the birds-eye perspective. If you can get on one of those trains at, like, dusk, I reckon my music would sound perfect there.

How has your own style and sound evolved since you started out?

I mean, it’s had to. I’ve been working on my own music for 20 years now. As soon as I had a guitar in my hands I was writing, and for the longest time, the music was what you’d expect from someone who was just constantly exploring and learning. In a lot of ways I think that’s the one thing that hasn’t changed at all since I was 7 years old, the motivation is still the same, it’s just that the resources I have access to and my ability to articulate myself has increased over time. I think you can tell that the through line is there with stuff I’ve made, but it’s changing all the time.

Who would be your dream artist to collaborate with?

I’d love to work with Jim Legxacy. His production, specifically how acoustic and natural sounding it all is, would be so much fun to contribute to.

How did you find making your new single “Money on the Wall?”

It’s a cliché, but this tune started in the shower. I remember I was listening to a lot of Clipping at the time. They have a song called Check The Lock, that has a lyric that goes “Money to the ceiling, so it’s Persian on the floor”. I remember I had that in my head, as well as the intro to Poetic Justice by Kendrick Lamar, and the two ended up swirling around and created this weird concoction. The only thing missing was the setting I was placing it in, this kind of jazzy, retrofuturist aesthetic.

What message did you want to get across with this release?

I don’t think that’s for me to decide.

What can we expect from your upcoming album?

I don’t think that’s for me to decide either. I know what I want people to get out of it but for a work that, in my opinion, is more expansive and involving than I’ve ever made, I just hope people find their own place in this weird little universe I’m trying to make.

What artist have you been listening to most recently?

Billy Woods, by a long way. Anyone who’s had the misfortune of talking to me about music in the last three months has heard me evangelise about his most recent album, Maps, but it’s just such an important piece of work in my opinion.

What’s the main thing you want people to get out of listening to your music?

I want people to take my music as implicit permission to create whatever it is they want, without either fear of repercussions or hopes of fruition.

What’s been your favourite live performance so far?

One of my favourite performances in recent years was with a band my brother put together. We played a show at the Shacklewell Arms and I really feel like it all came together. The band was great, the turnout was awesome, the sound engineer paid exhaustive attention to everything we were doing, it was just a great night.

Who would be 3 artists to headline your dream festival? And where would it be?

Stromae, Bon Iver, and MUNA. I’d take over a small coastal village in like Italy or something and do something similar to The Great Escape. It would be dope.

Do you have any advice for a new artist wanting to follow your footsteps?

The simplest advice is just not to. I don’t think trying to retrace the steps of anyone who came before you is the either the way to make anything compelling or to be satisfied with your creativity. I make this analogy all the time but if you pretend you’re surfing, out waiting to catch a wave, and see a bunch of surfers already riding a wave – don’t chase that wave. That wave’s already crashing. By the time you’ve gotten over there and gotten up on your board, you’ll have wasted your chance to get the wave you were meant to.

Finally, what do you have lined up for the rest of 2024?

I’m not sure! I’m trying very intentionally to leave more space than I normally do. With the single out, I’d usually be concerned with the rollout of the next one already, but I’m trying to leave more space, not just for the music to exist on its’ own for a bit, but also do some other work in the time being. Ideally I can see the rest of the album coming out late in the year, so that’s certainly something to look forward to, but there’s plenty of time yet!

Listen to Money on the Wall below