INTERVIEW: Sacha Mullin drops new record

Chicago-based singer-songwriter Sacha Mullin is renowned for his captivating vocal performances and unique compositions. His distinctive style, formed by a powerful voice and thoughtful songwriting, has earned him acclaim while taking inspiration from iconic artists like Kate Bush, Joni Mitchell and Yoko Kanno.

His previous solo albums, produced by Todd Rittmann, gained praise from BBC Radio 6, WBEZ’s Vocalo, The Big Takeover and The Wire, confirming his status as and exciting talent in the Chicago music scene and beyond. Now, following his last album, Duplex released in 2017, he returns with a brand new third record titled Casino Wilderness Period, a stunning 8-track album that sees Sacha once again link up with the talented producer Todd Rittmann.

Opened by the lead single “Arranging Flowers,” that album immediately sparkles with Sacha’s joyous sound that sees his fluttering voice spinning dynamic melodies as subtly pattering synth textures rumble below and the tap of a hi hat grounds the rhythm. As warm piano chords enter and the marching beat of drums enter, the song takes on a buoyant pop form as Sacha’s stunning voice dances above in dazzling fashion. Building up with slick guitar flourishes and a chorus backed by the lush voice of Emily Bindiger floating behind Sacha’s incredible leads, “Arranging Flowers” is a superb display of the artist’s highly original sound of pop-focused songwriting with tinges of jazz and rock.

“Waves” opens with a light groove of soft electric piano notes, laid back drums and hushed vocals, resulting in a smooth jam of mellow instrumentation and bright vocal harmonies. “Thanks.” kicks off with lively drums, setting up a shuffling rhythm for piano and bass guitar touches to set up a jazzy pop backdrop for Sacha’s trademark vocals that hop with spirited melodies.

Other highlights on the record include songs like “Fiberglass” with its gently driving drum beat and rhythmic vocal shots, layered up to form a choir of voices, crafting a subtly moody and instantly memorable sound.

The album closes with “Window Out,” ushered in with an elegant piano arrangement as Sacha threads alluring melodies into an airy sonic fabric that builds up with the pulse of bass guitar and rattle and splash of drums that guides the song to a truly spectacular finale of multiple vocal layers capped by the soaring leads of Sacha to provide one last sensational moment on his brilliant new album.

We caught up with Sacha Mullin to find out more about his musical journey so far, his new record Casino Wilderness Period and what he’s got lined up for the future. Check out our interview with Sacha Mullin below.

Hey Sacha, how’s things?

Fantastic! I’m thrilled that my album is finally getting released, and that I’m talking with you.

What’s your earliest memory of making music?

Maybe playing on my parents’ frequently-out-of-tune Wurltizer-brand upright piano as a little kid, and imagining I was a soundtrack composer? I have cassette tapes somewhere where I had to come up with songs on the fly because, as I was also larping as a child deejay, I couldn’t let there be any dead air for my zeroes of listeners.

Which artists do you draw most inspiration from today?

Kate Bush and Joni Mitchell, forever and always. It’s so good to see them both rightfully honoured again in the here and now. Plus Sugababes for their crystalline harmonies. I just saw them at the O2 and they’re better than ever, as if there was any doubt. I guess the theme here are musicians that lean into treating music like an adventure.

I’ve been really pulling a lot from disco music more and more too. We’ll see if that pulls me to the dance floor.

How else do you find inspiration for your music?

Observation, books, films, conversing.

I tend to improvise a lot of silly songs to, well, I guess at, my cat, and sometimes there’s actually a pretty good song if I change the words away from “oh my pretty meow-meow.” (laughs)

Apart from that, sometimes it just kind of comes to me. I’ll have a pretty clear mind when doing the dishes and a nearly fully formed melody will come to me, and I have to scat vocables so I don’t forget what I just stumbled into. Then I dry my hands and pray I can recall the same thing as I sing it into my phone. Eventually from there, and often from words that come out during the improv, something that’s been on my subconscious starts to get clearer and I have a mood or a setting for the music.

There are also times I’ll be listening to friends tell me about their day, and I’ll remember a way they may have phrased something and appreciated it, so I’ll scribble it down and try to transform something with that.

Or I’ll be reading something completely random and it’ll spark a whole concept. I had a melody for “Arranging Flowers” but couldn’t commit to a lyric until I read the introduction to an Anthony Bourdain cookbook where compared plating a burger to ikebana, and somehow that was the thing I needed to get the song to realise itself.

What do you love about the Chicago music scene?

Honestly, I kind of love that it’s pretty all over the place right now. Every scene goes through waves of transition and stylistic tendencies, but I’ve been loving the increased prominence of jazz, soul, art-rock, folk, pop, and rap. For a long while, the Chicago scene to me felt like it would be “just garage rock” or “just blues” or “just fill in the blank”, so I’m pretty happy with how all over the map it is at the moment and that people are here for it.

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

I recently transferred over to Dipterid Records, and Kevin, the label head, recently told me it’s good “dinner cooking music”. I had other unrelated friends tell me similar things. So get out the cast iron, I guess!

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

I don’t think my intended style, whatever that is, has changed, so much as my ability to do it better than before. When I first started out, I was way more timid as a person, but had a lot of ambitious musical ideas. Not to put down my previous work at all, but to me, there’s a discernible thread that reveals my progression towards becoming less unintentionally reserved and shedding the self-consciousness about neatly fitting into a single genre.

I think this new record has some of my best performances, largely because I’m just more confident in myself as a focal point, and hopefully listeners can also see that and celebrate alongside me.

Who would be some dream artists you’d collaborate with?

Forest Swords, Yoko Kanno, Blood Orange, …Martha Stewart?

How did you find making your new album ‘Casino Wilderness Period’?

After spending an extended period in the role of a supporting or guest musician, I reached a point where I felt ready to make a genuine artistic statement. When making my first two solo albums, it was as if I approached them with the mindset of “I’m in the mode of songwriting, and I also happen to be a skilled singer.” Like I was slightly fighting a bit to try to emulsify the two in a way I don’t have when approaching music that isn’t my own.

However, this time around, I had a stronger desire to make it more about my own artistic expression, and more about me in general, and I think it finally clicked for me, maybe in personal levels I hadn’t realised may have been muted before. The entire process of making this record was highly revealing, not only my artistic aspirations but also my personal desires and needs. If anything, I found the record and working with Todd had rekindled my love for making music.

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

I’m not sure there’s a singular message, but thematically, there are different points of hurt and injustice throughout. What I’d really like is that if someone resonates with the music I create, I hope they recognise the sincerity behind it and that they feel seen and heard themselves.

How was it collaborating with producer Todd Rittmann?

Todd’s the dream. I trust him with my ideas, and he does the same in kind. I’ve worked with him on several things over the years, but with this project specifically, it felt like we were both able to create music that didn’t have an agenda in the back of our mind, other than “let’s make great music.” I credit a lot of my confidence and growth to working with him. I think he’s a genius, but also grounded, quick witted, and without ego. He helped anchor a lot of my ethereal ideas, and I think in turn, I pushed him to other possibilities as well. He’s a great collaborator, has a really kaleidoscopic musical sense, and I just think the world of him. I’m forever grateful that this is our best collaboration to date.

What artist have you been listening to most recently?

That xPropaganda record from last year, The Heart is Strange, still has a hold on me. I just heard that song “Conceited” by Lola Young. I think it’s fantastic. I also like the new Blonde Redhead record. And I’ve been revisiting a lot of older records. Some Tori Amos remasters, Marc Almond, Akino Arai, Esperanza Spalding, Kylie Minogue, Carmen McRae… It’s always a bit of a spin-the-wheel for me, honestly.

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

Genuinely, I just want people to be moved.

What’s been your favourite live performance so far?

I admit I don’t perform live near enough these days, and after being a studio creature for so long, I’m trying to get back into the habit. But in thinking back, and this is a while back, I had a great time singing live with Patty Peterson for an American Heart Association’s Red Dress event. It was impromptu, and she’s such an amazing and giving singer. People were really touched. And my brother had a dress design in the show, so my mother was really proud that day.

I also really liked this performance in Rhode Island when I was singing backup with the group Lovely Little Girls, because the soup at the adjoining venue’s restaurant was pretty great. I’m always here for soup.

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

Lisa Fischer, Dead Rider, Thundercat: live from “close enough to my house.”

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

Embrace the minutiae of treating your career as a business. Like, learn the power of spreadsheets. Seriously.

Finally, what do you have lined up for the rest of 2023?

I’m looking forward to an album release show of sorts on November 3rd, so …today. I’m sharing the bill with Light Beams and Big Chemical at Cafe Mustache. Light Beams are also releasing a record of their own, so that’s some pretty neat synergy.

Otherwise, not the most riveting answer, but a lot of necessary admin and clerical work (see the spreadsheet answer above). I’m shooting a second music video for the album, plus getting the gang back together to hopefully get ready to play some shows in the coming year!

Listen to Casino Wilderness Period below