Key Sentence:
- Parisian maker, lyricist, and artist Khamsin overcame any barrier between environmental and modern sounds.
- The craftsman exhibits this particular sound on his Aria EP.
The four-track assemblage of work is named after the Goddess Aria. Greek folklore indicates that the goddess represents a melodic appearance, either a mood or a voice. This thought has since driven Khamsin to see music as a modified inner self that rouses him—now and again, the two are enamored, and on different occasions, they are adversaries.
Moreover, the craftsman investigates the universe of music through style and artistry, which are additionally at the cutting edge of Parisian culture. The maker has worked with notable brands like Chanel, Dior, Gaumont, MTV, and the New York Times, and through these undertakings, Khamsin investigates the crossing point between design, culture, and music.
Here, Khamsin shares the motivation behind Aria, the French association with the EP, counsel he would give his more youthful self, and the sky is the limit from there. Khamsin: “So my sound today I would portray it as aeronautical, something pretty like breezy, melancholic. The last one I would pick would likewise be lively.”
Kocay: What was the motivation behind Aria?
Khamsin: “The motivation behind Aria dropped without anyone else when I was chipping away at the melodies. Last year was intellectually trying for me. Out of all that occurred around me, I felt like my relationship with music was extremely impressive.
It’s practically similar to I was cooperating with it, similar to a companion or an adjusted self-image, you know? At first, in Greek folklore, Aria is simply the way of an expectation of music or singing. I truly enjoyed the theoretical thoughts in discovering this cooperation with music, and I just idea Aria was a decent word to characterize it.”
Kocay: You chose to compose and sing on the task. Would you be able to discuss the choice to move toward that path?
Khamsin: “So this task is very, I would say, individual, and it’s the big thing like my relationship with music. I was singing on my music—the more I felt like there was a solid association between what I needed to communicate plainly and what were the last reasons.
I like singing on my music since I feel like it’s exceptionally flexible: you can adjust your music for your voice, and you can adjust your playing for the music. You can change to and fro, and I feel like it’s a decent method to continue to trust your sound—how individuals see your music.”
Today: There is a French association with Aria. Would you be able to examine that more?
Khamsin: “I would say it’s both in the music and the visuals. I think in the actual music, I’ve been highly impacted by all the French craftsmen. I couldn’t say whether you’re comfortable with Daft Punk or Justice. Those groups formed my musical notes since I was a youngster.
Oak is the person who is working inseparably with me for all the visuals. For what reason is the music I make today like that? I believe it’s essential for who you have been as a youngster, as a teen, and as a youthful grown-up. So I would say this is the thing that’s the distinction, association, and foundation for me.”
Khamsin: “So this EP is around four distinct feelings about Aria. Aria is this changing sense of self-motivation I have with music. We have four melodies characterizing various perspectives. For instance, ‘Climb,’ which is the main track, characterizes the association with recognizing there is something noticeable all around above you [and] collaborating with you.