Electrified strings grab you and pull you into Täpp's latest release, "Chasing the Sun." The drumkits snare taps out a fast rhythm that counters the rapid strings movements. "Chasing the Sun" is a never-ending loop of sound that uses instrumentals of violin, percussions, and synths to invigorate the listener. Lead by violinist Rebekah Reid, Täpp combines traditional and contemporary string techniques with electronics and modern instruments to create distinctive music that explores an abundance of styles and genres.
"Chasing the Sun" begins with the same reverberation of a violin, it's a steady, catchy melody that continuously stays within the confines of this complex track. As the same familiar notes pay within the background, a distressed violin begins serenading us with an almost ghostly call to the listener. It's like the strings are trying to call out to something or someone, but they can't find it. Again in true Täpp style, its calls sink into the background, and we are greeted with the familiar continuous melody "Chasing the Sun" begins with. There is a moment in the song where the familiar melody and ghostly calls slip away, and we cascade down into stealth of sound. The tone shifts to a middle eastern folk psychedelia, percussion intensifying, strings buzzing around you, "Chasing the Sun" ends on a climactic note. Prepare to go an intense journey of sound when you press play on Täpp's "Chasing the Sun."
You can find "Chaing the Sun" here.
Hello Täpp and welcome to BuzzMusic. Can we just start off by saying what an absolute feat of sound you have created on your latest release "Chasing the Sun." Can you start off by telling us how this piece came together? Beka – Abbi and I first met on a gig in 2017 for a rock/punk band – it was an epic gig and we both got on really well. In 2019 the opportunity came up to develop Täpp into a music collective and I was keen to collaborate with a drummer. I thought Abbi would be a perfect fit and bring a whole new sound and vibe to the ensemble – I was so pumped when she agreed to be involved!
"Chasing the Sun" goes through many different layers of tempo and melodies, they all give the listener a different experience and feeling. What did you intend for listeners to experience or feel when they listen "Chasing the Sun". Abbi - When we were writing we discussed what kinds of feelings we wanted to convey and I mentioned that lovely sunny Sunday festival feeling. When you’re exhausted but happy, lying on the grass listening to some chilled music from a nearby stage. You’re probably thinking about how you won’t stay out late on the last night of the festival because you have things to do the next day… but somehow the music changes and you accidentally find yourself still dancing in the early hours of the morning!
Beka –Yeah, we really connected on the festival idea - We’ve both performed at a lot of festivals and collectively had loads of stories and experiences to inspire us! I also wanted to include the concept of travel and crossing continents into the piece in some way. I’m a visual composer and tend to write music that conveys a story, emotion, or theme – I’m quite literal in that way when it comes to composition. In the first half of the track, I wanted to emulate a glistening sunrise and used a number of violin techniques and effects to create this imagery. As the song descends into a darker sound world, the listener feels as though they’ve traveled to some distant land. The bass enters; the key suddenly changes and South Eastern-inspired melodies and harmonies are introduced. Polyphonic afrobeat rhythms are set against triggered electronic drum samples, and at this point, the listener feels they’ve been transported to a completely different universe to the one they started out in! We can't even begin to imagine the complexities that go into your song creation. Can you shed some light on how a piece begins to take form? Abbi - With this song we started with the drums. I’d been noodling around with a drum groove and played around with it as we were writing. We constructed the structure from the main groove and then began adding layers on top. I wanted to include electronics as a way to indicate the transition into the darker vibe. I’ve been experimenting more and more with incorporating electronics into my live drum setups, so it was really fun to bring this approach to Tapp.
Beka - Once the groove was decided I started working on the melodies, harmonies, and themes of the sections. I chose to use a mix of live looping and live playing to navigate all the different changes in the track. I lay down the opening violin loop and add multiple layers and improvised melodies live. When the music switches to the darker section, I trigger everything to cut out and Abbi takes over with live electronic drums, whilst I loop up a new bass line now in a Minor key on the violin. Was classical music your first genre you fell in love with? We here so many different elements of sound infused into your music, where did you find the inspiration to cultivate such a cohesive blend of genre mixing? B-. My mum has an enormous collection of vinyl and I grew up listening to a mixture of jazz, soul, and rock. I’ve got a distinct memory of listening to Miles Davis and Jimi Hendrix on my mum’s record player! I started playing the violin at age 3 and this definitely influenced my music taste and styles. I’ve had the opportunity to play in orchestras and chamber groups and discover amazing music by composers such as Ravel and Shostakovich. When I got to the RNCM I found contemporary classical composers like Steve Reich as well as electronic artists like Fourtet and Aphex Twin. I’ve found that genre-mixing comes quite naturally and my musical experiences have given me the confidence to break away and explore merging acoustic instruments with electronics. The violin is such a versatile instrument and has a long musical history, so I’ve been able to discover connections between different music genres through the violin. Personally, I see all music as ‘one’ and just love to explore the interplay between jazz and classical harmony.
A - I grew up mostly on a steady diet of Led Zeppelin and Neil Young from my parents! Though I’ve always had quite varied taste in music, classical music has always been included in that. Prokofiev’s Peter and The Wolf has remained a childhood favorite, I’ve still got it on vinyl! Though these days I’m probably most often found listening to Soulwax, Lamb and '70s disco!
What can we expect to see from you throughout the rest of 2020?
A - Interesting question. Longer hair than before lockdown?! Haha! At the moment I’m pretty sure everyone is uncertain how this year is going to pan out. There definitely won’t be anywhere near as many gigs and tours as I had in my calendar! So for now, I’m spending some time improving my home studio set up so I can work on recording sessions remotely, as well as continuing to collaborate with other musicians. If it all goes to plan, maybe we’ll come out of this year with a lot more music that we otherwise wouldn’t have had the time to create!
B- Haha! Yeah, that’s a big question. As Abbi said it's unclear how the rest of 2020 will play out. It’s been a very challenging time for the music community. At the moment I’m working on mixing Täpp’s upcoming EP, which will be released in early August. I’m really excited about this release – it features collaborations with electronic producer Contours, pianist Alex Hill, vocalist And Is Phi, and many more. I’ve been sitting on these tracks for almost a year now and I can’t wait to share them very soon. My work/gig life has been literally turned upside right now, but a few collaborations/projects have developed since lockdown and has meant I’ve been spending my time updating my home set up for remote recording and filming. I miss gigging a lot, but I’m looking forward to developing these projects and seeing what comes out!