<i>This article is an instalment of the Songcards Spotlight series where we interview the humans that make it all possible.</i>
<i>We recommend you start by clicking the play button above and reading whilst enjoying the artist's music</i>

<h2>Who is Pocket Lint?</h2>
I’m Mark, guitarist, synth twiddler, keyboard playing noir pop maker

<h2>What is your origin story?</h2>
After my last band broke up now nearly 15 years ago, I took time out of music to focus on other things. I started tentatively recording again in about 2017 but then in 2020 when lockdown hit I needed something to fill my time. I initially decided to try to carve cameos from amethyst, but that is actually quite hard with no tools or training. So I slunk back into what I knew a bit about. I would say Pocket Lint as I understand it came about sometime around the winter of 2020 with the writing of When Winter Comes Again and the beginning of the Themes for Silcaville project. That was when I feel that I found my voice.

<h2>When did you realise you wanted to make music?</h2>
Making music or playing it? I have played for as long as I can remember. I played piano from 5 and always loved performing. Once I was in bands in my teens playing guitar, I realised that if I wanted to be famous then I would need to write and so started writing music. In my 20s I became more interested in writing the whole songs and working on getting ideas into songs and that is something that has really continued into Pocket Lint. Though with one significant difference. When I was younger, my songs were very influenced by literature. These days it is much more likely that visual stimuli will trigger something in me that makes me write. For example, my Gallery album is all inspired by works of art. Rather than tell a story, my music tries to paint the listener a picture or vignette of a place, time or feeling.

<h2>Who are your long-standing influences?</h2>
I have so so many. I picked up a guitar after first hearing Jimi, and there is definitely still some of that in my approach, but I think the ones I can hear most obviously are those post punk ones, so Magazine, Soft Cell, Human League, and then artistic spirits like Kate Bush, Scott Walker and Bjork, allied to those 70s artists like Bowie, whose entire approach is huge for me, Eno’s solo albums. Basically, art pop, art rock, a touch of goth sensibility and bleeps, but I listen to a huge range of stuff, for example at the moment I have John Martyn playing and earlier it was the Cure and before that Wire.

I have to say though as a guitarist, Graham Coxon. His approach to playing guitar was a huge huge thing to me. It moved me away from being a Jimmy Page wannabe to trying to service the song, rather than seeing the verse and the chorus of things that had to be slogged through til we got to the part where I got to solo.

I think intellectually Bowie’s idea of how to stay creative is a huge touchstone and Eno’s point about using the crap instruments you have to forge your own unique sound. I like experimenting and I love music like the 60s pysch where it is clear they are at the edge of what they know and understand and to me that gives it an excitement.

I have a fear of repeating myself so any artists whose career is one of progression and not merely adding more water to their original sound.

<h2>What’s the most valuable lesson you’ve learned as a musician?</h2>
I was incredibly lucky when I was younger that I regularly got to jam with amazing older musicians through my guitar teacher, Colin Browne, who had played with Kate Bush. I’d regularly get up to do a song with him and other amazing musicians who he played with. I learnt so much about playing with others and how to listen by doing that. I played bass for him for a summer and that was probably the best musical training I ever received. We never had a set list, it was a case of listening as one day songs would be in one key and the next another. I became very good at walking bass lines to find the key.
I also learnt a lot when I attended the guitar institute as I learnt what I never wanted to be. Without that experience, I would have perhaps never run with open arms to synthesisers.

<h2>What are you working on at the moment?</h2>
I am finishing off my new album Wunderkammer, which is all about a cabinet of curios. All of these objects reveal something about the owner and, in this case, the owner is me. So this is probably my most personal work. Almost all the music is done, I am working on the vocals at the moment. I hope it will be out later in the year. I have the artwork sorted in my head too, I just need to get around to actually making it.

<h2>What would you tell your younger self?</h2>
Don’t listen to producers who tell you to turn down the treble or distortion and don’t listen to managers who tell you to change things about your band. Ever. Oh, and don’t take yourself so seriously and sometimes try to be friendly and hide your disdain, it isn’t an attractive trait, a look of disdain.

<h2>Which band or artist are you really excited about at the moment?</h2>
I am quite rubbish for new music. I listen to a lot of older music, but the last year I have been really into Michael Rother and the Cocteau Twins. Like a lot of artists, I go through phases of being absolutely obsessed with things. Right now, I would say I am in a lull from that and have been enjoying listening to old favourites a bit more than diving into the unknown. Oh I have been really into Kevin Ayers too.

Ooooh, I have thought of an artist I have really been enjoying, well two. Both on the fabulous Monochrome Motif label. John Serrano, who has the most beautiful voice, a bit like John Martyn’s to my ears at least. And the 18th Musician, who makes the most beautiful filmic tracks.

<h2>Where can people find your music?</h2>
I’m on all streaming services, so have a look for a chap in a hat and I sell my music on Bandcamp in physical form. I have CDs, posters, Cassettes, original paintings so have a look if you are looking for something interesting. Vinyl may be coming soon too.

<h2>What’s next for Pocket Lint?</h2>
Well, finishing this album soon I hope. Then doing the most hateful part which is promoting it. I lament that musicians are now forced to do marketing, but if we want people to hear it, we have to. I would much rather be in the studio.
I’m also playing live in a couple of months and I need to decide how one man is going to make the amount of sound I want live.
I also have already begun to form the album after next in my head. I know the sounds already, I just need to go and make them, but I am trying to be disciplined and finish Wunderkammer first.

Pocket Lint

Dictatorship of the Air

Spotlight On: Pocket Lint

<i>This article is an instalment of the Songcards Spotlight series where we interview the humans that make it all possible.</i>
<i>We recommend you start by clicking the play button above and reading whilst enjoying the artist's music</i>

<h2>Who is Antiquity?</h2>
That’s a good question. I often ask myself the same thing. At the moment, Dan Eccelstone, Simone Silvestroni, Justine J Hall, Diane Lotny, Mark Mancini and myself, Gerald Duchene. There are a dozen other players who do occasionally help out with tracks. But that is the heart of the group.

<h2>What is your origin story?</h2>
Origin story goes back to 1991 in New York. I did not want to go out on the road any longer and was trying to put together a local act. I just wasn’t connecting with the right people until I met Mark Mancini, a regular keyboardist on the New York scene. He was very connected and he said to me one day, man, I know this woman who has got some voice, you should come and listen to her. After listening to her, we hooked up and never looked back. Diane Lotny and I have been working ever since. We had some really solid years playing clubs in NY like The Ear Inn, Fat Tuesdays and the Bitter End. Our focus then shifted and then we started recording. My interest gravitated to recording and so we started changing our focus to a studio centric band, similar to Steely Dan. That was 34 years ago. Originally, we were named The Project, in reference to working mostly in the studio. We changed the name to Antiquity because another group was using the same name and it was conflicting. 

<h2>When did you realise you wanted to make music?</h2>
I knew I wanted to go into music when I was five years old. I come from a musical family so it wasn't a big leap of faith. I’ve never known anything else, it's sort of like a genetic curse.

<h2>Who are your long-standing influences?</h2>
Some of my long standing influences are mostly jazz cats. Miles Davis, John Coltrane, Cannonball Adderly, Johnny Hodges and The Duke. Some of my modern day influences are Peter Gabriel, Donald Fagen, Bryan Ferry, Joe Henry, John Martyn, Robbie Robertson and Tom Waits.

<h2>What’s the most valuable lesson you’ve learned as a musician?</h2>
I would have to say the most valuable thing I've learned as a musician is that there are no rules once you learn the rules. Especially when it comes to songwriting. If you want to be a good musician and songwriter, you have to throw away the rules at times. Most musicians just cannot or will not do that because it makes them uncomfortable but being uncomfortable is what being an artist is all about. Pablo Picasso once said, it took him all his life to paint like a child. He only attained that after he just let go of his inhibitions.  

<h2>What are you working on at the moment?</h2>
I just work on singles these days and I’ve slipped back into my jazz mode. In search of the ultimate jazz/rock crossover tune. 

<h2>What would you tell your younger self?</h2>
Just keep looking forward. I might tell him to get another profession just in case. But one thing I would definitely tell my younger self, you may only get one moment of madness, don't waste it.

<h2>Which band or artist are you really excited about at the moment?</h2>
I’m a big fan of London Grammar. I find her voice very haunting and unique. I Listen to a lot of Tom McRae, Elbow and Florence and The Machine who I really think is a force.

<h2>Where can people find your music?</h2> 
On most streaming platforms but obviously on Songcards and Bandcamp but ive lessened out presence on Spotify as it no longer serves a purpose  

<h2>What’s next for Antiquity?</h2>
That is a little unclear but I'm obsessed about making more videos. I really love the way you can express your message marrying music and visuals. Outside of that, I don’t think too much about the future.

Antiquity

The Ides

Spotlight on: Antiquity

Hi there,

I’m Chris, founder and developer of Songcards.

I started building Songcards in 2023 with a single vision in mind. 

The idea was to give artists an easy and simple way to share their music and to create a simple checkout for their fans to spend money with them.

Since then the concept has grown into what we have today. 

Now Songcards is a digital music marketplace where artists can create unique collectable products out of their music and for fans to build their identity as collectors. 

I have a lot in store for the roadmap, but more importantly, I want to hear from you. Whether that be a feature request, a bug, collaboration, or anything at all, please don’t hesitate to get in touch.

The relationships I’ve already built since I started Songcards have been vital. Always happy to talk to anyone who find this interesting.

I’m based in Peckham, London. Keen for IRL meets or online chats. 

For now, make yourself at home, have a browse, and let me know if you have any questions.

Cheers,

Christopher Carvalho
chris@songcards.io

<hr>
<a target="_blank" href="https://soundworks.substack.com/p/inside-songcards-a-creative-take"><u>Interview with Soundworks</u></a>

Songcards Blog

Spotlight On: Pocket Lint

Spotlight on: Antiquity

Christopher Carvalho — Founder of Songcards