Spilt Milk Society Inject Brazilian Jazz into Latest EP 'Community'

Photography- @chrlbrclyhrrs

The direction change of an artist’s music has long caused controversy between fans and critics alike. With the addition and exploration of newfound techniques and genre-specific styles inevitably leading to the retirement of an artist’s ‘signature’ sound, a band’s notoriety and longevity can become wrongfully tarnished somewhat, or juxtaposing that, welcomed by fans with open arms. In the case of Spilt Milk Society, their ability to shift from tried and tested guitar-based indie-rock-come-electronica to a recent fusion of acoustic folk and samba has proved successful. 

Latest EP Community is the result of a long journey of genre-surfing and innovation for the now Liverpool based quartet, a far cry from the sounds of their 2015 self-titled debut LP. Last year’s collection of singles, including Bon Iver and Brunch respectively, demonstrate the maturation of style and gradual lean toward the experimental characteristics of their latest body of work, injecting folky and exotic textures into their indie-pop roots. 

Community ebbs and flows with the subtlety and gentle tranquility of the waves upon the beaches of Rio, where Spilt Milk Society’s newly adopted Bossa Nova stylistics were originally birthed. Listening to artists of the 1950s-60s Brazilian jazz movement during lockdown, songwriter and band co-founder Harry Hanford allowed for the rhythm and chordal progressions of said style to slip into his creative realm. After what he describes as a year-long period of writer’s block, the discovery of the fresh and captivating sounds of Caetano Veloso and Bazzera Da Silva, amongst a collection of other numerous artists of the samba-jazz fusion variety, no doubt kickstarted a cycle of new and organic ideas and processes. 

First track Nothing Else exposes us to the equatorial climate of Community, an opener riddled with the warmth and sunshine of Bossa Nova and the ear-worm worthy trappings- a phrase used in the most positive manner- of a pop-structured song in both melody and progression, most notably in it’s captivating middle-eight. Softly layered female vocals coat Harry Hanford’s own with a delicate touch, reinforced by the gently strummed major seventh chords so derivative of the Brazilian jazz greats that Spilt Milk Society emulate so solidly. 10 O’clock Shop is quick to follow in a similar acoustic Samba-esque fashion before Boo Radley and closer Lazy break the cycle up, slowing down the EP in both pace and mood. The simplicity of Boo Radley’s major chord progression and sedate vocal harmonies are strikingly reminiscent of the soothing qualities of songs by the likes of The Everly Brothers and Paul Anka, amongst other blue-eyed soul and white doo-wop artists of the late-fifties to eaerly-sixties. The various layered instrumental and vocal melodies of these pieces are indeed predictable, however this is not an EP whos’ brilliance relies on its sonic experimentation, groundbreaking sonics and innovation, but listenability and undeniably easy-on-the-ear textures. Of course, Spilt Milk’s ideas to implement a taste of exoticism and rhythmic alchemy into their music is in itself a creatively forward-thinking decision, yet it is not this factor that makes Community such a compelling piece of work, but more so the recycling of classic musical styles and expressions into an alternative pop format. 

I spoke with Spilt Milk Society’s Harry Hanford on his lockdown music endeavors, how locking in with the sounds of Bossa Nova has influenced their musical direction and laying down Community.  

Community breaks the mold of your usual sound, tying noticeable bossa nova and samba stylistics in with acoustic folk characteristics. Was this transition toward a more exotic approach to songwriting premeditated or naturally occurring?

“It’s been really refreshing for us to get away from thinking about genre. It can ruin the fun of it when we start caring too deeply about what music we should be writing rather than what we want, so we looked at this project as a blank slate. We’ve never wanted to write music for one audience and this is a step in that direction for us.”

How and when did the songs of Community come to be written?

“We made use of the first year of lockdown to record a whole load of songs (that we hadn’t released yet) and worked hard to get it finished. Honestly though, I was burned out afterwards, and for the first time I had what felt to me like writer’s block. I went over a year not writing anything until the songs that you hear on Community got me out of it. I was excited to finally have finished something again and quickly arranged to get in the studio with the band. The first time we worked on the songs together was as we were recording them in March of this year. It helped us capture a lot of those special creative moments that you can miss out on when you over-demo a song before entering the studio. So Community is still fresh to us as well, we’re loving listening to it and couldn’t be happier to get it out so quickly.”

You recorded and produced the EP alongside Finn Howells between two studios situated in both the Midlands and Liverpool, how was the experience and how long was the recording process behind this effort?

“We recorded it mainly in the Midlands at Josh’s studio, which was so much fun for us all. We stayed there for just under a week, slept in the live room and ate our food sat in front of the computer, and finished most of the recording in that one stint. Finn was amazing to work with on the engineering and mixing side of it, but also contributing to the writing and the mood- I can’t imagine making Spilt Milk songs without him now. Finn’s mom deserves credit too, not only for birthing the little genius, but for letting me and him use her house down in London to produce the EP and finish off recording.”

Beside the strong Brazilian and Portuguese Bossa Nova influence, are there any other bands, artists, creatives et cetera that you cite as an inspiration to the EP?

“Well I think I can blame most of it on my girlfriend, who is Brazilian, and Jordi, who likely wishes he were Brazilian. I’ve picked up a lot from both of their tastes, and I love listening to the likes of Caetano Veloso, Jorge Ben Jor, Bazzera Da Silva, Roberto Carlos (not the Brazilian left-back). I’d say that Big Thief, Neil Young and Andy Shauf together explain some of the folk elements that are creeping in.”

Can you give some insight into the cover art for Community and the significance it may have to the content of the EP?

“Have to admit, I enjoy having as little to do with the artwork and visuals as possible, and as much to do with the music as possible. I let Jordi do what he wanted for the artwork. He gets very passionate about fonts, so I’m not even going to guess what font he used for it. And I’d have to let him answer because I could be wrong, but I think it’s a photo he took when he was out doing a job in San Tropez.”

What’s next in store for Spilt Milk Society, and where can fans catch you live?

“We have some good, good music coming out- it’s nice to feel proud of it all and want to share it. We’ll be playing it all live soon as well, you can find out where to be and when to be there on our social media!”

Listen to Community on all major music platforms, out now.