Interview: Oliver Blair (Radio Wolf)
Hello Oliver, I'm delighted that we finally have the opportunity for an interview. I'll start with the first question, how did you get into music, what was the foundation stone for you to become an artist?
My foundation has always been in the electric guitar. I grew up in a household resonant with Rock ’n’ Roll and the Blues. When I was quite young my Dad gave me his old 60s Gibson SG and taught me my first chords. Then, as a teenager, I got really into electronic music. I recorded my first demos onto cassette with my Roland MC-303 Groovebox and Korg Triton, jamming along with my guitar. I wanted to merge rock with electronica. I grew up in Canada but I have British parents, so I naturally had an affinity for UK-based artists/bands. When I was 19 years old, I moved to London, England and started performing in underground electro nightclubs, where I met other artists and promoters who gave me opportunities to perform my music live. I created my own style from very early on, so being a professional artist/producer was a natural progression.
You have worked with numerous artists, how has your path as an artist developed over the years?
In my London days, I went by the solo artist name: KINDLE. I was in my early 20s and very particular about expressing my own distinctive sound and not pandering to commercial expectations. I wanted to create my own sonic worlds that were purely instrumental. This worked for a while but I got restless, so I presented myself to other artists in need of a guitarist and/or producer. Touring with bands and collaborating with vocalists helped my creativity. I’ve expanded over the years, generating wilder ideas and becoming much more versatile.
In 2017, you released your debut EP "Rock N Roll Forever", featuring some well-known fellow artists, including Sarah Blackwood from DUBSTAR and former SNEAKERS PIMPS singer Kelli Ali as well as Holly Dodson from PARALLELS and HOTEL MOTEL frontwoman Marika Gauci. Can you tell us something about the development phase?
After defining my instrumental sound, I had a desire to make songs - to fuse genres like Electronic, Pop, and Rock with a retro-futuristic twist. My track: Song On the Radio was created with my ex bandmate Marika Gauci (Hotel Motel) and we designed it with an 80s New Wave quality but then modernised it. With Kelli Ali (ex Sneaker Pimps), she had originally asked me to produce songs for her album Band of Angels, so after I worked with her on that, we crafted Heartbreaker Automatic. I wanted a bit of Italo, mixed with a heavy Dance-Rock backbeat. Once these songs came into fruition, I got inspired to start writing songs by myself. I wrote Rock ’n’ Roll Forever first and then Runaway Girl not long after. I thought Sarah Blackwood from the bands Dubstar and Client would be a great fit for the former because she has a ghostly distant vocal style, while still sounding very determined and powerful. I knew Sarah from her days in Client and had performed/recorded with her before. Last but not least, I chose Holly Dodson from Parallels for the latter. Holly was in my head as I wrote the song because I was listening to lots of Parallels at the time. Holly’s voice just fit for me. Thankfully, she loved the song so much that we ended up incorporating it into the Parallels live set, which was so much fun for me. When I had all 4 songs in completion, I thought they would make a good debut. The title felt right because even though the tracks were very much electronically made, they are all rock ’n’ roll songs at heart.
With PARALLELS you produced songs for the sci-fi film "Proximity" in 2020, can you tell us something about that?
Proximity’s Director, Eric Demeusy, reached out to me directly. Apparently he’d been listening to Rock ’n’ Roll Forever and really liked it. I’d always wanted to create a film soundtrack, so I was immediately interested. After reading the script and talking with Eric over the phone, I agreed to do it pretty much right away. At the time, I had just teamed up with Parallels, so I invited Holly to be the singer and write with me. Holly's got a very sweet distinctive voice which really fit the vibe Eric was going for. The script reminded me of Sci-Fi Adventure films I grew up with like The Last Starfighter and Flight of The Navigator. Producing the songs, I knew exactly what I wanted and which sounds/parts went where, creating sounds that felt old and new in order to match the moments in the story where the past connects to the present. An interesting detail in the making-of is that Eric actually gave us great classic Pop songs to reference, so there was a challenge to recreate music styles in a very ambitious way. That really inspired me. It was a fun project and I enjoyed recording with Holly. Eric’s trust in me was really motivating and collaborating with such a stylish visual artist helped my creative flow.
It is said that you conceived and recorded your instrumental EP NIGHT LIGHT in all-night working sessions. How did that come about?
It wasn’t a deliberate choice at all. I just tend to work that way. I’m often at my creative peak in the late hours of the night. I had composed On-Screen Death over 10 years ago (when I still lived in the UK), whereas I created the other 3 tracks more recently. Night Light and Sleepless were both composed in Canada, while The Lost Tape was created in Northern Ireland during a cold windy night. Once I had all the tracks, I reproduced key sounds to make the album cohesive. I gave it all a warped “old recording” quality, while imagining my own “mind films” for each one. Night Light is my nocturnal creative glow.
Can you still remember your first meeting with Nina?
I met Nina for the first time in London, England. I was performing keyboards for Parallels and NINA was our co-headliner. I was very excited to meet her because I already had it in my head that I wanted to collaborate. I’ve always loved her voice and find her lyrics to be very dreamy, romantic, and surreal. Before we even spoke, we locked eyes from a distance. It was a magic moment and it felt like we were destined to meet. A year later, we got to spend more time together on another tour and bonded over our favourite topics: Horror films, John Carpenter, David Lynch, 80s Pop songs, and 50s Rock ’n’ Roll. I knew that there was so much more to her than the music she was (at the time) known for. I was determined to create something new and exciting with her. Our bond grew over the years and now we are connected on the deepest level.
In 2021, you produced the singles "Carnival Night" and "Gold Heart". When you think back to the collaboration, was this also the point at which you realised that you not only harmonised perfectly in your private lives, but also that you wanted to continue and expand your musical path?
It wasn’t the start but it was definitely a unique time when we both felt reassured to be more daring with our style and approach. Both of those songs are very deliberately produced to showcase a different side of NINA, while still honouring what fans love about her. Vocally, she shines through with her gutsy attitude and romantic longing but she’s more focussed and full-bodied. I wanted to bring out qualities that nobody has ever heard before, while helping her express her wilder side and prove how versatile she is. This was important to both of us. These singles were the beginning of a new path, of which I believe will lead to the best of her art. She’s only getting better and better.
You've been working on your album for a while now, what can fans expect?
Fans can expect something more rebellious from Nina, for sure! I am continuing my journey into the unknown as I always like to try things I haven’t done before. Nina and I share the same adventurous, romantic spirit, especially with our music. I won’t spoil too much but there is a lot for the audience to absorb: rock ’n’ roll, electronic dance, cinematic synths, new wave, pop, and experimental sound design. We are genre-fusing and defying trends as we make new and bold moves. This album is a solid and stylish new musical entity.
In autumn 2023, you accompanied De/Vision as a support act for their 35th anniversary shows. They already had the opportunity to hear a few new songs from you. How were the shows for you?
The shows were a great way to break-in the new live act and test out new songs. The crowd responded very well and so did De/Vision. It was a great privilege to finally be on stage with Nina as we have been both wanting to perform together for a very long time. I think she performed like a true star and it was a joy to be a part of those nights. Getting back up on stage and connecting with the audience felt amazing. We also had a terrific time watching De/Vision. They are really inspiring!
What kind of music do you like to listen to in your private life and which artist could you imagine working with one day?
I grew up with lots of variety, so I enjoy a wide range of music. My Dad loves the Blues, so that’s rooted in me… Muddy Waters, Howlin’ Wolf, Lightnin’ Hopkins and then the radio days of rock ’n’ roll with Chuck Berry, Elvis, Jerry Lee Lewis, and Buddy Holly. Lately I’ve been listening back to these artists with my morning coffee. They lift my mood. In the afternoon, I like lots of Electronic Pop like Cannons, Desire, Goldfrapp, and Chromatics mixed with Rock such as Stereophonics, ZZ Top, Lenny Kravitz and The Rolling Stones. Ramones are one of my favourite bands ever, so I always love them. At night, I fall into more dreamy electronic stuff like Tangerine Dream, Brian Eno, Angelo Badalamenti, and our pal Johnny Jewel. I’d like to work with Johnny on a project one day and also Eno. Sadly, Badalamenti is gone now but I think David Lynch would get me. I like how these guys think. Another artist who actually influenced me a lot growing up is Noel Gallagher. I’ve always responded to his inspirited style of songwriting and open-mindedness. I can imagine we’d work well together.
Do you know German-language music and what fascinates you personally about Berlin, a city that also has a special significance for many international artists?
I love NENA, Propaganda, and Kraftwerk very much. Tangerine Dream are one of my favourite bands of all time and a great influence. One of my favourite U2 albums: Achtung Baby was recorded in Berlin and I remember producer Daniel Lanois discussing the importance of getting inspired by new and exotic environments. I believe that you can hear/feel how Germany gave the band what they needed for that darker and more introspective record. Bowie and Iggy lived and worked her for a time too for the psychic inspiration the city gave out. That way of thinking resonates with me. I had always wanted to visit Berlin but I never managed to make it happen. Finally, I’ve made it over and I’m very happy. I’m inspired by living here with all the artistic culture and variety of music—it’s very avant-garde, which I love. I’m grateful to be living in this city and for all of its wonders. My adventure with Nina has been the greatest gift.