Introducing…. Sebastian Schneider

Tell me about how you got started.

I started the conservatory at 5. However, I hated it. When I really started with music was when I was a teenager. I had made peace with it and got interested in popular music, and electric guitars. I went to a Yamaha Music Academy and got in touch with a lot of music I’d never heard of. 

It was way beyond what you could find in mainstream media, and it opened my mind a lot. I started learning guitar licks from Brent Mason and Paul Gilbert at the same time. That sort of eclecticism remained in me, and still does.

I played in a lot of underground bands until I had the chance to record my first solo album, circa 2004. Haven’t stopped since. 

How would you describe your sound, and how has it evolved since you first started?

Some say my music is classic rock. I believe they’re wrong. I sing melodies in a very, say, powerpop way but the instruments work in a much less conventional way. I play lead guitar stuff as I sing, and there are many layers. The bass is often melodically busy, and the drums sing a bit. 
It’s weird because in a way, my latest album sounds a lot like my earlier work, but if I were to record those songs again today. This time, I put a lot of focus on melody and my voice. Guitars took a step down for this one, but I still managed to throw in some ideas that I found interesting.

Who or what have been some of your biggest influences, musically and beyond?

Musically, it’s very eclectic. Mark Knopfler was and is a huge influence, as well as Freddie Mercury. Country music played a huge role in my formative years, and it shows in this album. I could keep naming names forever.

But perhaps the most influential people for me aren’t artists. They’re special, yet regular people. For instance, someone that told me to go for it when I was in doubt. Someone that spoke about his band like everyone knew it when few did. An illuminate who didn’t care about illuminating everybody else, as that was their path to take.

Those people and situations usually leave a strong impression on me, which later gets translated into music somehow.

What does your songwriting process typically look like – is it a more individual or collaborative effort?

I’ve always written songs alone. It’s a very intimate experience. Sometimes I’m fooling around with the guitar and think that a riff or lick could be the beginning of a song. I immediately record it and take it from there.

Other times, I feel the urge to write lyrics. You probably heard this a lot, and it’s true: words come alone, effortlessly, as if I were in a trance state. I try then to sing a melody and guess a possible harmony for it. 

Tell me about Son Of The Sun; what are the core themes you were dealing with on the record?

I think it deals with human existence from various angles. While my lyrics have always been introspective, it’s like I went one step further here. Sometimes the message is really explicit, like “I have a need I cannot hide, can’t explain the reason why” and other times it’s more subtle or allegorical. 

However, if you don’t dig deep into the lyrics, it comes off as thoughts and tales from love, loss, success, defeat. Originally, I was going to name it “I believe in Hollywood” but in the end, Son of the Sun was more appropriate. It’s direct yet ambiguous enough, much like the lyrical content.

What are the biggest differences you’ve noticed between South America and Europe in terms of the crowds?

First of all, there’s a myth going on about people in South or Latin America being warmer in live events than in Europe. People in Europe cheer, clap, and sing along just like in Latin America. Sure, they can be a bit more effusive back there but not that much.

For me, it’s the little things. For instance, I’ve been approached after shows to be congratulated and by people seeking some one-on-one talk. That’s not so common in Latin America. I had people telling me they were moved by my performance, including colleagues. That almost never happened to me in Latin America.
However, I did notice that it’s sometimes harder here for people to become involved with the show. It depends on the type of event. For instance, if it’s a festival and there’s food, you’ll have an uphill battle for people’s attention. That doesn't happen much in Latin America, people always pay attention to the artists.

How do you approach experimenting with new sounds or ideas when creating music?

It’s mostly a directive I take and make myself comply with it. Because I’m a musical producer too, I often find myself coming up with novel ideas for other artists, so why not for myself? It’s actually pretty weird because when the impulse to release new music comes, it’s often because I want to try something new.

For instance, in my previous album “Something Strange Happened Here” I wanted to incorporate more strings and brass. I analyzed a lot of music until I finally understood how they could fit. With this album I thought, "How can I make it easy to listen but hide layers of complexity that don’t bother?” 

One example is the song “Let’s Meet Where the Clouds Are Made”. The chorus’ guitar is one of the most difficult things I ever had to sing and play at the same time, but you wouldn’t notice it unless you pay close attention to it.

What’s been one of the most memorable moments in your journey so far?

It’s difficult to pick just one, but something that made me really happy was playing in a full house and hearing the audience sing my song’s chorus with me. It made me feel alive, and that the work you do means something.

The first time I went abroad for my music was also a very special moment. I was a bit afraid and felt an enormous responsibility on my shoulders. I felt insignificant, as if I was too small for the thing itself. It was an important learning experience for me.

How do you prepare for live shows, and what do you aim to bring to your performances?

Some time ago I would get pretty anxious, you know, pacing back and forth until it was time to leave. I didn’t eat, I didn’t think about anything else. It was tiring and it took a toll on me. At some point I managed to say “screw this” and went the opposite way. I just chilled until it was time to go. That’s where I’m at today. 

I take it easy, perhaps go through some bits of the program if I have the time, and have as much fun as I can with other things. I try to take my mind away from it until I’m there. And I really try to deliver once I’m there.

My sole purpose for making music is for people to resonate emotionally with the music. I try to evoke that in my live shows from different angles. It’s often an energetic performance as I tend to move around a lot, and I also try to make the audience part of it by interacting with them.

How do you balance creative expression with staying connected to your audience?

Great question! For many it’s like a Jekyll and Mr Hyde situation, like, do you unleash your inner beast, often risking widespread indifference, or do you play nice? I’m happy to say that I never gave a damn. I always did things however I wanted, and happily paid the price for it. Later on, for some strange reason, the things I did started to be more appealing for others. I just kept going on that road.

What do you hope listeners take away from your work?

I hope they can take the emotional message at the core of the music and do something with it. Heal, dream, connect, whatever it is that it’s telling you. That’s my true purpose behind all this. Don’t delve too much into the words, take them together with music as a sole package.

What does the future hold for you – any plans or goals you’re excited about?

These are very exciting times for me. The album is getting traction, and the music video for Keep Them Waiting was well-received. I’m now working hard on social media and planning shows for next year. I’m also developing a conceptual show for this album but that’s still under wraps.