Now re-emerging with a new album in tow, the L. Jordan has retained a strong connection to the Black musical styles that have developed in her birthplace and that is highly evident on her new album.
But it is with Toronto that she has a special affinity. So it does mean a lot to me. I want the challenge. I need it. The interview, condensed and edited for clarity, is below. For this specific project, I made it a mission to basically dismiss myself from a lot of what was going on currently in the music industry. For me, it was not about playing things over and over again. I really wanted to create a space and a bit of silence in my mind, so that I could channel a lot of the music that I listened to growing up as an adolescent.
Moving from the UK, at the age of four, I was fairly young. But my brother, he was ten years older than me. But I know the songs. I know the chord progressions. I know the harmonies, I know the melodies. And at that point is when I made the decision to kind of take music seriously as a young child. I just want to hear things that challenge me, as well in music. KLSH is obviously able to connect with you musically in terms of what you want.
And he is better off telling his story. But he comes also from a background, as an adolescent, of being suddenly inspired by certain things that were being played and a lot of gospel music, like Fred Hammond, Kiki Sheard, Kim Burrell, down to The Neptunes.
So he was in that whole forum, he was a part of those guys, he was in the studio with them. The way we found each other was through YouTube; I was posting some, you know, covers of me singing. And he was looking for an artist at the time. We were fairly young, like in our early twenties, you know, coming out of our teens and just being experimental.
But I remember, from the age of 18 to 20, I was on the hunt for production. I knew I wanted to do this. And I was experimenting with a couple of producers from [Toronto] as well. The type of artist who inspires others towards originality in a world where everything feels photoshopped. Someone not afraid to search, to go deeper, to discover new directions, to create change in any and all forms.
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How has the move influenced your sound? I just feel that being immersed in all of these diverse cultures explains why I'm able to adapt to different soundscapes so effortlessly. The past year has of course been different for a multitude of reasons, and the live music scene for instance has had to adapt in such a huge way. How have you found the adaption to more virtual performances?
Human interaction is priceless and creates a beautiful dynamic to performances for both the fans and the artist, but we just have to make it work until we have that option again. What are your hopes or plans for the future? My plans are to keep making fire music, big money and living my best life. Polly Neill.
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