Miller Blue Looks Ahead to the Future (Interview)

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Miller Blue is certainly keeping himself busy. While he has recently released ‘The Orchestral Sessions‘, a special project that pays homage to his older music, the alt-R’n’B artist has also made the ‘Pathways‘ EP with their partner Rastreep, and there is even more to come. The former two projects provide different sides and feelings from this artist, and we’re sure the new material will do the same.

Inspired by his love of Studio Ghibli, ‘The Orchestral Sessions‘ brings fresh life to his older music and a new perspective. It signs off an era in Blue’s music, whilst not feeling like most compilation or live recordings you see.

Back in the summer, we have a deep dive into how working with others have brought new sides to his music, the importance of film scores, and whether there is a future for human creation in the age of AI. Certainly, there is plenty to decipher here, let us delve right into it…

Having released ‘The Orchestral Sessions‘, what was the thought process behind the specific tracks you chose?

When trying to choose those songs that were going to be on the record, I was trying to choose songs that I thought emotionally could have the biggest shift from its original style. For example, ‘House Of Mine‘ was a very hip-hop driven tune on the drums side of things, and I am rapping in it. I was intrigued to see what could be done with that one when brought into a world that wouldn’t necessarily include rap, usually.

You worked on this project with Sare Havlicek. What did this producer bring to the table, and what about their style of production made the experience unique compared to other producers?

The thing I found most interesting (about) working with Sare was (his) communication style. When it came to approaching the textures and the sonics of the recordings, we spent a long time discussing what my vision was for that world. I was drawing a lot from Studio Ghibli; I wanted to create this dreamy, cinematic sphere that is somewhat reflective.

Then, we transformed little moments that I described using things we could find in the studio. We were trying to find the right snare drum, but we just couldn’t get it. We ended up using this odd-shaped object in the room and hitting it in different ways. It ended up sounding perfect for what we were talking about. I enjoyed the experimental aspect of him being open to ideas that weren’t what I usually do.

So he brought a different side to you?

Yeah. I’ve never worked with strings before, and I was going in blind. It was like (the) first day of school in a weird way because I am so used to my approach. It was quite refreshing that I didn’t have any expectations on what it was going to be. That, combined with him being open to discuss my vision, was really natural.

It is good that he took you out of your comfort zone and allowed you to expand your own musical palette.

I felt that during the moment and remember thinking, ‘I feel uncomfortable, but it’s good.’. That is always good; it leads to growth.

A lot of good music comes from experimentation and pushing yourself out of your comfort zone.

And it can be easy to fall into that routine where you know what you are doing and have your certain ways of working.

You’ve had a busy year with this project, the ‘Pathways‘ EP with Rastreep; I saw you’ve got a new album on the way. What has made this year so productive in terms of creating different styles of projects?

It wasn’t supposed to be. My main focus was (to) get the debut album finished and mixed, ready to start releasing. I did record this orchestral record last year, so I had that ready to go.

The Sensuré project came out of nowhere. It is actually a project with my partner. I was living in Marseille for a while, which is where she is from. I was recording bits from my album, and she came in one day and was like, ‘Do you want to make a tune?’. Bearing in mind, I didn’t know she made music or was into the idea of it. I was somewhat skeptical. Within an hour, our influences and taste really locked in well, and we had this cool tune which ended up being ‘On & On‘. I was in a bit of shock, like this could be something cool.

We ended up continuing that process of natural recording together, and it ended up being this project. It came out of the blue, but it helped move the album forward because it gave me space to breathe, step away, and come back. We’ve now finished the second EP, so that has been welcoming and unexpected.

Even more new music than I just said. I listened to that project beforehand, and it is quite summery, but there is a bit of energy there and chilled out vibes to it. It is interesting that you didn’t know this person so close to you was musically inclined.

Absolutely, and exactly what you just described, where there is some energy, but also a chilledness. That is basically me and her. She is so energetic, and I’m somewhat chill a lot of the time. She inspires these higher tempos and more interesting sides, that I never really explored. That was sick to do that.

Is there a different feeling to making music with your partner?

I haven’t really thought about it before. My instinct on the response is it is definitely different. There is less pressure because we are not doing it with the idea of trying to get somewhere with it. We enjoy each other’s company, love music, and are just trying to enjoy that. It allows for freedom of expression, which you maybe don’t get with a stranger. At the same time, you get the polar of that which is you know each other so well that there are certain things that you may clash on in certain moments.

It is something beautiful and something I wanted to have with a partner. I’ve never really been able to have that before; I feel very lucky. It brings us closer together.

Does the ‘Orchestral Sessions‘ feel like the end of a chapter?

Definitely. It has been released at such a weird point in the best way possible. I’m transitioning from EPs and trying to understand my sound, and draw influences and work that out, to what feels like a concrete identity in the album. Listening back to it feels like a reflection on all that has come and a little breathing space in between, and what is going to come. It feels like a turning point for whatever that will end up being.

This project was inspired by your love of Studio Ghibli films. Were there any specific films you took inspiration from?

The one I watched the most growing up was ‘Princess Mononoke‘. Watching it as an adult is a different watch entirely. I didn’t understand the storyline and the depth, but as a child, I still got this magical sense of wonder that it brought through colours and the soundscape. Now, as an adult, I look at that style of film and find it so interesting how, with colour and music, you can bring out certain emotions in a viewer.

(It was the) same with when I was recording demo versions for the debut album. I was watching a lot of these films just as a background palate: ‘Howl’s Moving Castle‘; ‘Princess Mononoke‘. It was always looping at the back of my mind when trying to listen to sounds. I wanted to take people to one of those worlds that they do so well visually, but through audio.

I’m no Studio Ghibli expert; the only one of their films I have seen is Spirited Away. From what I remember of that film, it is the art style, the music, but also a sense of wonder and imagination.

Curiosity and imagination, absolutely. All things are possible because they break the laws of nature, that don’t necessarily apply in real life. It is a form of escapism, but it also allows you to expand what you think to be possible, which I think is an important part of music and art. To draw those two together is quite cool.

You were previously inspired by the films of Wong Kar-wai, as well. What are your favourite film soundtracks?

My initial gut response is the (most) baited answer I could give: ‘Interstellar‘. The soundtrack forces me to cry, and I love and hate that about it. The pacing throughout the film is so well done.

I find film soundtracks fascinating. I studied film at college and university, and one thing we did at college was we had to replace film soundtracks with our own version of it. We’d put a more comedic song (in) a horror film; it made me realise how much (what) we feel in film comes from the sound. It is probably 70%, if not more.

Most of my favourite films, although I don’t notice the soundtrack, it is the soundtrack that is making me love it. I love the soundtrack in ‘Cowboy Bebop‘, which is an anime series. (It is) very juxtaposed to what is happening on screen, it’s bebop jazz with these bounty hunters in space. It’s this weird amalgamation of sound and visual, and I have always found that a cool combination.

Do you have any favourite film soundtracks?

I’m a big Star Wars fan, and the music is great. John Williams is one of the great composers, so no real shock there. You’ve mentioned Hans Zimmer’s work, and whether in ‘The Dark Knight‘ trilogy or other Christopher Nolan films, music is always used well in his films. Also, ‘Dunkirk‘ and ‘Tenet‘. I have not watched it, but I imagine ‘Inception‘, as well.

I’d say a film I watched recently where music was used very well, was ‘The Substance‘. I can’t remember who did the soundtrack (Raffertie); the opening theme is this underground, intense piece of techno music. The music in that film is used well to create tension and unease, which is what the film is trying to do.

I also love game soundtracks like ‘The Last Of Us‘, ‘Uncharted‘, or ‘Cyberpunk 2077‘.

‘Halo‘ was always a great soundtrack back in the day. I remember that ominous choir that was always hitting on the intro screen. That always put me in a place ready to get involved with the story. But, John Williams (I forgot about Star Wars), that is a perfect example of a music composer. The subtle motives that are brought in to show evil appearing is great.

Are you planning anything from a live perspective for this project?

We’ve been trying to set up a gig at a church with an orchestra. It hasn’t quite come to fruition yet, so there is no certainty on that. I would love to. If you could get the acoustics of a church or place made for that kind of music, I would love to be able to perform (in that setting) for people. Even in the future, I don’t think I’d record songs orchestrally again, but I would love to do it live.

One thing I found interesting was some of your older music videos like, ‘Love, Trust, Patience‘, where you used AI. Do you think there is a way where AI can be implemented where it doesn’t completely take away the human creation?

It is such a nuanced discussion with AI in general. I’ve gone back and forth on both sides of it. I have used it myself, and it has been a great tool. One thing it is great at and will get even better at is becoming an amazing way to go from idea to eventuality as fast as possible. Let us say I have this idea for a music video, but I don’t know how to vocalise it (in) a way people can understand. I can take that dream idea and show it visually. It is a tool in that aspect.

I have also seen people that maybe don’t have the funds or backing to animate a short film, that they have a great script/idea for. They are able to bring that to life in a beautiful way that is still creative. It is amazing for that aspect.

But, with big companies and profits, the nature of capitalism and how the systems run almost naturally if there is a choice between paying an AI system pennies or paying a human hundreds or thousands of pounds, top dogs of companies are going to opt for AI agents. The difficult truth is (that) there will be a large amount of creative jobs getting replaced. Anything you can repeat as a process will be wiped.

But, from that, we will have a thirst and a need for that human aspect. We are very collaborative by nature; social creatures. We’ll call for that, and that might then cause a creative revolution of sorts. I couldn’t say (with) any sort of certainty; I think it’ll get worse before it gets better in that regard.

I was on Twitter (X) earlier. Someone was saying here is a list Microsoft produced of the jobs that won’t be necessary. I saw journalism was on there, and I was a bit like, ‘Oh dear’.

From a music perspective, I’m worried about what it will do for creativity and that human aspect. What they have taken advantage of is that some mainstream artists get to a point of comfort, where they rinse and repeat. There is low effort there, and it will be very easy for AI to replicate that.

These artists selling off their catalogue may lead to companies taking the voice and the words, and putting them into a machine.

It is all new territory, I think there will be a period of years where it is a free-for-all. We won’t realise the repercussions of it till it’s a bit too late. I have seen a lot of AI bands go viral recently. In that pop world, where things can be replicated more easily, it will be used. Hopefully, it will create a desire for things more organic that are harder to replicate. The more raw and unpolished things that humans do so well. But who am I to say? No one really knows how AI works internally. It is something to observe and hope for the best. (laughs)

It feels like, as people in general, we are going to have to go from being hyper-specific at what we are good at to being adaptable and good at many things. If the jobs go in the way that are being discussed, there is going to have to be some UBI (Universal Basic Income) that gets implemented. If that is the case, it may sound awful at the start, but it could leave a lot of room and time for people to follow and pursue passions that there wasn’t time for before. That is my hopeful side speaking.

The other side is (that) we are going to get more into consuming and becoming these plugs for adverts that we get sapped for our attention and intention. It is the Star Wars thing; that battle of good and evil. We don’t know which way it is going to go, but we are going to have to ride it, mate.

It does feel like that. I’ve discussed Universal Basic Income with a friend. It would have to happen if that were the case. But, the cynic in me is like, ‘Do the billionaires want to give free money away? I dunno. Does the government that is currently cutting benefits want to give free money away? I dunno.’.

There is a theory of techno-feudalism. Feudalism was in the medieval era where the peasants and workers would work in exchange for living on the land. Techno-feudalism is saying our social media pages, our online presence, would be the currency of the post-neo-liberalism/capitalism era.

It is a weird one, that. It talks about how the government will have no power, Facebook and all these people will have cloud servers, and we’ll be paying subscriptions for everything. I read a book on techno-feudalism, and it terrified me. I was like, ‘I can’t do this.’.

When I try to explain to people, I wish I were blissfully unaware.

It is way easier, bro. I grew up in a small village in kind of the north of England, it is the Midlands really. There is such a blissful ignorance that I am jealous of. The more you allow yourself into any awareness of what is going on, (the more) you have to take on the burden of that understanding. Ultimately, you end up suffering more than someone that doesn’t do that. But, you also gain the benefit of it. As far as you go down because of it, you also go far up.

It can turn to nihilism if you’re not careful. I’ve had moments where I have become nihilistic and depressed because of that awareness. Anyone who has curiosity it can naturally lead to that, and that is quite a daunting thought.

I am hopeful for the future still. As long as we have got purpose in our lives in terms of being use to others, then we can find joy and purpose in moments. You don’t really have to think too far ahead.

Who are some up-and-coming artists you’d like to shout out?

The person I would reference (from) the last three or four years is Dijon, who (has) had cuts on the new (Justin) Bieber album. It is cool to see music of that raw, honest perspective has got that sort of attention. Same with Mk.gee.

I’ve got to shout-out my boy Lo5ive from Manchester, (he) makes gospel, house, and jungle music; great producer. I’ve been so zoned in on this album that I have not been listening to that much music in the last few months. Jon Bellion, I have been listening to a lot. He is a really good songwriter. Also, this guy Sid Sriram has this album called ‘Sidharth‘. The songwriting and production on that is unreal. He did some with Bon Iver.

I lean a lot towards these very raw and emotional vocals with gospel/hip-hop elements. I find that calming at the moment.

Miller Blue is on Instagram and TikTok. Stream his music below or buy ‘The Orchestral Sessions‘ here. Read more interviews, as well.

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