As I delve into the captivating journey of Moses Sumney, a multi-talented artist hailing from the vibrant scene of independent label Jagjaguwar, I find myself utterly mesmerized by his relentless pursuit of creativity and versatility. The man wears many hats – musician, actor, fashion entrepreneur, and even a potential action figure with hidden depths!
In a terraced garden overlooking the Sunset Strip, situated atop a mid-century house nestled in the hills, Moses Sumney is readying for an evening of industry connections, characterized by intimacy. The day had been blazingly hot, but now the sun was gradually sinking, casting a cool breeze over the shaded upstairs gravel patio where the stage for his performance was being arranged. With his tall frame, Sumney stood out in loose black trousers, a black vest, sunglasses, and multiple gold necklaces. He was rehearsing tracks from his forthcoming EP, “Sophcore,” beginning with the melodic “I’m Better (I’m Bad).” His band, though newly formed (some members had only just met and practiced with Sumney on that very day), seemed seasoned as they honed their skills in preparation. As they fine-tuned, Sumney offered suggestions such as “More guitar” or “Don’t forget, we don’t have drums.” Saxophonist Alden Hellmuth followed his instructions gently by playing delicate arpeggios.
The mic stand holds three mics, one running through an Auto-Tune filter that makes Sumney sound tenderly distorted. It is adorned with a large bouquet of hydrangeas and wildflowers, as though his voice were coaxing the flowers to open. The audience, made up of music supervisors, eventually arrives for what’s known as a showcase. This is where Sumney will debut his new material in the hope that it might find placement in film and TV shows, adding to his list of more than 20 credits. He lightly roasts the crowd, asking if people finished cutting their trailers prior to the show and joking about clearing “needle drops.” He then introduces a song by suggesting what kind of movie it might soundtrack — one with a plot of childhood sweethearts reunited — and it slowly becomes clear that he’s describing Celine Song’s Past Lives.
He takes a thoughtful breath and delves into the EP’s debut single, “Vintage.” His voice is as soothing as an old vinyl record. He sings, “I recall the sweetness of your nectar / Now you cast a spectral shadow upon me,” followed by, “I’ll rewind to 1993 / When I can manipulate time with my hands.” This song is a heartfelt tribute to an old love, as comforting as a well-loved jacket. As the sun sets, it casts its glow over a Netflix billboard displaying the words FAVORITE 3 WORDS: STARRING NICOLE KIDMAN.
32-year-old Sumney is renowned for his music that embodies subtle elegance, a reputation he’s earned over a decade. His early works, such as his critically acclaimed debut album “Aromanticism“, made him a darling of the indie music blog scene and an active collaborator across various genres (with notable collaborations including Skrillex, Bon Iver, Bruce Hornsby, Sufjan Stevens, James Blake, and Metro Boomin). However, for several years, he’s spent periods secluded in what he refers to as a monastic lifestyle in Asheville, North Carolina. This included living alone in a forest cabin for a month without internet or phone service. Following a fruitful writing stint at the cabin for his first EP, “Mid-City Island“, released in 2014, he moved there permanently, drawn by his deep affection for folk music, Henry David Thoreau’s “Walden“, and what he terms as an “energetic response of my spirit to being among the mountains.”
Last year, Sumney began to sense a void. The concept of Sophcore emerged from his recognition that while he inherently leaned towards solitude – as a child of six, a doctor advised his mother that he needed more social interaction – he yearned for something he couldn’t find alone in the woods: meaningful connections. As a storyteller, he emphasizes, understanding people and interacting with them is crucial. One can’t merely create fictional stories in isolation; one needs to experience various human emotions such as disappointment, heartbreak, joy, and boredom around others. To reacquaint himself with social life, he returned to bustling cities like New York, where he now resides part-time, despite finding it challenging to adapt to constant phone usage again. Sophcore is based on the quest for profound relationships – with friends, partners, and music.
In this new show, Sumney humorously refers to it as the birth of his fresh musical persona. Previously, his work delved into the more obscure aspects of his musical passions; however, “Sophcore,” a witty nod towards soft-core pornography, marks a deliberate shift towards creating R&B music. He draws inspiration for this project from Janet Jackson, often referred to as the matriarch of songs that express longing and desire while also being danceable, and Beyoncé’s “Renaissance,” with its themes of collective euphoria. The song “Vintage” is a nod to 1993, embodying a sensuality he feels is lacking in today’s music scene.
After departing from the mountains, Sumney formulated a strategy. His upcoming album, previewed by this EP, would echo the past. As he explains, “The essence of R&B has always been love songs and ‘Come Back to Me’ ballads.” He notes that the ’90s and early 2000s were the golden age for men expressing their longing and vulnerability. He laments the disappearance of this softness in modern music, which he believes has become increasingly explicit and emotionally detached. Sumney aims to revert R&B back to an era where artists like Tyrese could openly weep in a shower, or Usher could confess his mistakes and plead for forgiveness. To illustrate his point, he shares a TikTok video of himself crying solemnly in various public locations, set to a mix of Beach House’s “Space Song” and the viral hit “Nasty,” by Tinashe.
The essence of his career lies in openness and emotional expression, which he embraces wholeheartedly. He’s comfortable with being sensitive, often moved to tears and creating melancholic music. This vulnerability, for him, is a form of resistance. However, when creating this latest work, he realized that such emotional expression is not unique; artists like James Brown and Otis Redding have done it before.
As a seasoned concert-goer who has witnessed countless performances, I must say that the unique blend of humor and honesty displayed by this artist during his performance was truly captivating. His ability to connect with the audience through lighthearted banter and personal anecdotes made for an engaging experience that felt more like a conversation between friends than a traditional concert.
Grew up in both SoCal’s Inland Empire and Accra, with pastor parents who had a collection of gospel and reggae CDs at home. However, it wasn’t until my teenage years that I truly discovered music on my own. You see, my father wasn’t the type to introduce me to the likes of Aretha Franklin, James Brown, or even African greats like King Sunny Adé or Miriam Makeba. In fact, there was no exposure to such musical influences during my childhood. It wasn’t until I started exploring music online that I began to cultivate my own taste. By the age of 16, I stumbled upon Ella Fitzgerald on YouTube. That discovery transformed my life; it was as if I had found something profound and deeper.
He recalls transitioning from living in Stevie Wonder’s musical world to that of Jeff Buckley and Radiohead. Listening to their unique voices sparked a desire within him to create music of his own. “They’re my kin, they’re my extended family,” he reflects. Sumney’s musical lineage expanded when he pursued poetry and creative writing at UCLA, with The Cocteau Twins and Joni Mitchell serving as significant foundations. His admiration for Björk runs deep. As he prepared to compose his next album, Jill Scott and Van Hunt were among the artists he listened to. His ideal collaborators currently include Clairo, Alex G, and Victoria Monét, along with “another artist who’s been in the industry for over a decade.” After releasing an R&B album, Sumney plans to draw inspiration from folk music for his next project.
After graduating from college, Sumney chose to stay in L.A., where he persisted with his passion for writing and performing music. Reflecting on the past, he admits, “I could have been a major pop star a decade ago, but I wasn’t prepared at that time.” Many individuals were eager to secure him big record deals and mold him into a sex symbol within the pop-R&B scene. However, he felt torn, as he was struggling with sadness and questioned how he could reconcile his emotional state with such a high-profile career path. In essence, he wasn’t ready for that level of fame and success just yet.
Similar to many musicians in the modern streaming industry, Sumney must juggle multiple roles to sustain his career as an artist. His initial albums were released by Jagjaguwar, but since 2021, he has been independently publishing music through his own label, Tuntum. He’s also financing small-scale Sophcore concerts, even selling some of his personal items to fans to boost the “Vintage” brand. Since the release of his second album in 2020, ‘Græ’, Sumney has also ventured into Hollywood. Last year, he made his acting debut in HBO’s portrayal of the music business, ‘The Idol’. This summer, alongside releasing Sophcore, he takes on a crucial role in his first feature film, ‘MaXXXine’, the third installment of A24’s successful horror trilogy directed by Ti West. Sumney has previously been involved in licensing his songs for soundtracks, and with people suggesting he should act, he decided to give it a try a few years ago.
Through Jeremy O. Harris, his friend, he learned about HBO’s “Euphoria” before its release, and Sumney resonated deeply with the intense emotional themes. In 2021, after attending acting classes online, he auditioned for the role of Elliot in the second season, which eventually went to Dominic Fike. However, he advanced further in the audition process than anticipated, catching the attention of creator Sam Levinson. Levinson later incorporated Sumney’s song “Me in 20 Years” into a crucial scene in an episode. Soon after, Levinson offered him a role in “The Idol,” where he portrayed Izaak, a cult member led by Abel “the Weeknd” Tesfaye’s character, Tedros. On the show, Sumney sang and wooed Leia, played by Rachel Sennott. While filming “The Idol,” he received an audition for “MaXXXine.”
West and Sumney quickly formed a connection. The director, who had previously seen Sumney perform at the Hollywood Bowl, expressed that they enjoyed conversing with him, stating this is usually how they choose their cast members. Sumney possessed a distinctive aura, both intriguing to observe and not overly flashy, leading West to believe he could keep pace with star Mia Goth, who portrays Maxine Minx in the film. West describes Sumney as a “one-of-a-kind” individual. Upon hearing about the role, Sumney recalled, “This is intriguing… a horror movie.” Given his upbringing in a religious household, he wasn’t overly familiar with the horror genre. To prepare, West provided him with a list of films to watch, including Brian De Palma’s “Body Double”. In the film “MaXXXine”, Sumney convincingly portrays Leon, an L.A. skater punk who is Maxine’s closest friend. His scenes exude a natural warmth that makes you hope Leon will survive.
Transitioning into acting has given Sumney fresh opportunities. He’s keen on collaborating with writer-director Cord Jefferson, who is behind the film “American Fiction” and appreciates Sumney’s work. He aspires to write and direct more himself; he directed the music video for “Vintage,” featuring a striking rain sequence reminiscent of ’90s R&B videos and an unforgettable dance break. His passion lies in movies that depict ordinary people grappling with emotional turmoil. However, he’s open to exploring various themes. As he puts it, “I’d love to be an action figure who’s secretly just really sad and emotional – a toy soldier kind of person.” He’s being selective about acting roles, aiming to maintain a harmonious blend between his film and music careers. “I’m eager to act more,” he says, “but not so much that I’ll take on anything. Fortunately, I have another career to focus on as well.”
At dusk, the sky transforms into a shade of cornflower blue above Hollywood, and Sumney delivers an emotional rendition of “Who Knows Where the Time Goes?” as he concludes the showcase. He admires both the Sandy Denny original with Fairport Convention and Nina Simone’s cover. The song expresses the transient charm of nature while maintaining a sense of optimism. As if on the verge of tears, he sings, “And then the birds return in springtime, I harbor no fear of time.” His voice ascends into falsetto during the chorus. With the twinkling of the backyard fairy lights, Sumney’s voice seems to rise higher and higher into the increasingly dark sky.
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2024-08-01 14:54