*Carl Schilde.* Photo courtesy of Colin Medley

For each of us, life seems to lead to experiences unexpected; it can shift us from one location or another, however much that may or may not be “part of the plan”. EUROPOP, the debut solo project from Toronto-based, Berlin-born Carl Schilde, is a subversion of the cumulative expectation of “making it” as we’ve been conditioned to think. Rather than focusing on the prospect and ruminating on what could’ve been, its tone seems to bask in the fantasy poolside in the Laurel Canyon heat, already at terms with what is.

The album was recorded following a relocation to Los Angeles, California, which eventually culminated in what Schilde describes as a “disappointing experience”. It’s also a love letter to the lost records and projects of the 70s, such as overlooked post-Pet Sounds projects by The Beach Boys and the sounds of country and folk demos.

“I had a bit of a music burnout and moved to Toronto to be with my wife. I took a year to work at a brewery and not focus on music, just to have that distance,” says Schilde. “I was feeling out of time and out of place myself, so I projected that into the music by sounding like some demo from ’78 that never got heard.”

EUROPOP’s mood is dream-like, woozy and thick with atmosphere, featuring deep baritone vocals by Schilde recorded in their Toronto basement. In tone and sound, the record could be compared to contemporary artists such as the late Leonard Cohen, or sonically similar to Timber Timbre’s 2014 release Hot Dreams, which was also reminiscent of heyday 60s/70s Hollywood and the spaghetti Western soundtracks of the time by Italian composers.

The album kicks off with “Top 40”, the lead single from the album. Croons from a steel lap guitar wax and wane against a constellation of synthesizer notes in the background mix. Schilde’s lyrics seem to speak to an unnamed friend, ruminating on success and its ethereal nature:“We heard your record did well in Germany / And what’s worked there must surely work here / Let’s see if it melts in the California heat / Like a candy in a wrapper / or an apple out of reach” .

‘“It’s definitely about disappointment and dealing with that in an ironic way,” says Schilde. “It’s an elevated version of myself and it makes fun of that ego, of wanting to be successful.”

During our interview, Schilde and I discussed his curiosity for “pop music trickery”, referencing the later releases by Brian Wilson and The Beach Boys, as well as Italian soft rock records. The album’s second track, curiously titled “John Stamos”, is a deep-cut Beach Boys reference, as the Full House actor is actually a current touring member of the reformed Beach Boys. “I’m a big Beach Boys and 70s music fan. Their sound fascinates me; [it’s] rooted in 50s doo-wop harmonies.”

EUROPOP is Schilde’s first time singing lead on a project and producing their own vocals. They remark the greatest challenge they had during the recording process was adapting their production style to fit their own vocal range.

“The process of recording was very intertwined with the writing. You find your zone where a limited voice [range] does work and try to capture spontaneous moments. Everything I have [in my home studio] is set up for spontaneous workflow.”

Schilde is the primary producer of the record, with some assistance from bandmates on backing instruments, and supporting vocals from Schilde’s partner that harmonize with his own.

“Roadworn'' is a great example of Schilde’s ability to layer sounds and stack textures: phased filtered guitar tones harmonize through a cloud of static and feedback. See also “Landline” parts one and two; the latter is an instrumental highlight of the album, featuring well-stacked vocals like one long exhalation that relieves the weight from your shoulders.

“Even two-part harmonies, like Simon and Garfunkel, there’s definitely a magic there,” says Schilde, “I think it can change meaning to the lyrics if there’s another harmony.”

The album does eventually reach cruising altitude in the latter half by the track “Phase”, which brings some welcome grand piano chords and more aggressive drums into the mix before eventually dissipating before the ephemeral ballad track, “The Master Tape”.

Schilde is well aware of the irony of the album’s title, considering the project grew from an experience in and was produced in North America. “It's definitely an ironic title. People talk about how ‘Europop is euro-trash’ … as if to say it's not real music. The record doesn’t sound like a Eurodance record [from the 70s].

Schilde also remarked how audiences and communities perceive musically differently in Europe compared to North Americans. “There’s a different sensibility,” says Schilde. “Living in North America now, I realized the only kind of music I can make is Europop, in a way.

“I’ll always be myself […] even if it doesn’t sound like that.”

EUROPOP

Released on February 4th, 2022 via Fun In The Church

1. Top 40

2. John Stamos

3. Roadworn

4. Soft Dads

5. Landline Pt. I

6. Landline Pt. II

7. Phase

8. The Master Tape

9. Blue Rinse

10. Credits

All tracks written, arranged and produced by Carl Schilde

Vocals, guitars, pianos, synthesizers, bass, percussion & drum machines by Carl Schilde

Additional vocals by Laura Gladwell

Drums by James Yates

Recorded and mixed by Carl Schilde at home in Toronto, Canada

Drums recorded by James Yates at Majetone HQ in Newhaven, UK

Mastered by Dave Cooley at Elysian Masters in Los Angeles, USA

Vinyl cut by Sidney Claire Meyer at Emil Berliner Studios in Berlin, Germany

Artwork design by Sebastian Schäfer

Illustrations by Judith Holzer

Super 8 footage by Carl Schilde

Carl Schilde

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Gabriel Lunn is a writer, multimedia journalist, and pop music enthusiast based out of Victoria, BC. When he isn’t trying to decipher the human condition, he can usually be found going for long runs or collecting vinyl records he really doesn’t need.

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