The music of John Grant is as difficult to pigeonhole as the singer himself. By turns tender and vicious, autobiographical and sociologically astute, Grant is an artist who creates from a place of deep authenticity. Born in Michigan but living in Iceland, his winding journey included stints in NYC and a lengthy tenure in indie rock act The Czars.
Since 2010, Grant has released gloriously melodic solo albums rich in synthesizer melancholy and detailed snapshots of a life examined. Along the way, he’s accumulated devoted fans and famous collaborators like Sinéad O’Connor, Goldfrapp, and Beth Orton. On the eve of a performance at Meltdown Festival, Grant discusses his adopted home, the Grace Jones-curated event, and playing the Roland Facet.
A Unique Terrain
What makes Iceland such a hub for artists?
I’ve been living in Iceland for about 11 years now, and I just got citizenship. Iceland is a fascinating landscape. It looks like Hawaii stripped of trees with that black lava rock and beautiful neon green moss covering everything. The way the moss grows is protected by law because it takes hundreds of years.
Of course, Iceland belongs to Bjork, as far as I’m concerned. And Sigur Ros. It was impressive that the country was able to have another supergroup. Iceland is special. It’s got a vibe that adds to whatever you’ve got going on. Iceland encourages the arts as soon as you come out of the womb. But to be quite honest, I feel like I can create anywhere because I am interested in the minutia of everyday life.
"Iceland is special. But to be quite honest, I feel like I can create anywhere because I am interested in the minutia of everyday life."
Artistic Inspiration
What are some of your creative influences?
I’m interested in light and shadows, the chaos of the everyday. I love so many different things and so many different genres. I grew up playing classical piano and loved ragtime as well as Aphex Twin and all the new romantic and new wave stuff.
England is the center of the universe for me, especially Sheffield because of Cabaret Voltaire, Human League, and Pulp. Japan too, because of Tomita and Yellow Magic Orchestra. Devo is huge for me. Their lyrics aren’t deep for the sake of being deep, but they talk about the realities of American life and the lies of the system.
"Being chosen by Grace Jones to play at her Meltdown Festival is humbling. She's one of my musical heroes."
How does it feel to be part of the Meltdown Festival curated by the iconic Grace Jones?
Being chosen by Grace Jones to play at her Meltdown Festival—it’s humbling, and I can’t believe it. It’s crazy because she is one of the greatest performers period. She’s one of my musical heroes and the best she’s ever been. Seeing her at the Queen’s Jubilee singing “Slave to the Rhythm” while doing the Hula-Hoop. Her spirit, sense of humor, the way she commands the stage, and iconic voice, which is so strong and beautiful.
The Facet
What are your impressions of the Roland Facet, and what does it bring to your set?
Playing the piano is the centerpiece of what I do on stage and the center of my creativity, combined with electronics. So being able to play the Facet onstage tonight at Grace Jones Meltdown Festival is an honor. I feel like it’ll distract from the fact that I don’t have great style. The Facet will be soaking up all the light on stage because it’s so beautiful. It looks like something from the alien opera in The Fifth Element.
Roland pianos sound and feel like pianos. That’s why I enjoy playing them so much. I don’t want to get thrown out of the creative process by feeling like I’m not playing or hearing what I think I should be.
"The Facet will be soaking up all the light on stage because it's so beautiful. It looks like something from the alien opera in The Fifth Element."
Synthesizer Love
What role did Roland gear play in recording Boy from Michigan?
This is the first record I recorded in my studio in Iceland where I have a beautiful collection of synthesizers. At the core of that collection, I have some iconic Roland synths. I have the JUNO-106 and a JUNO-60. I use the JUNO-106 on pretty much everything, and I think I always will because there’s nothing like it. Nothing has the warmth that thing has. It’s truly incredible.
I used the VP-770 string machine and vocoder. Those were the two main ones. And I also used the JUPITER-8 soft synth because some of the basses on that are insane.
Shifting Plans
How did the pandemic change your touring plans?
The pandemic had a huge effect on my ability to go out and play music. I recorded Boy from Michigan during the pandemic, and I’m lucky most of my crew is still together because everybody and their dog made ten albums during the pandemic. The live market is oversaturated with people trying to get dates done. I wasn’t able to go to the States for this album, which bothers me because there are a lot of political statements on the record.
In some ways, I’m back at zero, starting over again. But I feel lucky I’m alive. I can walk, I can see. I think the pandemic made a lot of us think about stuff like that. You get some perspective.
"In some ways, I'm starting over again. But I feel lucky I'm alive. I can walk, I can see. You get some perspective."
Godzilla Forever
Based on the figurines sitting on the Facet, you make it clear you’re a Godzilla fan.
It’s always going to be Godzilla for me. A record company came out with a vinyl box set with 18 original Toho Godzilla movie scores. You cannot believe how beautifully and lovingly done it is. Marbled vinyl, custom movie artwork, and a beautiful box illustrated by the same person. It’s breathtaking. There’s even a Godzilla slipmat for your turntable. If you’re a Godzilla fan—and of course you are—you’re going to run out and spend it on this beautiful box set. I did, and I haven’t looked back.
