Donovan Borne on his debut album, Greatest Hits: Vol II

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Pretorian muso Donovan Borne has just released a debut solo album titled Greatest Hits: Vol II. He answers some questions.

Good day, Donovan. How are things?

As good as I guess I should be. #painpillsandwhiskey (smiley face)

As with many musicians who’ve been on the scene for some time, I’d like to ask, why is the debut album coming out only now?

The debut took its time as a result of many factors.  Initially it was as a result of budget, or lack thereof. I didn't want to make an album based on financial debt. After winning some capital, courtesy of a Jägermeister jingle competition, I paid for the album up front and set to work recording at Wolmer Records. My next hindrance then became time, as I was heavily focused on Feed the Wolf then. This was a blessing in disguise. Greatest Hits Vol. II took more than two years to complete, on and off, which turned out great as it gave me room, chronologically, to develop a lot of songs which otherwise would never have made it to the album. Songs that really needed to be there.

I’m hearing some Tom Waits (opening track, “Welcome Home”), some Bowie influences (“Insignificunt”) and some Eddie Vedder (“Belle”) – but I’ll leave it to you to elaborate on which artists’ work has struck you most strongly in terms of what you wanted to explore and extend for your debut delivery and how you view the relationship between the one that influences and the one that is influenced. What does the border between the two look like?

Influence is an inescapable element in songwriting. It will always have a major impact on songwriters. More and more so, as time progresses, as it becomes harder and harder to be truly original and unique. The fact of the matter is, no matter how original you think you are, chances are, somewhere out there someone has done something similar. But this isn't necessarily a bad thing. People progress by reflecting on the past. We just need to find the balance between mimicry and influence. Tom Waits was definitely a major influence in my approach to music (maybe a little too much on the first song). He opened me up to the idea that anything goes. It was a revelation for me. Johnny Cash was another huge influence. He taught me about the power vocalists can yield in their lower register and also about the beauty of hiding dark subtexts and lyrical contents in sweet and unassuming melodies. My latest influence has been Nick Cave. Across the board, I must admit, I've taken the most from him in terms of trusting myself as a singer-songwriter. His work ethic and approach to songwriting, his use of his natural timbre and philosophical approach to the work have been key points in how I work creatively. But there are a myriad of other influences: Dylan, Springsteen, Chris Isaak, Madrugada, Townes van Zandt, Warren Zevon, etc etc. The list goes on and on. I listen to anything from hip hop to blues to swing to bandstand music to ‘50's rock. The funny thing about the mention of Bowie is that it's not the first time I've had that influence assumed. There've also been comparisons drawn with other musicians whose work I'm not familiar with. That just proves the point that somewhere out there similar things are happening unintentionally. It's like parallel evolution. Influences are blurred together like oil and water. Everyone who influences you has been influenced by someone else.

Though a lot of different elements come to play in the various tracks, it seems to be a fairly stripped down, honest collection of recordings. What was your approach to the album in terms of not only the sound but the vibe you wanted to create? How does your approach differ from that of other artists in this regard – generally, but in specific relation to super-clean production versus the stripped down feel and what one gains and loses with either approach?

The music had to be stripped down because I wanted to play as many instruments as I could myself. Problem was, I couldn't play most of those instruments with any form of proficiency, so I had to arrange the songs as simply as possible, but so that they still made an impact. It was a serious balancing act. I really enjoyed this approach. It was almost as if to show people who couldn't afford a band that there's always a way to accomplish a sound or vibe. You just need to take some time and figure out a few tricks and cheats in how you do it. At the end of the day, trust your ears and remember that simplicity is key. That's where I differ, to an extent, from other local artists. You shouldn't be scared to experiment and take risks. That's another thing I harvested from Mr Waits: embrace your mistakes and missed beats. Leave them there for the audience to hear. It gives the music a more human and organic feel. Tight mechanical production has a place and is often detrimental in accomplishing a lot of musical styles and atmospheres, but as a singer-songwriter I believe in the importance of heartfelt honesty and the importance of thoughtfully selecting the best way to achieve that. For this album it was all about the loosey goosey.

You incorporated a few guest artists into the album, like Jaco Mans (guitar) and Wynand Davel (violin), which works brilliantly. Tell us about the Pretoria scene and the ways in which artists there support one another? It seems there really is a lot happening musically in Pretoria at the moment. How do you view and experience this scene and your place in it as a solo artist and as collaborator in other artists’ projects?

At this point I must make mention of Lanie van der Walt, who produced and played bass on the entire album, and Jacques du Plessis, who co-wrote "Where the lonely go" with me. Also Pretoria boys who featured in the music. Old P town was always rock city, but I fear the title moved on a while ago. Trouble is, there's a serious lack of venues. Especially when you consider that you can't spit in this town without hitting a musician. So it's a little crowded. The upside of this, though, is the camaraderie which was bred between most of us as a result. Guys are always willing to share gigs and collaborate as often as possible. It's a little incestuous, but it works. It has to. It's like living in a house of 20 with only one bathroom. You learn to work together. The other upside is that those of us who relied on the busy Pretoria circuit of old have had to rediscover the highway and what it means to tour and gig elsewhere, and that's always a great learning environment for up-and-coming acts, of which Pretoria has many. Another cool trend that has developed in and around Pretoria is the mini-festivals and one-off events. Idyllic locations are sourced for some pretty kick-ass shows. These are great platforms for musicians to showcase their goods, as these types of events tend to draw bigger crowds.

It really seems as if you place a high value on quality songwriting and its execution. What is that process like for you, in terms of what you hear (violin/drums/thunder sounds/etc) while you’re writing a song and how it changes over time? What themes do you enjoy exploring and why?

Thanks for noticing that. Lyrics and the purpose they serve in a specific song are very important to me. It's one of the biggest issues I have with a lot of local bands. All too often I hear songs that are excellently executed musically, but with lyrics that are frankly sub-par and seem to be treated as an afterthought. It seriously pisses me off. People forget that good songwriting, specifically in terms of the lyrics, can mean the difference between mediocrity and greatness. Lanie once told me that the first and most important thing to get right in music is to write a good song. Once you've accomplished that, it's hard to fuck it up.

Take Kris Kristofferson, who performed here last week. I caught the show in Joburg and it was one the most memorable concerts I'll ever see. All because of how brilliant Kris is as a songwriter. His performance wasn't amazing. He plays very simply and age has got the better of his voice, but none of that mattered as I could hear every single word in its intimacy.

I like to think that's how I approach the art of songwriting. My process usually starts with the melody. I let it speak to me for a while and guide me toward subject and theme. You need to let the notes influence the phonetics of the words you choose to use, and you need to select words with the right amount of gravity for the theme you’re exploring. It's often a complete immersion in poetry. Then I'll take a step back, read it all out aloud, and polish any rough edges. It's important for lyricists to acquaint themselves with the tonality and musicality of words. There's a massive difference between "sidewalk" and "pavement". Those words will carry different weights in different melodies. It really is a razor-edge process. Sometimes I start with the lyrics and fit the music in afterward, but I've found that there's normally a lot more polishing that needs doing in the end of that process. Once the lyrics are completed, I structure all the other instruments in my head. They normally get played out as such, but inevitably, during the recording process new things will spark and other elements might change.

In terms of themes I like to explore. Nick Cave once mentioned that his songs are usually about love, death or God. I subscribe to this idea. Almost every great song can in some way or another be related to any one or more of these three themes. I'm also a big fan of Nick's work ethic. Don't rely too heavily on lightning-in-a-bottle inspiration – it'll slow your work rate to a crawl if you can write only when the moment strikes. Learn to access that imagination at will and work constantly with a process. Force yourself to write as often as possible.

The music scene in South Africa can often be an unkind one to artists committed to quality songwriting and not bothering with big production budgets – or am I wrong in this observation? (I hope I am.) What is your view of the scene in this regard? What are the shortcomings and strong points of what’s going on at the moment in terms of space for artists to move and grow in?

Unfortunately you're right. I have a huge chip on my shoulder with regard to this topic and I think I'm well within my rights. Who wouldn't be bitter when steady and viable success is so difficult to obtain by doing what you really love doing? It's a topic I'm so disillusioned with and so negative about that I'd honestly rather not dwell too much on it. Fact of the matter is, the music industry is a ruthlessly tough one, and even more so in countries like ours, where those who are in control of the business of music have their fingers in enough pies to completely control the market. It can almost be compared to insider stock-trading, except it's not illegal. There's a lot more I'd really love to complain about, but let's rather leave it at that.

On the plus side, South African artists really have seemed to up their game lately. There is music out there that could compete on the international stage if it were given the chance. I'm not referring to those blips on the radar who have achieved success, of late, by carbon-copying the latest trends on the radio; but rather artists who are making music of artistic significance, who could significantly add to the industry as opposed to milking it dry of any original integrity. Get out there and support your local acts. Local support is the starting point for the South African music industry’s exodus beyond its own borders. Hats off to all the local boys who have made it and who are in the process of making it on their own terms.

You’ve been involved with quite a few acts, including Jack Hammer and Feed the Wolf. What have the highlights been for you, performing with several diverse acts? And the lowlights – any incidents best forgotten around dodgy gigs?

Feed the Wolf's gig at Up the Creek was a definite highlight. The Cape Town crowd surprised us in the same way I think we surprised them. It was just a fantastic response and it's always nice to connect with an audience in that way. My career with Piet Botha and Jack Hammer was another majorly influential high point in my career thus far. I learnt a hell of a lot from Piet, as he schooled me in the ways of the musician’s highway.

As far as downers are concerned … It's pretty much any gig when you don't play to your own standard. I am my harshest critic and I can be quite a dick to myself sometimes. If you're looking for a specific bad moment, it would have to be one night at a regular gig I used to do, long ago. One night, for no reason whatsoever, I got too drunk to play and sing properly. I was mortified. Since then I have made a point of doing my best to keep a level head before a show. Only when the last note is played, may I reward myself with an ice cold beverage.

What does the near and far future hold for Donovan Borne?

If I knew that, pal, I'd play the lotto.

What is the meaning of life?

Nice and easy light-hearted question. It's simple. Death. Death and coming to terms with the idea of your own mortality bleeds meaning and purpose into your life. Some people die and the world is worse off for it. Some people die and the world is a better place as a result. People's lives can have a resounding impact on the world that surrounds them, and the only reason they're alive is that they're not dead. Ergo, death is the deciding factor in how your life affects the world. Or something like that. 

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