Tyronn “Blasé Vanguard” Wilson may seem like the regular cool guy, youth on his side, the world to conquer: with all the “swag” and cheekiness of 25. Yet, there is also a certain maturity in Blasé’s pensive gaze and composure: he really takes a few seconds to measure his answers to my questions, conscious of the fact that through his words, he can maintain a certain mystery about himself. We spend the afternoon exchanging on what it means “to be Caribbean”, how music and other stimuli influence creation and finally the need to connect – My lesson: Don’t be fooled by age.
I ask him if he came up with the name Blasé Vanguard by himself. He gives me a playful side grin and explains that his mom would always call him that, because of his personality – which has forever been “blasé…” She knew exactly what she was doing. Blasé Vanguard really does exude this nonchalant air about him. As for the Vanguard part: he reveals that it is a direct play on the french term avantgarde: used to describe the new, experimental and unexpected. These elements are at the core of his work.
Blasé Vanguard describes himself as
“different, with nothing to prove…an eternal student and lover of music, who passionately expresses himself.”
Since his days of piano lessons – which he started at 6 – he has been surrounded by music and cites a diverse playlist : hip hop, Mos Def, Old School 90’s, soca, alternative, Indie Rock, 3 Canal, Jimi Hendrix and Kanye West for his audio production. He has huge admiration for Justice and DAFT PUNK, both French groups (any coincidence?) for their innovative, truly avant-garde electronic music, and the undisputed quality of their live shows, not to mention the mysterious DAFT PUNK…. I’m curious to find out what his experience is like as a Caribbean musician in London, creating CDM or Caribbean Dance music that is not (yet, anyway) identifiable as “music from the Caribbean”. First off. Blasé explains that he does not subscribe to the idea that there is one “Caribbean spirit” and adds that “maybe it cannot be encapsulated…” We agree that very often Caribbean Art and music can be put into a box – an attempt to identify us a people.
Second: having grown up in England, then moving back to T&T from age 6 until end of secondary school, he adds that even as a Trinidadian, he’s never felt entirely Caribbean anyway. It is “a strange sentiment of belonging and not belonging at the same time…” The music he has produced so far is certainly a reflection of this dual identity.
Blasé Vanguard is keeping it HARD LOCAL! He is now all the way up to number 23 on the MIXCLOUD WORLD MUSIC chart !!! Let’s show him some love!
Creative parallels
Further to his studies at the University of East London – BSc Music Industry Management/Music Technology, then at Goldsmiths University – MSc Consumer Behaviour, Blasé has been busy. Currently a Music Producer and multigenre DJ in London, over the past few years, Blasé Vanguard has made a name for himself in the UK at events hosted by Louder UK, Skint LDN, Milksake, Get Busy, Afro Beats, Party UK to name a few. He is also one of the international DJS under the label More Time Records (UK label, 2017) founded by Producing DJs SNØW (the British Half of the electronic duo Jus Now) and Ahadadream from Boiler Room. “It’s the kind of record label that is inspired by UK Funky, with a focus on the future of electronic music. They have treated my music with a lot of enthusiasm and sensitivity”. In terms of similarity between London and “his roots” he says “although T&T and London are miles away from each other, I view them both as creative parallels for their highly cosmopolitan influences.” This is a big part of what he loves most about being there. The excitement, diversity. That said – “London is a difficult place to find yourself…you have to be tough and to be able to adapt quickly”. Yet adaptability is not all, knowledge of self is key. Blasé adds “you must know who you are…” And he already knows: “I am creatively rooted in the Caribbean, with a lot to offer.”
“Stress/Dahlin” is his debut release. It is exciting to hear the sounds of the steel pan and bass drums alongside that very distinct electro dance vibe. I imagine the scene already: carnival colours in a painted melee, reflected on steel, to the likeness of a kinetic art piece. Stress/Dahlin is meant to “reflect my Trini roots as well as my London influences…I’m also singing on it which is somewhat new territory for me, being able to use my voice as an instrument in my productions.”
Those who hear will feel
“Creative expression has to be true-to-self. Nothing inspires my art more than memories, real life experiences. In that way, my music will be an insight to my own reality, an extension of myself.” Blasé operates from a place of sincerity and a desire to produce “unique music which connects” and says that “our work as artists must be real, honest, true. You can’t get caught up trying to be somebody else…my music is a gift, and it’s a unique perspective that no one will ever be able to truly duplicate”.
The sound of the future
In his words “The future of Caribbean music is especially exciting. A lot of international eyes are on us now… to push our culture forward and touch the world, all we have to do is BE OURSELVES. This is essential to remaining relevant.” He also feels that all artists must focus on collaboration. “Competition keeps us sharp as young creatives, and that’s a great thing, but my wish is that we all take better care of each other, that’s how we’ll go further.” His “BIG DREAM” is to be a part of Festivals in the UK, Europe and the rest of the world. Another achievement would be to “explore the possibilities of a live setting, to create a story…I have so many ideas of what i want to do, to incorporate Trini culture, and offer a cohesive journey through my music”. As we imagine the future, our conversation comes to an end on an existential note… “Why are we here if we don’t have something to give to the world?….Blasé asks. Most people live their life trying to figure out why they are here…” Blasé convinces me that everyone has a gift. “It’s just about finding it…”
His final words to me are
“The future sounds like us…We are the sound of the Future”. And why not? Isn’t the Future a compilation of the Now?
Article first published in CULTUREGO MAGAZINE Issue April-July 2018
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