Community during uncertainty is the ethos of Fusilier, the Atlanta-born, New York-based artist who performed at Purgatory, a bar in Bushwick, to celebrate the release of their new single “Birds.” Much like the glitter-stained floors and twinkly LED lights, the atmosphere of Purgatory was bright and cheery, full of support for Fusilier in addition to openers Lambkin and 13th Law. In the modern era, it is not unlikely for one to sense a lack of authenticity from artists. Not just in their music and performance, but in the scenes they occupy. Fusilier is the exception, bringing a genuine, uncompetitive approach to music that focuses on showcasing diverse artists with new and refreshed perspectives in venues that are simply just cool. Family, friends, and other music-enjoyers milled around the bar and dancefloor before showtime, conversing with the artists. The event highlighted the sense of togetherness that Fusilier, much like most artists, is calling for.
With his hands dipped in multiple musical pots, being a known composer, master of multiple instruments, and genre-bending artist, Fusilier delivered a thoughtful and energetic performance amongst companions and collaborators. Since his emergence into the DIY scene in Boston throughout the 2010s, Fusilier gained traction and success as an alternative artist before moving to Brooklyn to collaborate with bands like Pegg. This was not always the case for him, growing up as a violinist with an interest in classical music, Fusilier shifted his interests from classical to alternative music, though having a broad range of genres under his belt.
With two EPs under his belt and new music on the way, Fusilier talks about the meaning behind his new single “Birds,” the creative process behind his new projects, and what community means to him.
The interview has been edited and condensed for clarity.
I loved the performance. Loved your band, your openers, and just the environment at Purgatory. It seemed so welcoming, and friendly.
Community right now is so important. There’s so much to focus on things like competition, and the capital side of everything, but that feels empty. I just wanted to do a show with people that I hang out with, that are great. They’re great too, with the projects, and it’s fun and vice versa hopefully.
On the flyer of the show I saw that you created this new single with DIY artist Pegg, how does that work? Can we expect more collaborations to come out?
I did a lot of work with Pegg. We just released the song this week, he did some bass, which was especially fun. And I have collaborated with other members of Pegg, Brian DiMeglio was actually the engineer on the album for Pegg, and also engineered this “Birds” song. I just hope to release all these songs in the future, but we are all collaborating. It’s really fun to have a barter system, to have someone with a studio, and to understand what you can do for each other. It’s super supportive that way. It’s funny to call it DIY, though, everyone is so good at what they do, in another era everyone would just be working on the things that we just trade, but everyone is fantastic at producing, mixing their instruments and their voices. It’s world-class that we can just help each other out.
The production value comes out on the song, but I also got to watch your music video for “Birds,” and that was great. Is it true it’s your brother who stars in the video? What was it like to work with him on that?
Well he’s younger, and he moved up here after being convinced by a fashion photographer, he got signed really quickly. We’ve just been supporting him, but same thing; I’ve got a signed model in my music video, it’s all about this community of people who are super talented and interesting and happen to be connected. He did a really great job.
Similarly the creative director for the video– how much input did you have over the video?
It was pretty collaborative! My manager does a lot of creative direction for brands and artists, so it was just us in a room throwing ideas back and forth– of course, it was my idea to have somebody eating worms.
That was pretty cool, but “Birds” as a concept is very interesting. What was the inspiration or the reasoning behind your choice?
Honestly, I had a really interesting time releasing my first EP, where there was concert buzz around it, and I just upset some people and it went away, but I’m still trying to impress these people. Going back to what I was saying about community earlier, trying to turn inwards, like, why are we doing this? Why aren’t we helping each other out? Trying to chase favors or someone who wants to use my image.
Is that something you’re going to explore more on another EP? Another album?
It’s certainly what I’ve been thinking about a lot, and writing about. How we can be used for other people’s agendas, dreams we had growing up…
I read, growing up, you picked up violin, and that’s how you got your musician start?
It certainly is, and it still is in all my writing. I was just watching a video about Bach and music theory (as one does) and how people didn’t use to write in chords they used to write in moving lines, and I instinctively inherited that way of composition. Which makes it really hard for me to do solo shows, but I just really love orchestral, film scores… I think recordings should always sound like they would without the vocals.
Can you elaborate on moving lines?
Well, there’s a lot of theory about how to arrange chords in a way that conveys feelings and tricks that you can pull out by changing one or two notes and chords. I’m more sort of into melodies, barbershop quartets… people singing their parts in a way that moves around each other like a breathing animal. It’s a lot more alive to me that way.
I can’t even imagine what that would look like. I know you just said you still enjoy composing in an orchestral manner, but what made you depart from violin?
Peer pressure. Everyone around me was playing guitar and I was like I guess I should play guitar. I have this core memory– or my mom reminds me of it, but when she bought me a guitar she said “I’ll buy you this bass but you can’t stop playing violin.” Not even six months later I stopped playing. I do still play the violin, if you listen to my “Upstream” EP, it has me playing the violin. Very airy violin. I still do compose, for violin and viola. I try to have one orchestral piece with every release.
Were there any particular artists that shifted your interest towards instruments like guitar and bass?
I think actually hip-hop. I grew up in Atlanta where that was the prevailing sound of music, hip-hop and pop, people making music that sounded like it was coming from a marching band. Percussion with the 808’s… it got me thinking about rhythm. It was more about the movement.
I think genre nowadays reflects that. I have a professor who says we’re in the “Lasagna” age of media; music, film, etc has really blended strict lines of genre. How would you describe yourself and your music in terms of genre?
Interesting… I always describe myself as a punk artist first. I’m like funk-punk, playing funk and R&B and getting there through power chords. I feel like I’m always doing punk music but getting there through pop, the danceability, and the movement. Everything I’m saying, it’s coming from The Clash. They had these party songs and it was punk but it wasn’t always like, growling at you…I love Nine Inch Nails, and how they use hip-hop in their music. Fela Kuti, of course, I like tight, interlocking rhythm. So think about Fela, but I’m also thinking about Missy Elliot. Tight snares, and percussion. It’s just so cool.
Before wrapping up, is there any thesis you want to share with STATIC readers? Anything you’re excited about?
STATIC readers… I think what I’m most excited about right now is people building community, not looking for validation from the outside. Especially when you think about national, statewide politics. The best thing for us to do is to rely on each other more.