Greek musician Andy Ray recently released the album “First World Problems”. The record is a mix of lo-fi psychedelia, fuzzy pop, and that slightly crooked alternative energy that’s always followed him around. Influenced by The Velvet Underground, Brian Jones and White Fence the songs were born somewhere between daydreams and mild existential crises.
I caught up with Andy to talk about his early musical experiences, how he started writing songs and the making of “First World Problems”.
CMM-What was the first music that really made an impact on you as a kid, and what artist or band did you enjoy the most?
Andy-My earliest musical memories are from home, where I was exposed to The Rolling Stones, The Doors, and virtually all the hippie bands of the ’60s. Later, in elementary school, my friends and I listened to a lot of Greek and American hip-hop. But the real inspiration hit in high school with the Nu Metal bands of that era, particularly System of a Down and Slipknot. Despite these early phases, the band that ultimately influenced me the most was the Sex Pistols. Regardless of the genre of music I make, I’ll always consider myself a punk rocker at heart.
CMM-When did you first start playing music and writing songs?
Andy-I started with the bass guitar at age 12, focusing initially on metal in drop D tuning and punk. I then spent a few formative years trying to leave my village to study and work in Athens. Once settled, I began playing the guitar and started experimentally writing my own noise tracks at home, using just my guitar and a PC.
CMM-You recently released a new record called “First World Problems.” What was the writing and recording process for those songs like, and what gear and instruments did you all use during the sessions?
Andy-The album’s creation happened during a tough period. I had been kicked out of a garage band, and my own band had just disbanded. I quickly realized I had no choice but to handle all the composition and recording myself.
Month by month, I saved up money and slowly acquired the basic gear: a bass, a drum set, guitars, an old cheap organ synth, various percussion like maracas and a tambourine, plus a harmonica and a friend’s piano. I also purchased some microphones and cassette recorders. That’s how I started recording and producing everything solo in my small apartment.
Once the instrumentals were finished, I tried singing, but my punkish voice didn’t quite fit the psychedelic pop album I had just made. So, I reached out to several freelance artists for vocal features.
CMM-If you could compose a score for any film director, who would it be and what would the film be about?
Quentin Tarantino, for sure. I’d love to compose a score for a comedic adventure flick about treasure hunting.
CMM-What do you all have coming up next? Any new recordings/shows, etc.?
Andy-Having completed about 20 releases, including personal albums, alongside professional work in soundtracks/sound design, after a lot of financial hardship, hard personal work, I’ve decided I no longer want to give my music away for free online.
It’s frustrating that platforms like Spotify take subscriptions from both artists to upload music and from listeners for streaming services to invest money to war machine. The same time people can just find any music online, judge it without paying a dime, and drop a “like.” I’m planning to focus on releases through partners that offer more than just likes and comments, primarily through merch and physical items such as vinyl records.
The album I’m working on now is a total departure; it’s reggae with features from Jamaica and Ethiopia, where we ride riddims to tell stories of the Mediterranean.
