Beloved for channeling David Bowie in the stellar tribute group The Band That Fell to Earth, and for representing seminal Depeche Mode member Alan Wilder in the DM experience Strangelove, Julian Shah-Tayler also makes original music that fans of both legendary artists have adored for years—and continue to discover.
The U.K.-born, L.A.-based musician’s brilliance is on full display on his latest release via his revered solo project The Singularity. Honne/Tatemae, which came out earlier this year, evokes melancholy moods and melodious moments, and features glimmers of Brit pop, new wave, and glam that might be expected considering his other endeavors. Poignant, powerful, and personal, he soars on the record, but in many ways it’s also a group venture, with collaborations and guests that music fans will definitely recognize.
Bowie band members Mike Garson and Carmien Rojas, Bauhaus and Love & Rockets’ David J, and many more are heard on the release, which delves into the heartbreak and feelings of despair after love lost, as a follow-up to his previous release, Elysium, which was an ode to the joy and elation of being in love. Of course, listeners can relate to both.
We asked Shah-Tayler about his unique experiences playing iconic hits, celebrating music legends and creating his own material at the same time. He provides great insight into making music independently and building a fanbase while staying true to a personal thematic vision.
Singular, But Not Alone
“Singularity means one thing, one person. It became the band’s name, because I had a band for a while, but the recording process was always just me at home, playing all the instruments and recording myself.”
“Mike Garson (Bowie’s pianist) plays on a song called ‘Lights Out.’ I got David J to play bass on it and Carmine Rojas to play bass on it as well. And the song sort of developed. When I got Mike’s piano part back, it was the Wizard of Oz—which starts off in black and white, and then, the curtains lift and it’s full Technicolor. It was magnificent.”
Collaborations Come Easier if You Have Previous Credits… Release What You Create!
“I have a large and deep catalogue with collaborations with Siobhan Fahey (Bananarama), Lana Del Rey, etc. which come simply from my production work, remixes, and songwriting. I met all the people involved on Honne/Tatemae, through my original music and a willingness to get involved and release stuff, which is to me a very important part of music. Get it out there!”
“Some of the music I released a long time ago is probably not very good, but I got better at writing and producing. And now if someone wants to listen to something for ‘proof of concept’ (perhaps for a production gig or a remix) I can direct them to literally hundreds of pieces of my work with ‘social proof’ attached to it in the form of known artists. The other option of course, is you can pay handsomely for their contributions by contacting their representatives. “
Tribute Band To-Dos
“It’s really important to be passionate about the artist you’re tributing.
It really shows if you’re ‘in it for the money’ and most tribute bands don’t come close to a financially worthwhile career. For my part, I’ve always been incredibly inspired by Bowie in my own work as well as the fact that I feel honored to be given the opportunity to share his songs with other true fans. It’s like having a chosen family who come to the shows.”
“Both Bowie and Depeche Mode fans are of a certain ilk: generally thoughtful, kind, and with great music taste, of course! This has the incredible benefit that when they come to listen to my own work, they feel like they have found a new artist that really reflects the musical world of their favorites. This brings me and my own songs to many new fans, which is wonderful. One caveat: you have to view the performance in the tribute world as ‘fan service’ and an acting role. I have had to get used to being defined by my Bowie persona, which can be psychologically very challenging.”
Getting Attention—From the ‘Gram to the GRAMMYS
“I mainly use social media platforms such as Facebook, Instagram, and TikTok, but I am so busy making music that promotion sometimes gets ignored or treated as an afterthought.”
Honne/Tatemae is on the GRAMMYS ballot this year in a very over-full category: ‘Best Alternative Album’ which is a great honor. My prior record Elysium, was also on there, but it’s a big leap to think that a fiercely independent artist with zero budget is going to beat a fully financially supported ‘signed’ artist whose label can afford the double page spread in Billboard or the Sunset Boulevard posters with a long running TikTok viral campaign.”
“I do have the advantage of supporting Strangelove live with my original project, which enables me to play live to thousands of people rather than the traditional five people and the bartenders. I was recently very honored to be asked to open up our show at the Wiltern with Stabbing Westward and there were so many of my friends and new fans there.”
Love, Anger, and Heartbreak on Record
“People contemplate their pain more easily than they contemplate their joy. Because if you’re experiencing joy, you just experience it. If you’re experiencing pain, there’s a lot of stuff that goes along with that. There’s self-doubt. There’s reflectiveness. And there’s catharsis. There’s one song on the new album, which is my angry song. I haven’t written any angry songs in the past, and it’s called ‘Malicious Intent.’ A man wiser than I once said, ‘If a snake bites you, you should never go and chase the snake to ask why it bit you. You should just write a fucking song about it.’”
Visit julianshahtaylermusic.com.
