Ben Wilkins

I’ve used the music of Montreal’s Ben Wilkins to cheer myself up, but it’s more than just comfort food. It’s finely crafted pop music of the highest calibre, part throwback to the days of Harry Nilsson, Billy Joel and Randy Newman, part modern indie rock drained of brooding and self-obsession.
Before his appearance at this year’s M for Montreal festival, I spoke with Wilkins about how to make an artistic living in the city, his choice to be a nominally solo artist, and the curious characteristics of his chosen instrument.
Is it easy to live the life on an artist in Montreal?
There’s low overhead, so a lot of people are here creating art. Some stand out more than others, obviously the indie rock movement with Montreal bands who have made a mark internationally.
Have you found yourself fitting into artistic groups on a social level, not even just fellow musicians?
Not really. At one point I thought it would be like Paris at the turn of the century, I’d find and hang out with songwriting contemporaries, like Fitzgerald (socializing) with Hemingway. But what I look for in a friend is very different than what I look for in someone to work with. In my personal life I try not to take myself very seriously and that doesn’t mesh with a lot of other singer/songwriters. You’re supposed to show up and be mysterious and broody. I don’t feel like a performer when I walk around, I don’t put on this air of artistic mystery. There’s plenty of that in town (already.)
How did you draw in collaborators?
It’s a delicate thing. The project/band I have with seven people is called “Ben Wilkins.” It’s me because I write the songs but live it’s a very different thing. Someone told me when I moved to Montreal that if you want to make it you have to approach it as though no one will be there. As if you’re really the leader, and if you do that collaborators will come to you much more quickly because people look for that leadership. That’s essentially what’s happened with me. I don’t take the leadership role aggressively, I’m always looking for input, but I’m aware of my position and I try not to shy away from that. I try to be the leader I’d want to work for.
In that position though you must have to turn down other people’s suggestions, maybe constantly?
At this point I’m working with people who are happy to suggest things and are happy if I trump them with another interpretation. If someone makes a suggestion that goes against the integrity of the song, that’s a pretty strong vote. But everyone has their own set of ears. My drummer or bass player will redo their bits if they feel they’re off or not tight enough. And that’s good: without that my band would just feel like a bunch of hired guns who do what I say. That would make for some lifeless music.
Do you write in collaboration?
Mostly solo. I’ve dabbled in collaborative writing a little bit. I’m definitely open to it and I’d love to do it more but for now I go into my own practice space and do my own thing.
I imagine that would be a greater challenge on piano. It’s not a relatively loud instrument but the sound of it can really dominate a room.
Yeah. There’s clarity in the instrument; when you play more dense harmony, jazz chords and things, it really resonates in the human ear. With jazz chords played on the piano versus the guitar ... you can “sing” all the notes on piano while the texture of the guitar is muddier. So when I’m writing on the piano I have to be much surer of the decisions I’m making. This is cool because I have to be sold on an idea before I move on. That gives you a natural confidence when you play.
What does the piano require of you physically?
You’re seated, right, so leading the band from a chair is a unique thing. It’s easier to be charismatic when you’re standing up with a guitar. You can move around, work the room. I’m always sideways to the audience which is a bit of a disadvantage, but at the same time it allows me to be a part of the band. Physically, piano is all in your shoulders, I guess. Your wrists have to be really light but you need the connection all the way from your shoulders to the hammering of your fingers. That has to work smoothly.
I can’t imagine the logistical nightmare of having to tour with a piano.
A lot of pianists don’t have the luxury of getting to know an instrument very well. If you tour and play jazz clubs you just have to play the instrument they have there. But I move my piano to each gig. This year I bought one specifically for touring and I’ve gotten to know it well. But up until that point I pretty much had to find them wherever I could. I had to adapt. Some pianos sound very moody and mellow and others sound much thicker. Some just sing like crazy. The one I have now is very clear and bright.
Do you play when prompted, outside of the stage?
Depends how I’m feeling. I don’t really like that kind of thing. When you tell people you’re a singer they’ll say “Oh, sing something for me!” “Right now? We’re on the - Toro Magazine

Vitrine du CD par Sylvain Ménard et Paul Arcand Album(s) de l’année
Ben Wilkins
Un larcin culturel en 2011. Ben Wilkins s’inspire des années 70 avec tellement d’intelligence et de brillance. Natif de London en Ontario, il a « immigré » au Québec pour étudier à McGill. Il est tellement, mais tellement connaissant de la chose musicale, c’est une splendeur.
On l’écoute et on entend un peu d’Elton John, de Paul McCartney et comme je lisais dans un texte de Sylvain Cormier du Devoir, un peu d’Harry Nilsson, lui qui était un expert de la pop dans les années 1970. Ben Wilkins c’est d’la pop indie d’ici, mais c’est très en âge et c’est très accessible.
« Je suis très content de débuter la liste des « Vitrine des Vitrines » avec Ben Wilkins. On avait écouté et découvert son album ensemble en octobre 2011. Il sera en spectacle un peu partout au Québec en 2012. Allez le voir car le spectacle est aussi renversant que son album. » - 98.5 FM Montreal

by Kevin Laforest – November 17, 2011

Right from the get-go, Ben Wilkins grabs our attention on this sublime debut LP which showcases a sophisticated, timeless brand of pop. Built around his singing and piano playing, the Montrealer’s songs later expand to include lavish string and brass arrangements. Sometimes reminiscent of the work of Elton John, Ben Folds or Scissor Sisters, Ben Wilkins’ music warmly grooves along, soars into dreamy soundscapes and sneaks into your heart. In possession of an acute sense of melody, Wilkins consistently impresses throughout this impeccable sounding album, which he co-produced with Pascal Shefteshy at Studio PM. Truly exceptional. - Hour

L’Ontarien amoureux du Québec
AArrivé à Montréal à l’âge de 18 ans, l’Ontarien Ben Wilkins a parcouru le Québec en entier, et s’est même permis un séjour en Asie, avant de lancer son premier album en carrière neuf ans plus tard. L’opus, paru cette semaine, nous plonge dans les années 1970, la principale influence de l’artiste.
Raphaël Gendron-Martin Le Journal de Montréal
Le parcours de Ben Wilkins n’est pas commun. Né en Ontario, il s’est amené dans la métropole québécoise, où il a complété un baccalauréat à l’Université McGill... en trompette classique. « Ce programme n’était pas fait pour quelqu’un qui veut être chanteur comme moi, dit-il. J’ai décidé de faire le bac au complet, mais j’ai trouvé mon propre chemin par la suite. »
Désirant apprendre le français le mieux possible, il s’est mis à visiter le Belle Province, de Chicoutimi, à la Beauce, en passant par les Laurentides et Lanaudière. « Je connais bien les région! J’ai aussi eu une copine qui habitait à Jonquière et pendant plusieurs mois, j’ai fait l’aller-retour Jonquière-Montréal. Ça m’a appris à découvrir une culture différente de celle de ma jeunesse. »
Lui qui n’était pas doué pour les langues à l’école, le jeune Wilkins s’est rendu compte qu’en y mettant de l’effort, il pouvait y parvenir assez bien. Après le français, il a voulu se lancer dans un nouveau défi : apprendre le mandarin. « J’avais besoin de changer la routine. J’ai eu une bourse pour aller passer du temps à Shanghai en Chine. Je suis aussi allé à Beijing (Pékin). J’ai adoré. Mais je me suis rendu compte qu’au niveau musical, c’était très culturel. Pour mon premier album, je me suis dit que je devais revenir à Montréal pour le concevoir. »
DE BELLES RENCONTRES
Avant de plancher sur son propre album, le musicien est invité par James Di Salvio à travailler sur les arrangements de cordes et de cuivres pour le disque The Garden, de Bran Van 3000. « Ça été une belle expérience de voir un autre style de travail. »
La rencontre avec Pascal Shefteshy, un ancien camarade de McGill et maintenant réalisateur et ingénieur reconnu, est aussi déterminante pour l’artiste ontarien. Ensemble, le duo profite du studio prêté par Pierre Marchand, parti en voyage pendant quelques mois, pour concevoir le premier album.
Grandement influencé par la musique des années 1970, notamment celle de Burt Bacharach, Ben Wilkins lance un disque qui rappelle bien cette époque. « Je voulais un album que l’on pourrait écouter longtemps, qui n’allait pas se fatiguer. » - La Journal de Montreal

Devant moi au Presse Café du Dix30 — quelle étrangeté que de se rencontrer un mardi après-midi dans ce lieu maléfique du commerce extrême, planté en plein nulle part —, il sourit parce qu'il est ailleurs, en apesanteur dans sa bulle de bonheur. J'exagère à peine. C'est un frisé aux yeux écarquillés. Grand enfant un brin excité qui a envie d'aller jouer. Ben Wilkins est comme son merveilleux premier album: tout naturellement émerveillé.

Les portes du paradis

«C'est vrai que je suis sur un nuage. Je dois me pincer pour y croire. Cet album, c'est un fantasme réalisé.» En effet. Imaginez un Ontarien de London, Ontario, Montréalais d'adoption, sorti de McGill où il a étudié la trompette classique, jeune homme pétri de chanson pop géniale des années 60 et 70, lui-même auteur-compositeur-interprète de chansons pop géniales dans le même esprit, à qui on aurait ouvert les portes du paradis. À savoir: un studio d'enregistrement rien que pour lui.

«Ma grande chance, c'est d'avoir connu Pascal Shefteshy, qui est l'assistant de Pierre Marchand [le réalisateur des Sarah McLachlan, Rufus Wainwright, Lhasa...] dans son fabuleux studio. Il s'est trouvé que Marchand devait s'absenter un long moment, et Pascal l'a convaincu de me laisser utiliser le studio quand il n'était pas loué. Gratuitement. Un studio à mille dollars par jour. Où l'album idéal que j'avais en tête, pur fantasme de paysages sonores dessinés dans le moindre détail, a pu devenir réalité.» Il s'esclaffe à ces mots: est-ce vraiment arrivé?

Eh oui. Ben Wilkins, prodige de l'arrangement que l'on a aperçu dans les parages de James Di Salvio et son Bran Van 3000, de Mistress Barbara aussi, a pu créer dans le plus grand luxe imaginable son disque à petit budget. «Plein de musiciens se sont offerts; je dois beaucoup à beaucoup de gens.» Ils ont été une bonne vingtaine à l'accompagner, cordes, cuivres, bois et vents, palette aux mille couleurs autour du noyau piano-basse-batterie. Le joyeux Ben en a eu les yeux encore plus grands, sorte de Willie Wonka «lâché lousse», non pas dans une chocolaterie, mais dans une usine à sons, tel Brian Wilson salivant à l'idée qu'il va créer Pet Sounds, tel un p'tit gars à qui on aurait donné les clés du magasin de jouets.

«J'avais en tête un univers complètement différent pour chaque chanson. Je n'avais qu'à fournir des images pour décrire ce que j'avais en tête, et ça se mettait à exister. Exemple, je disais: dans ce bout-là, il faudrait qu'on se sente comme si on était à dos d'éléphant. Et on partait de là.»

Un drôle d'ovni

A émergé de l'expérience idyllique un disque portant son nom franchement extraordinaire, à l'enseigne de la petite étiquette Milagro, distribuée par Outside: une grande bouffée d'airs pop du genre qu'on ne croyait plus possibles. Pensez Nilsson au temps de One, Elton John époque Madman Across the Water, McCartney échafaudant The Back Seat of My Car pour l'album Ram, Stevie Wonder, Steely Dan, Gilbert O'Sullivan. L'âge d'or des mélodistes enchanteurs dans leurs studios magiques. Plus récemment, incluez-le dans la famille des Ben Folds, Wondermints, Pierre Lapointe et autres partisans d'une pop pas gênée d'être accrocheuse et somptueuse à la fois. «On a fait un disque indie sans être indie. Ça ne correspond pas non plus à la définition de ce qui est pop aujourd'hui, c'est un drôle d'ovni», commente le jeune homme.

Ce que c'est? Une aventure de modulations fascinantes, où la mélodie va son surprenant chemin en empruntant plein de détours aussi imprévisibles qu'heureux. Il y a des séquences à grand déploiement et des scènes intimistes, et des idées, des idées, des idées. À la fin, une seule question reste en plan: y a-t-il encore une place pour cette pop intelligente et sensible? Ça ne se propagera qu'au bouche à oreille: à vous de jouer.

Le site benwilkinsmusic.com vous en dira plus, notamment à propos de la tournée québécoise et ontarienne qui démarre le 7 mars. «Quoi qu'il arrive, et je me souhaite forcément une carrière à long terme, j'aurai fait ce disque...»
- Le Devoir

WRITTEN BY RENÉE RIETVELD
MONDAY, 12 DECEMBER 2011 00:00
As an up and coming singer-songwriter, one would think being compared to the likes of Rufus Wainwright would be just a little bit intimidating. But, as Montreal-based Ben Wilkins has proven on his self-titled debut album, maybe all it takes to live up to this comparison is some real talent and a solid understanding of the classics.

Wilkins grew up in London, Ont., but left at the age of 18 to study classical trumpet at McGill University. After graduating, he also lived in China, spending time at the Shanghai Conservatory of Music and then the Beijing Language and Culture University.

But something about the indie-rock capital of Canada still beckoned to him, and he ended up back there in 2008, where he was given the opportunity of a lifetime from producer Pascal Shefteshy. Shefteshy, an acclaimed engineer and producer working for famous producer Pierre Marchand (Sarah McLachlan, Rufus Wainwright), approached him to record an album and, with the blessing of Marchand, gave him free reign to make an uncompromising debut.

What resulted is a solid, catchy disc, featuring 24 musicians (everything from strings, brass, winds, orchestral percussion, to a small choir). It sounds like something a lot less modern and a lot more retro -- call it 'optimistic piano pop' with a twist.

The album is very strong, as evident by songs like "Back of My Head," a mixed instrumental track that laments a former lover's sharp words. This track would almost be better suited for the beginning of the album, as it sets up what is clearly Wilkins' style: songs that start with soft piano and light lyrics, eventually blowing up the sound into a frenetic mix of catchy drums, violins, and all other manner of instruments.

This album is, however, even stronger at the points when Wilkins veers away from his comfort zone a little. A good example of this divergence is "The Other Side," which sticks to a slower pace and is probably his most effective attempt at something different. His strength (despite the classical trumpet training) is clearly piano, and this song strips it down beautifully.

But really, Wilkins seems to be going for fun and light more than anything here, and in this he certainly succeeds throughout. He may be tackling some traditionally unhappy subjects, but you'd never know it given how perky they sound. His lyrics are also very conversational, sounding more like coffee date conversations than standard rhyming lyrics.

The standout track here is also very clear. "Through to You" (which was also given a really fun accompanying music video done in time-lapse) is where he really gets creative and goes a bit wild, throwing every instrument at the listener, and letting you go along for the ride.

Then there's "Soup for One" which is pure 70s pop, and "Opening" which sounds exactly like Ben Folds -- in fact, by the time Wilkins gets around to singing about being a "Chameleon," it would be hard to disagree with him. The artist comparisons that he has gotten are also undeniable here with songs and a voice that really mix the styles of everyone from Wainwright and Ben Folds to Jamiroquai and Kings of Convenience.

Wilkins is the kind of pop singer that we need more of nowadays -- unassuming, not overly cocky, mature. This is no doubt the reason he has no trouble keeping himself busy with other projects, like working with Bran Van 3000's James Di Salvio, who entrusted him with writing the string and brass arrangements on The Garden, the band's fourth album. He also did vocal and string arrangements on 2010 Juno nominee Misstress Barbara's upcoming album.

It's clear that Ben Wilkins is both passionate and talented, a standard combo that is seriously enhanced by his love of classical music. His optimism is also undeniably infectious. If this debut is any indication, he could be poised for a very interesting career.

Track picks: "Back of My Head," "Through to You," "The Fall," "The Other Side"

Ben Wilkins' self-titled debut album was released in Canada on October 18th, and he is currently on a cross-Canadian tour. Visit http://www.benwilkinsmusic.com/ for more information. - Culture Magazine

Ontario-born Ben Wilkins was already a well-rounded musician, having studied classical music at Montreal’s McGill University and spent his post grad studies in Shanghai, China, when he began working with musical producers Pascal Shefteshy and Pierre Marchand (Sarah McLachlan, Rufus Wainwright) to put together his debut album.

The warm classical pop sound permeates most of this album, but the disjointed “Opening” has a mix of indie jazz percussive effects, piano and classical strings contrasting Ben’s clean vocals. It sounds like he has thrown everything but the kitchen sink into the mix to let us know he’s avant garde.

But what comes next is nothing short of a revelation. “Soup for One” is a perfect amalgam of Ben Folds and George Michael, with a simple piano chord that grows into a lushly orchestrated melody. The arrangement and vocals here are pitch perfect and draw you into his world. “Through to You” leans more to the sound of Ben Folds or Adrian Whitehead, with slick harmonies and clean horns.

Next comes the beautiful arrangement of “The Fall,” full of minor chords and Pet Sounds styled orchestration. “The Back of My Head” adds a bit of Stevie Wonder styled funk to the melody, but at over four minutes, it drags on too long. A few tracks are guilty of trotting out a melody and having it overstay its welcome, including “The Road Is Long”.

However, it isn’t long before you get the crown jewel of the album, “Allison.” It starts with a sweet, bouncy melody and ukulele and leads to a gorgeous middle eight. An impressive song that will linger with you, but Ben doesn’t belt out the main melody here, instead it feels like he’s holding back a bit.

The album ends on the gentle, multi-tracked harmonies of “Waltz to the Other Side.” Despite the minor shortcomings, this album is a complex mix of classical pop influences that is sure to impress any audiophile and music fan. I expect much more from Mr. Wilkins, as he has the potential to be the next pop superstar.

- The Rock and Roll Report

(Québec) Après avoir causé la surprise cet automne avec sa pop orchestrale qui semble tout droit sortie des années 70, Ben Wilkins part sur la route. Le Montréalais d'adoption s'arrêtera au Petit Champlain mercredi, avec une formation élargie lui permettant de rendre justice à son riche univers musical.

Des idées claires, du talent et un peu de chance. C'est tout ce qu'il a fallu à Ben Wilkins pour pondre son solide premier album, éponyme, paru cet automne. On pourrait peut-être aussi ajouter de l'expérience. Car même s'il n'a que 28 ans, le musicien a déjà passablement roulé sa bosse. À peine majeur, celui qui est né à London, en Ontario, mettait le cap sur Montréal.

«Je voulais déménager, se remémore-t-il. J'avais 18 ans et je voulais conquérir le monde. J'arrivais à Montréal et je ne parlais pas français...»

Wilkins a fait son entrée à l'Université McGill. Il y a étudié la trompette, bien que le piano soit toujours resté son instrument de prédilection. Puis, estimant qu'il n'avait pas droit à une véritable immersion française, il est allé séjourner à Chicoutimi.

«Là, j'ai commencé à voir ce qu'est le Québec et ç'a changé la façon dont je voyais Montréal.»

Musique faite en... Chine

Comme il avait la bougeotte, Wilkins est ensuite parti en Chine. Il avait la ferme idée de s'installer là-bas. Il y a même appris le mandarin, mais quand il a partagé ses idées musicales, il a constaté qu'il existait un fossé culturel difficile à franchir - ce qui ne l'empêche pas d'adapter aujourd'hui certaines de ses pièces dans cette langue... Notre homme est donc revenu dans la Belle Province, où son savoir-faire d'arrangeur a été requis entre autres par James Di Salvio, de Bran Van 3000. Or, ce que cherchait par-dessus tout Wil­kins, c'était de coucher ses propres compositions en studio. C'est là que la chance a tourné pour lui...

«C'est spécial, parce que j'ai été approché par Pascal Shefteshy, qui était l'assistant [du réalisateur] Pierre Marchand. Il m'a dit que Pierre partait en vacances pour quelques mois et que si je voulais, le studio était disponible. C'était comme si j'avais gagné à la loto!»

Wilkins et Shefteshy ont mis pas moins de quatre mois sur l'enregistrement et à peu près autant de temps sur le mixage. Ça paraît : sa pop repose sur de foisonnants arrangements faits de cordes, de cuivres, d'un piano omniprésent, en plus de l'habituelle section rythmique et de quelques éléments-clés tels des cloches tubulaires, un piano-jouet ou encore des timbales. L'ensemble est saupoudré d'un zeste des années 70, le jeune créateur affectionnant des envolées lyriques, romantiques et ensoleillées qui évoquent celles d'un McCart­ney ou d'un Elton John.

«Il y a quelque chose de cette époque que je voulais faire vivre, explique le principal intéressé. [...] Souvent, j'écoute des albums comme ça et je ne m'en fatigue pas. Ça dure super longtemps...»

Le défi suivant pour Wilkins est de transcrire ses toiles sonores sur scène. Le Montréalais devrait y parvenir sans trop de mal, car il part sur la route avec six acolytes. De toute évidence, le jeune chanteur sait ce qu'il veut faire et prend les moyens pour y arriver.

«J'amène toujours un vrai piano sur scène, je ne joue pas sur un clavier. En plus de la basse et de la batterie, il va y avoir un quatuor à cordes. On va avoir beaucoup de fun!»

Vous voulez y aller?

QUI : Ben Wilkins avec David Myles

QUAND : mercredi, à 20h

OÙ : Théâtre Petit Champlain

BILLETS : 30,50 $

TÉL. : 418 692-2631 - Le Soleil

Because this Ontario-born, Montreal-based musician sings and plays the piano, it’s instinctive to reach for the Ben Folds or Rufus Wainwright comparisons. Yet there’s a jazz and ’70s-soul dimension to this single that isn’t typically part of those artists’ musical palettes. With the help of Pascal Shefteshy (best known for his engineering work for Sarah McLachlan) and a background that includes McGill University and the Shanghai Conservatory of Music, Wilkins has an intriguing tendency to veer off on a detour and make them sound he intended to take that route all along. (From Ben Wilkins)
- The Toronto Star

Ben Wilkins – self titled (Milagro) review The most melodic album of the year comes from a young songwriter from Canada. Ben Wilkins’ self-titled debut is full of memorable hooks and echoes of the past. His excellent piano work and pleasant vocals recall a time when singer/songwriters dominated the charts of the early Seventies. But, what truly makes this album a throwback is Wilkins choice of recording technique – choosing to utilize a real string section, horns and background vocals. This, intertwined with his keen melodic sense, make for an album that sounds incredibly fresh amongst all the digital sampling of today.

For a guy who obviously experienced the decade secondhand, Wilkins shows an uncanny ability to meld the pop and soul influences of the 1970’s into something original. Take “Soup For One,” which begins with just voice and piano (reminiscent of something Todd Rundgren might’ve written back in the day), then increases in tempo and morphs into a disco-infused chorus, complete with a string arrangement which is absolute ear candy. “Caught in the Rain” begins with a bouncy, Pepper-era Beatles riff before giving way to an acapella section that sounds like Earth Wind & Fire. “Allison,” with its breezy melody and ukulele, hides its darker subject matter. The album’s first single,“Through to You,” with its funky beat, strings and horns, has an almost reggae feel to it. “Back of My Head” is another standout with great background vocals. There really isn’t a bad song here, with every single track having a memorable hook.

The sound quality of the album is phenomenal. Because it was recorded “old school,” to fully enjoy all the nuances of the lush arrangements, do yourself a favor and actually grab the CD – the difference between it and a compressed version in mp3 is remarkable. Credit for the great sound goes in part to happenstance, where Wilkins was given unlimited access to a big recording studio, while the producer was out of town. The care that went into the record is definitely noticeable.

At present, this excellent debut is only available in import form, and as an mp3 download on amazon and Itunes. Here's hoping Wilkins can catch on with a US label, and we can get more great songs from this up-and-coming talent. --Tony Peters - Icon Fetch

Heard on All Things Considered

December 26, 2010 - GUY RAZ, host:

The city of Montreal is arguably the center of indie music right now. Bands like the hugely successful Arcade Fire are pushing the boundaries of rock and pop with found sounds and creative studio production.

But one new artist emerging from that scene is actually going back, back to when the straightforward music of Burt Bacharach and Harry Nilsson ruled the airwaves. And his name is Ben Wilkins.

(Soundbite of song, "Through to You")

Mr. BEN WILKINS (Musician): (Singing) Thank you for the stew. You've always been a friend and complementary provider of sorts.

RAZ: Ben Wilkins' six-song EP is called "Back of My Head," and he joins me from the CBC in Ottawa, Canada.

Ben, welcome.

Mr. WILKINS: Thank you.

RAZ: I mean this as a fan of his music, but your sound reminds me a little bit of Ben Folds. Is he a big influence?

Mr. WILKINS: Ben Folds Five, I remember the first time I heard them in high school, they really made me turn my head. It was just so different than anything that was on the radio, than any other band that I was listening to at the time. And certainly, the complexity in the writing really got me interested in listening to him.

RAZ: The song that we're listening to, "Through To You," it actually has a very, very, cool video, and it's the first thing you see when you go to your website, and actually, the site is so cool that I think anybody listening should go to benwilkinsmusic.com. You've got to see it.

So in it, you're playing an upright piano. You've got this sort of crowded room full of people milling about behind you. And it seems to be kind of like this stop-motion thing going on or something like that. How did you guys make that video?

Mr. WILKINS: So there's me playing and singing in regular time and then all this activity going on in the background in fast-forward.

I was actually playing the song and singing along three times slower than it was actually, and then the whole video is sped-up afterwards.

RAZ: And so they had to film you separately and then the people behind you separately.

Mr. WILKINS: No, no, we were all filmed at the same time.

RAZ: You were all filmed at the same time.

Mr. WILKINS: I was just playing in slow motion.

RAZ: I see. So you were playing in slow motion, and at one point, this woman sits next to you at the piano in fast motion, and you're still sort of playing in what appears to be regular motion.

Mr. WILKINS: Yeah, it took a lot of practice. I practiced quite a lot on my own, listening to songs three times slower. The song's about 10 minutes long. And singing and playing like that is quite challenging, but I got the hang of it.

(Soundbite of song, "Through To You")

Mr. WILKINS: (Singing) ...playing indifferent. No one gets to you.

RAZ: When I hear your music, it has a little bit of a Paul McCartney feel to it in some places. You've got Burt Bacharach. I mean, you're a pretty young guy. But are you also kind of an old soul?

Mr. WILKINS: I would think so. I certainly grew up listening to a lot of Beatles records, Carole King. Yeah, and still today, I often continue to go back to old recordings made in the late '60s and '70s. There's a romance in that music that just doesn't seem to die.

(Soundbite of song, "Through To You")

Mr. WILKINS: (Singing) 'Cause the world is always whirling around...

RAZ: Are you a bit of an oddity in a sense, in the Montreal music scene? I mean, the city has sort of become this kind of indie-rock powerhouse in the last few years. Obviously, you got Arcade Fire there, there's Patrick Watson and "Wooden Arms." There's Godspeed You! Black Emperor. How does a guy like you, you know, in the '70s, piano singer-songwriter genre fit into that world?

Mr. WILKINS: Yeah, I guess I don't really fit into that world. It's always quite challenging, when we're doing a show, to find someone to play with. I didn't really mean to completely stand out. I was just writing songs that were true to what I wanted to do and the kind of music that I like to listen to also.

RAZ: So, I mean, so how do you sort of operate in that indie Montreal world? I mean, do you sort of just operate outside of it?

Mr. WILKINS: No, I mean, Montreal is a very artistic city. There's certainly the indie-rock sound that has surfaced and gotten pretty popular around the world. But there's all sorts of people doing all sorts of interesting things.

So I don't feel completely disconnected to the city or the music scene per se. I would just say I'm not a standard example of the Montreal sound.

RAZ: My guest is the Montreal-based musician Ben Wilkins. Let's hear the title track from your album, Ben. It's called "Back of My Head."

(Soundbite of song, "Back of My Head")

Mr. WILKINS: (Singing) You surely spoiled a beautiful moment. Are you happy now? You certainly drove me and your point right home like driving burning nails right - NPR All Things Considered

A musician from Montreal, Ben Wilkins plays piano-powered alternative pop that recalls Ben Folds and Rufus Wainwright. It's a different sound for a city that has more recently embraced dramatic indie rock like that of Arcade Fire and Patrick Watson.

"I guess I don't really fit into that world," Wilkins tells Weekend All Things Considered host Guy Raz. "It's always quite challenging, when we're doing a show, to find someone to play with. I didn't really mean to completely stand out or be an oddity. I was just writing songs that were true to what I wanted to do and the music I like to listen to."

Wilkins says he listens to Burt Bacharach, Brian Wilson and Milton Nascimento, among others.

"I continue to go back to recordings made in the late 1960s and '70s for the warmth," Wilkins says. "There's a romance in that music that doesn't seem to die."

Unlike many singer-songwriters, Wilkins studied jazz and classical music at McGill College.

"Going to music school is a difficult thing," he says. "I remember people warning me about it before I got there. 'You love music, you love playing music. Are you sure you want to go to music school?' ... But I was able to use the degree and the experience there to learn a lot more about harmony and arranging."

It's Wilkins' knack for arrangements that stands out on his debut EP, Back of My Head, which features string quartets alongside piano, bass and drums. He recorded it at the studio of Sarah McLachlan producer Pierre Marchand, with the help of 24 other musicians.

"I wrote all the arrangements myself," Wilkins says. "As I got more comfortable incorporating orchestral instruments into my live show and recordings, the arranging started to become part of the songwriting. Sometimes, when I'm writing a song, I can already hear what the strings or brass is going to do."

One song that's getting attention is the EP's title track. The video, which you can watch here, features Wilkins playing the piano in a cafe, surrounded by people moving around in fast forward.

"The concept was from [directors] Xuan Pham and Adrien Le Grand," Wilkins says. "The way we actually did it was very difficult, and required a lot of practice. I was actually playing the song and singing along three times slower, and the whole video was sped up afterward." - NPR Music

As Ben Wilkins has yet to release his first his first self-titled album, relevant press from his previous project can be found at:

www.sonicbids.com/TheEaseDown


- re: press highlights