Artist Spotlight: Meet Victor V. Gurbo
How does this 'Haunted Houses & Empty Beds' fit into your overall artistic vision?
Mark Caserta and I recorded over 100 songs during the COVID-19 lockdown. All these recordings were done socially-distanced, and using just our cellphones and whatever equipment we had on hand. “Haunted Houses & Empty Beds” is the second release from this project - and the first with original material on it. Some of the originals I wrote during this time took shape musically because of what Mark and I became capable of doing, and I think “Ghost Woman Blues” is a great example of this.
Were there any challenges or breakthrough moments during the songwriting process for this EP?
“Ghost Woman Blues” was written with both Mark Caserta’s lead guitar and bass playing in mind. He’d also just received a theremin, which aided in creating the song's creepy ambiance. I don't deliver my songs to Mark with notes, so I don't bias what he'll play - and it came together just like I heard it in my head. In addition to being a nicely composed song, it's a proof of concept for me.
What has been one of your favorite memories along the path to making 'Haunted Houses & Empty Beds?'
I’d always wanted to record a cover of a modern Bob Dylan song. I’m a huge fan of Mr. Dylan’s most recent studio album, “Rough and Rowdy Ways.” The song “Black Rider” on the record stands out to me, and I enjoy the sparse acoustic arrangement. I wanted to recreate the same atmosphere, but with electric instruments instead. I sent my rhythm guitar and vocals to Mark without any instructions, not wanting to bias what he played - but he tapped into the idea on his own. I think we managed to stay true to the tone of the song, but do something different with it.
Do you have any memorable on-stage moments or performances that stand out to you?
Mark and I have performed “Ghost Woman Blues” quite a few times since its conception. It has changed key and shape a little bit. We played it live in September at City Lore, a wonderful cultural arts center in Manhattan - and something about that performance really shined.
How do you balance crafting relatable stories with maintaining your unique voice as a songwriter?
I draw inspiration from old folk songs and stories. One wouldn’t necessarily think that’s relevant today or relatable, but that’s far from the truth. These stories are universal, and there’s a part of them that moves through all the best songs, stories, and works of art. Sometimes you have to shift things around a little bit to not be too anchored in the past, but overall not much has changed - we all still fall in love, struggle with loss, and are afraid of the same things. The past is never really that far behind.
