I was instantly captivated by the scenery and the sounds that were part of Argentina-born musician, Cielo Pordomingo’s music video for “Azule Delirio.” The desolation of the backdrop combined with the extreme colors and her haunting melody created something totally unique and new for me. The musician has been a resident of Mexico since 2003 and has been making waves musically for many years. She took the time to answer some questions about her career, her writing process and much more.
MFL: Your music videos are so visually stimulating. I’m dying to know where you filmed “Azul Delirio” and what the idea behind both the track and video were.
CP: Thank you! The “Azul Delirio” video was filmed in a volcanic crater called El Rincón del Parangueo in Guanajuato, Méx. It´s an impressive place that looks like another planet!
Well, the song talks about a woman who lives in a kind of delirium. She tries to enter in a world to which she does not belong. And that place (in the video) is like a delirium too, when you enter there it is as if it were from another planet, very surreal.
MFL: How did your life change when you moved from Argentina to Mexico in 2003? If you were already writing music at this time, how was that affected?
CP: I came to Mexico for vacation, with no plan to stay, I really liked it.
Back in that time, people that I met began to offer me several projects related to music, and I was testing, and I was staying, without realizing it.
Coming to Mexico made me stand out more the contrasts in my way of composing.
I am currently based in Querétaro, and I have found it very comfortable to create, play and travel. But I imagine living in Argentina again, at some point.
MFL: When and how did music become an integral part of your life?
CP: It was gradual, after the first album (DFret), without planning it, every time I spent more time composing, producing, studying programs, preparing the sequences to play live, rehearse with musicians, until this last album (Moirai) where I realized that music is an integral part of my life.
MFL: You mesh electronic and orchestral elements in your music. What is it about this mix that you find attractive?
CP: I find it very attractive to combine real instruments with virtual instruments, it’s like living reality and fantasy at the same time in a song. And I think we live like this all the time.
MFL: Is there a concept/story associated with your most recent album, Moirai?
CP: Yes, on this record, I changed the process or the way of composing (previously I started a song and until I had it almost finished I started with another one), now I was doing all the songs almost at the same time, it was a kind of sound collage where each one took its own path (destiny = moirai) and in the end still so different from each other they are still part of the same mural.
MFL: Do you perform internationally often? If so, where are your largest fan bases?
CP: I try to play outside the country at least once a year. I like to play in many cities, I would not know where most of my fans are, because I have a good reception in cities like Guadalajara in Mexico or in cities like Barcelona and London, and that makes me very happy.
MFL: When you are not writing/recording music, what are you doing?
CP: I enjoy the nature! I love going out to the forest or the river to drink mate! And I read and watch movies and series. I love the cinema, it always inspires me. Also, every time I can I’m always studying and practicing mixing and production.
MFL: Finally, what does 2020 hold for you as a musician?
CP: I hope to continue sharing my music! Thanks to spaces like yours and concerts touring Mexico, Argentina and the world!
On the agenda we have a tour abroad … hopefully it will be completed by mid-year.
And I want to play in every festival I can!
Big thank you to Cielo for taking the time to offer insight into her musical magic and to Lily Yañez for connecting us! Follow her work on Spotify and Facebook.
Every year since the beginnings of Music For Lunch I have reached out to two of my most trusted and respected musical comrades, Mark Levy and Brian Haviland. This year I not only tasked them with picking their favorite five albums of 2019 but ALSO their top three albums of the last 10 years. After weeks of our own personal internal debates, we all came up with lists we are proud of. The challenge of reaching back in time to dig for music from the last ten years that shaped us, colored our memories with soundscapes was unsettling at times but in the end, satisfying!
In no particular order of preference, I reveal representative tracks from the top 5 albums and the lists themselves according to Mark Levy, myself and Brian Haviland. Followed by a playlist with representative tracks from our decade picks, a list and light discussion added by the musical curators themselves, all in the same order as above. Happy 2020 <3. May it bring you all love, joy and incredible music.
The Best of 2019
Good at Falling by The Japanese House
Sunshine Rock by Bob Mould
Kings and Queens/Knaves and Thieves by The Ocean Blue
Modern Mirror by Drab Majest
Old Star by Darkthrone
Assume For by James Blake
Drastic Measures by Bayonne
All Mirrors by Angel Olsen
This is How You Smile by Helado Negro
Triage by Methyl Ethyl
All Mirrors by Angel Olsen
Ghosteen by Nick Cave & the Bad Seeds
Father of the Bride by Vampire Weekend
On the Line by Jenny Lewis
Not by Big Thief
The Decade’s Best
Mogwai’s Harcore Will Never Die But You Will came out early 2011. I was working at Big Sky that winter. My commute through the canyon was always around 7:30 am. This record will forever be the soundtrack to the following scene. The sun hitting fresh fallen snow while steam rises from the river. An Ansel Adams photograph comes to life.
Rush is the worlds biggest cult band and I have been a member for forty years. I could write a book about my life and connections to their music. That said, they have always pushed themselves to create the best art as possible while remaining true to their form. Clockwork Angels (2012) is no exception. As per the recent, devastating loss of drummer and lyricist Neil Peart, it shall be the last. I think this album is fantastic start to finish. The band will end on a high note.
Growing up in New York, I’ve always enjoyed hardcore as a genre. I love bands from back in the day. Cro-Mags, Sick Of It All and Gorilla Biscuits to name a few. Turnstile is a band in the scene currently making great music. You can hear nods to the old school while keeping it fresh and interesting. Time & Space (2018) is hard and full of hooks. Can’t wait for more.
In Colour by Jamie xx somehow worked its way into my ears the year of its release in 2015. I believe it was the track “Loud Places” that first caught my attention. My best friend has this magical ability to sense what music I adore and she gifted me the record on vinyl for my 27th birthday. I think I partially blew out the speaker on my record player. I can’t remember a time since receiving that gift that I have been able to not listened to it from start to finish once I push ‘play’ on the top track, “Gosh.”
I heard something very strange but extremely enticing in early 2012. It was “Fitzpleasure” by Alt-J. I became obsessed with how bizarre the sounds, lyrics, vocals, instruments…everything, was. The obsession grew with the release of their debut full length An Awesome Wave in 2012. I listened to it over and over again, dug into the lyrics to discover more than just complete oddities but an attractively eccentric logic I appreciated. Come spring 2013 and another music-loving friend and I drove ourselves to Seattle to see them perform, the album on repeat for all 7 hours.
I cannot begin to describe what sort of feelings Future Islands conjure up within myself. This band has been a staple in my musical existence, a mainstay in my life the last 10 years. I find myself going back to their music always when I lose track of myself, when I become a version of myself that isn’t honest. It was challenging to pick one album of theirs as all but their debut were released in the last 10 years. I chose On the Water (2011) as it holds the highest density of my favorite tracks.
Brothers by The Black Keys (2010) –Without a doubt my Most listened to Album of the 2010s. Is that a fair comparison to make? After all, I had a full 10 years to listen to it as opposed to less than a year for an album released in 2019. Really, I just don’t listen to full albums like I used to. This might have been the last physical CD I purchased. Oh, and it’s damn good. Every song.
Wild Onion by Twin Peaks (2015) – Five years ago I became worried I’d slip into a Classic Rock loop of contentedness, listening to the same music over and over. It’s an easy thing to do and hey, the music is good. So when I came across this gem I felt a renewed drive to keep digging up new music like I used to. Best Rock Album of the Decade and somehow still flying under the radar.
Teens of Denial by Car Seat Headrest(2016) – I might dodge the question if you ask me what kind of music I listen to (Me: “Oh, I listen to everything” Humorless observer: “Everything? You listen to every single song ever released?” Me: “Yes”), but I prefer Indie Rock. I’m sure I’m not the first to make comparisons to one of the all time indie greats Pavement.
The psychedelic rockers, Dream Phases, released their debut album at the end of 2019 titled, So Long, Yesterday. The record is a sonic exploration of gathered experiences growing up in LA and travelling along the West Coast and how those experiences have put them where they are now. The group is fronted by Brandon Graham who kindly took the time to answer my questions.
MFL: Who all is in Dream Phases and what is your coming together story in as many or as few words as you’d like to use?
DP: Dream Phases has a few different lineups. Typically in the studio, the band comprises myself (Brandon Graham), Shane Graham, and Keveen Baudouin, along with a few guest musicians. The live band is augmented by Anthony Marks, who also played on a good portion of the new album, and a few other revolving musicians depending on what we are doing. The band came together as my solo songwriting project and evolved into a band situation. I knew that I wanted Shane and Keveen to play with me once the initial set of songs were written and demoed. Shane is my brother and we both have played with Keveen for years in previous bands we were in.
MFL: How do you approach songwriting? Is there one primary songwriter or is it a team effort, perhaps divided effort?
DP: So far I have been the primary songwriter, but our goal is to collaborate more with the writing on the next album. Until now, the process is typically me writing and recording essentially a fully arranged demo, which is then shared with the band and the song is developed from there in our practice space or in the studio. Then we record the final band version of the song. Shane often sends me drums tracks for the demos as well.
MFL: I read that you played SXSW a couple of years ago. I’d love to hear know about your experience there.
DP: SXSW was fun, and usually is. I’ve played there about 5-6 of the last 8 years.I’m not quite sure it’s still as relevant or as important as it once was, but you always meet new people, see great bands and overall have a good time partying. At this point, I’d really only go back if there was an important reason or really good showcase.
MFL: How does one choose a recording label (if you are still with Lolipop) and know that it is a good fit?
DP: We are not with Lolipop anymore, they just put out our first EP.We are currently working with Nomad Eel Records and Lunar Ruins. For labels it’s important that they believe in what you’re doing, are offering a good deal, not taking your publishing or writing credits, and that they have a good track record of promotion and releases. It’s kind of a toss-up nowadays as to whether it’s worth it to work with labels, however it can be very useful to lighten the load financially of a new release.
MFL: As a band, do you collectively have sources of musical inspiration? If so, discuss a few of them.
DP: The overall influences and inspiration of the band members are pretty wide, and that was part of the reason I spent time developing the sound on my own initially so that it would be focused. There are pros and cons to having a wide range of influences. On the one hand, you can draw from a lot and have interesting results that might sound fresh and new, but on the other hand, without too much curation the end sound can be lost and unfocused. We all agree on a lot of 60’s psychedelia, and more noisy rock stuff. I might kind of force the softer folk-rock and country-ish sounding stuff on the guys!
MFL: Describe the experience you create for the audience when playing live. Does this experience change when you’re on tour depending on crowd size/location?
DP: We try to create an immersive experience, regardless of whether or not we are touring or the location. We often work with different lighting artists to help that immersion, as well as try to play shows with friends or bands that work together. A lot of our songs flow into each other live, so we might play 3-4 songs directly into each other, with transitions. We like to keep the energy and flow going through the set and to have dynamics throughout the set, to keep it interesting and to not just have a full-on sonic assault the whole time. There is a bit of improvisation every night and setlists can change spontaneously, which makes it exciting for us. On tour, we do like to filter songs in and out and change it up at least a little bit every night.
MFL: What has life been like since the release of So Long, Yesterday and what’s next in terms of touring etc?
DP: Well, it’s only been two months, so not a whole lot has changed. We did the five-week European tour to promote the album and we played a few LA shows. It’s nice to have the album out there. We might do a bit of US touring in Spring, we are working that out now. I’m taking a short break from touring right now, as I just completed my seventh tour of the year, with Dream Phases and some other bands I play in as a side musician. It’s nice to be home.
MFL: Finally, favorite tour bus/van story…GO!
DP: No way I can pinpoint or even accurately remember them all, and I actively try to sleep as much as I can while in the van since it’s the most boring part of touring, which I call time traveling. On our last tour, we all got obsessed with a podcast called ‘Rock N Roll Archeology’, which is made by a rad guy from San Francisco. It’s a great podcast tying in music with the cultural and technology of the time. We geeked out on that pretty hard, that was definitely my favorite part about being in the van.
Thank you to Brandon Graham for answering my questions and Ashley Hoffman for coordinating. You can follow the band on Facebook and Spotify.
About a year and a half ago two friends from Amsterdam who called themselves Broj, reached out to me with this track:
Somehow it didn’t reach my ears until February of this year and I’m so thankful they persisted as it would have been sad for me to go on any longer without knowing their music existed! Casper Jansen & Benjamin Brommer ‘s friendship is deeply rooted by their passion for writing music. Inspired by the underground electronic scene in Amsterdam the two are churning out rich and eclectic electronic melodies and diving into some fantastic collaborations like their most recent one with The Woods (I featured his track “Armchair Expert” May of 2018). The latest single, “Northbound”, features lyrics and vocals by The Woods:
These two pressed “pause” on writing music to answer my questions. I am very grateful. Check out their answers below:
MFL: You describe your recently released single, ‘Northbound’ as “emotive and euphoric.” It is absolutely that! How do you use electronic music to capture this mood and what is ‘Northbound’ about?
Broj: Ah thanks! ‘Northbound’ for us is about a certain feeling of getting lost in something, in a good way. This can be everything, from being in love, to listening to your favorite band, to the sense of freedom you get from traveling around the globe. The Woods (the performing singer) wrote the lyrics, and he described it like this: ‘It’s about that spark when you meet someone from a different world who turns your life upside down. Moving mountains to see them again; that electric anticipation.’ And that’s the feeling we tried to capture in the track. For us it’s always a challenge to make our music sound as organic as possible, even though its foundation is always electronic. To make it sound like there is a live band playing the song is what makes it sound more alive and euphoric. The emotion comes through in the melodies and detailed soundscapes which play a big part in all of our songs.
MFL: How did you get to collaborate with The Woods on ‘Northbound’ and who wrote the lyrics?
Broj: When we first heard his song ‘Armchair Expert’, we knew straight away that there was something interesting about his music and his voice! The way he layered up pieces of his vocal reminded us of the way we use different layers in our own tracks to create a moody atmosphere. His style is a bit different than ours though, but we considered that to be an advantage rather than a setback when creating music together. When we reached out to him, he was excited about our music too, and that’s when we started to exchange ideas. We were working on some instrumental demos at the time, and one of them (already titled ‘Northbound’) became the one he wrote lyrics on. Writing lyrics is not our strongest point, partially because English isn’t our native language. And besides, for us it was far more interesting to hear which emotion comes through when someone else is listening to our instrumental.
MFL: When you send me music, you always begin your emails with “We are two close friends from Amsterdam…” Describe the origin of your friendship and how/when it developed into Broj.
Broj: Somehow it feels right to emphasize this. As our ambition was born out of passion for music and a close friendship. We feel that stating this in emails and promotion helps to create the image that what we do comes from deep within. And on top of this, it makes it more personal for the receiver, keeping in mind that some bloggers and playlist owners receive maybe hundreds of similar emails every day.
About our friendship; we’ve been friends for about ten years now, since we met in high school. We were always talking music in lunch breaks, and you could say that this escalated a bit into what it is now. In real life we make jokes all the time, but when it comes to music it’s serious business, on most days. It really is an important way for us to express ourselves creatively and emotionally.
MFL: Are you still based out of Amsterdam? If so, where do you fit in in the music scene there and how does it influence Broj?
Broj: Amsterdam has been our home town for almost six years, and we don’t have any plans on leaving the city anytime soon. We just love its atmosphere and appeal. The city has a long history with electronic music, with a busy underground scene and Amsterdam Dance Event being the most prominent examples of that. What is interesting for us, is the rise of electronic live acts these past years. This is probably where we fit in the most, because this is where the electronic and organic meet. We would say that the live influences and combination of different worlds is something that the city and our music have most in common. We get our inspiration from music scenes all over the world though.
MFL: Does the word ‘broj’ have a meaning? How did you settle on this name and how does it encapsulate your project?
Broj: The name actually comes from something that the guys on the American TV show ‘Workaholics’ used to say. They would name someone a true ‘braj’ if he was a true ‘bro’. But since this was never written down or spelled out, we made our own adaption phonetically. Since we really enjoyed this show and the meaning behind the word, we settled on this pretty quick. Later we also noticed that the name had something mysterious and somewhat of an international appeal, which we liked. Friends around us sure do have difficulties pronouncing it correctly though, haha!
MFL: As I dig into your music from the last couple years, I notice the titles of all your EPs, singles and tracks are so simple, just one word. Is there a reason behind this simplicity? The songs are not simple, your attention to detail in soundscape is incredible.
Broj: Thanks! And funny that you’ve noticed this, it is actually intentional. We feel that the shorter the title, the more powerful it is. Of course we try to choose the right words that cover the emotion and vibe of the track for us personally, but we want to leave something up to the imagination. In the end it’s the listener that makes his or her own associations.
MFL: Have you noticed a musical evolution since the release of your first EP, Origins, in 2017?
Broj: Definitely! Every song we make is a reflection of a certain time period with its ups and downs. Also production wise, with software, samples and influences, it reflects that specific time. Musically we feel like we’ve evolved a lot since that EP. Although we are still very proud of those set of songs, we’ve gotten better in production, soundscapes and songwriting, simple because of years of practicing and experimenting.
MFL: As electronic musicians who write somewhat exclusively music without lyrics, how do you approach conveying messages/stories without lyrics?
Broj: That’s a good question! We always start new songs by jamming and experimenting, and once we feel that there’s something special there, we collect as many unique elements as possible which we then use to make the song. An important part of this process is the use of multiple layers and dynamics, that we use to include the listener into the story we’re trying to tell. Choosing a good title and designing an artwork that triggers the imagination helps conveying this message.
MFL: What do you have planned for the future? Anymore epic collaborations we can look forward to?
Broj: As a matter of fact, we do! We are working on a new collaboration with a female singer as we speak, so that sure is something that we’re excited about. We’ve also been playing with the idea of working on a new EP which we would like to release next spring if things are going according to plan. In the meantime we’ll keep on trying to reach more platforms and listeners, and hopefully we get to bring our songs to life on stage in Amsterdam soon!
Originally from Hämeenlinna, Finland (the same town that brought the world Jean Sibelius) Teemu Sätilä found his way to Sydney, Australia and now London, each destination painting his musical path. Sätilä writes alternative pop music that is both wrought in emotion and totally addicting. His latest single, “Like You Do”, was released earlier this year and an acoustic version released just last week. Check out what else he has up his sleeve and where music all began for him in our interview below!
MFL: I have read that you started writing music at age 7! I’d love to know if you remember any of those songs and what you were inspired to write about at that age.
Teemu Sätilä (TS): I do, unfortunately. I remember I started writing songs in English when we started learning it at school at age 9. I would just make songs out of the stories in our books, like Goldilocks. I can’t remember any of the early original stuff, though.
MFL: Along those lines, are there any trends in what you feel inspired to write about as an adult with your latest project, Sätilä? How does this differ from previous experiences in other musical projects?
TS: I’m quite reflective and the move to London has aroused thoughts on community, loneliness, pursuing dreams and self-doubt.
MFL: Where in Finland did you grow up and how did that community influence your decision to choose music over other careers?
TS: Most of my definitive years I lived in Hämeenlinna, a town of 50,000 people an hour north from Helsinki. I had friends doing music when I was young and they were getting international recognition, too. Jean Sibelius was born in that town, maybe that has something to do with it. There’s a band called The Holy who are doing well and growing internationally and most of the guys are from there. When I started releasing music I lived in Turku and the community over there really encouraged and supported me to do music. I’ve been studying and working in retail on the side as music is not yet paying my bills.
MFL: You have bounced around from Finland to Australia and then all the way to London. How do you think your travels have influenced you as a musician?
TS: I think they have opened my eyes to see possibilities in music, whether that’s artistic choices or the different ways of creating a sustainable career. I love Finland but the size of the market and music industry feels very limiting at times. I guess that’s the problem of many small places.
MFL: Even though you are now based in London, do you still have your finger on the pulse of Finnish music? If so, who are some musicians from Finland that you feel are making waves?
TS: Oh for sure! I think there are really interesting music in Finland and also coming out of the country. I mentioned The Holy earlier, they’re really cool. Also an indie folk producer duo Lake Jons is very worth checking out. Karina makes soft indie pop in Finnish but are gaining traction abroad, which is so inspiring. If you enjoy cinematic indie folk pop, you have to check out Peura! Inside Finland, artists like Vesta and Ruusut are challenging the mainstream pop arena. And of course, our pop export legend Alma. She is a great writer, genuine person and has a sick voice.
MFL: When you are writing, recording and editing a new song, when does the song feel complete?
TS: Good question. I think it varies a lot. I think the song feels complete when you are satisfied with how the song conveys the original idea. Deadlines help a lot because you have to stop working on it at some point. If you still feel like it’s not complete, maybe leave it for a while and work on something else.
MFL: How did you come to work with producer Mikko Pennanen on “Like You Do” and what did he bring to the creation of the track?
TS: We met ages ago through a mutual friend. I was looking for new people to work with. I sent him the rough acoustic guitar version of the track and we met and chatted about music and what my inspirations and sonic vision were. He then went on to work on the track on his own and sent me the first idea. I loved it, we did a session together playing some more instruments and working on the production and eventually recorded vocals. The vocals have actually been done three times cause I wasn’t happy with my performance. It’s very rhythmic and especially the post chorus’ massive choir was so hard to perfect. I’ve never worked on a song like this, either, but Mikko managed to bring my vision to reality in a beautiful way, helping me develop my sound.
MFL: You mentioned once that “Like You Do”, was part of a bigger vision for you as a musician. Can you tell me more about what this musical vision is and when we can expect to hear more of it?
TS: At the time I started releasing music, I was inspired by singer-songwriters and folk rock. Australia and its scene had a massive impact on my early sound. I was listening to artists like Boy & Bear, Matt Corby, Ben Howard and Of Monsters and Men. The musical landscape started to change more into electronic music and I was listening to more electronic stuff so I felt the need to move with it. In a way, it was really painful and I think you can kind of hear the growing pains on my Out of Love EP. I was looking for ways to incorporate synths and electronic elements with the organic music I was making, still very much singer-songwriter at heart. The music that is sitting on my hard drive waiting to be released is a mixture of indie rock, alternative rock, singer-songwriter and electronic influences. Inspiration varies from Foals to Ry X and Tame Impala to Maggie Rogers. My love for pop music is manifested in the melodies and the polished sound, which makes it hard to box my music to solely indie or pop. The next single will be out early next year and it’s a mellow, more electronic track.
Thanks to Teemu for answering all of my questions so thoughtfully and to Lydia Reed of LPR for coordinating. You can follow Sätilä on Facebook, Spotify and Instagram.
I first heard LIA’s sound when listening to “Out of Control”, the track off of the top of her debut EP, Vasilia. I was instantly captivated by her soaring voice and clear command of electronic music.
LIA’s passion for music started at a young age and has carried her through her musical career including many exciting collaborations, debut EP and a collection of remixes titled Drifting Remixes, just released YESTERDAY (11/15). We discuss all of this and much more below.
MFL: When and how did music become part of your life? Discuss any influences including friends, family or other musicians.
LIA: I always loved to sing. Both of my mother’s parents were professional singers at a point in their lives (my grandpa has perfect pitch and grandma sang for a Madrigal choir in her youth that toured the east coast of the US). My parents sent me to singing lessons at 10 with a local Opera singer but I stopped after a year because I hated practice. It wasn’t until age 13 when my dad taught me how to read tabs for guitar that I started playing and singing on my own for hours at a time. My dad really encouraged me to take up guitar. He used to play me classical pieces he remembered from his studies at uni on his acoustic guitar when I was younger.
MFL: Is there a moment you recall when you landed on what would become ‘your style’ of music? Perhaps the first single you released or the first song you wrote?
LIA: I used to be so stubborn about what I thought was quality music. I hated electronic music and thought that acoustic or very minimally processed music was the best kind. I listened to a lot of early Bon Iver, Dave Matthews, Ben Howard so I think my lyrics take inspiration from them. When I was learning to sing, I heavily relied on covering Adele, Sara Bareilles, Ingrid Michaelson, Regina Spektor and Feist so I think my vocal technique and melodies originate from them. I was invited to Banks’ show back in 2014 without knowing who she was and that night opened my eyes to the possibilities of marrying my voice to electronic music. I started to experiment on GarageBand. Once I explored the electronic scene in Montreal and met all of the collaborators I’ve worked with, I fell in love with electronic production. I would say my production is most heavily influenced by Bon Iver, James Blake, SOHN, Tourist and my friends!
MFL: Congratulations on the release of your EP, Vasilia. I understand it is inspired by a slavic folktale. Tell me more about the reason for this source of inspiration and how you wove your music around it.
LIA: Thank you so much! This EP began from a place of deep internal distress. I started some of these lyrics when I finished my undergrad degree at McGill back in 2016. I believe Out of Control is the oldest. When I had the initial idea, I remember feeling like I was walking down a path into the unknown – it reminded me of Hansel & Gretel. I built the lyrics off of that. Another day, I thought of the concept for To The Woods by exploring ways to metaphorically talk about the self. These organic landscapes and stories of challenge reminded me of the folk tales I’d been exposed to earlier in life. When I was a kid, I played a computer game called Baba Yaga and the Magic Geese. Out of curiosity I researched her legacy a bit and came across the story of Vasilisa (a protagonist who triumphs against Baba’s challenges). By researching eastern european folk tales, I stumbled across Uldus Bakhtiozina’s stunning photography and found huge inspiration from her aesthetic. Kissel Shore was written based on one of her photos.
MFL: What have been some of the greatest challenges you have experienced as a musician since you started writing/releasing music?
LIA: Definitely the pressure of an online presence vs. real-world. Everything is quantified and it’s very anxiety inducing to think someone can look at your statistics and assign you a value without ever experiencing your art or you as a human. There are many beautiful advantages of technology’s integration into the music industry: for example, the democratization of distribution, accessibility to music production tools and networking capabilities with other artists & industry professionals. Then, there’s a really dark side where people constantly compare themselves and feel inferior to others with bigger budgets, more time or more savviness. At one point this year, I was definitely spending more time worrying about statistics than making music and that felt awful. MFL: It looks like you have done some incredible collaborations including “Distant” with Clement Bazin and “I Promise” with Fossa Beats and Thomas White. How did these collaborations occur and are there more coming in the future?
LIA: Thanks! Both of these were internet connections. Clement is based in Paris and Fossa in Melbourne. Clement reached out with an instrumental and my friend Thomas White pitched me a collaboration he was working on with Fossa. I wrote and recorded both in my bedroom actually! There are for sure more collaborations coming with some very exciting and talented artists 🙂 I don’t want to spoil anything though so just keep a lookout!
MFL: I read that you grew up in Washington D.C. then moved to Montreal for school. How did this change in location change you both musically and otherwise?
LIA: Before moving to Montreal I would say my taste in music had less variety. Montreal pushed me to expand the horizon of my inspiration and of the self that I could be. I felt like I grew up in a fish bowl and I entered an ocean when I came to this city. It’s not even that big but there’s just so many people from so many places that all come here. Lots of cultures meld together to create the pulse of this city and I love it. It pushed me out of my comfort zone when I needed to grow and has had a huge influence on how I matured into adulthood.
MFL: Is there a particular time of day you feel the most productive/creative as a musician? If so, when is it and how do you harness those moments of inspiration?
LIA: I really love mornings for work but I find I have the best ideas at night. I guess I’m most productive starting my day and most creative ending it. I like to develop new ideas at night and round them out the next day. MFL: When you are not writing or recording music, what are you doing with your time?
LIA: Cooking mainly. I love getting creative with new ingredients or recipes. It’s a great outlet when I’m not feeling I’m flowing musically because I can get immediate results from my efforts when I decide to make a dish. Also, connecting with friends is really important for me. I often make time for dates with my good pals! MFL: Finally, what does 2020 hold for you musically?
LIA: My first release of the year will probably be a remix EP. I’ve solicited 7 incredible producers who all happen to be women. I’m also doing a remix by myself. Many times it’s not assumed that I produce or that my female friends do either. I’m really excited to release a project that puts a spotlight on talent that doesn’t get recognized often enough! My collaborations will be trickling out throughout the year as well. I’ve already started my next project which so far has 10 tracks all in different states of being finished so next year I’ll definitely finish it and start the release plan.
Big thanks to Ava Muir of Auteur Research for connecting LIA and I and BIGGEST thanks to LIA for taking the time to answer my interview questions while simultaneously working on releasing her remixes ❤ You can follow LIA on Facebook, Instagram and Spotify.