Lobsterfest Q&A: Julianna Barwick
By Bailey Kretz, Staff Writer
Julianna Barwick has a voice that can send anyone into a trance. Her use of slow-building tracks and ambient vocal looping creates a soundscape that sets her apart from the rest of the music industry. ACRN Media had the chance to catch up with Barwick to discuss the progress of her follow-up to 2013’s excellent Nepenthe, as well as her upcoming performance at Lobsterfest.
So I hear that you’ve been recording and composing new music. Is that material for a new album?
Yes, it is. The follow up to Nepenthe.
Is that a full release or an EP?
I’m working on a new LP.
How does the new material differ from your past work?
Well, I’m using a different way of recording than I’ve done in the past. I’ve been recording a lot of piano and singing over it. I mean, the last few records have a lot of piano too, but it’s kind of a new setup, and I’ve turned up my game as far as gear goes. I have a new microphone, and I’ve been recording piano tracks with that and singing over it.
I’m sort of starting from piano [first] instead of vocal loops like I normally do.
So do you think your vocals will be more lyrically-based on this release, or are they still going to be these ambient sounds for the most part?
I think it’s probably going to be just sounds, but I’m really interested in tackling writing some lyrics for this record. Like a few, and see how I feel. It’s new territory for me, so it will be a challenge.
But I really love it when I can connect to a song through the words that are being said.
Do you find yourself sort of avoiding lyrics because you have trouble writing them, or do you just not like presenting your thoughts?
It’s kind of a little bit of everything. But the number one reason why my music is the way it is and doesn’t have as much lyrically is because when I record, whatever comes off the top of my head is what goes into the loop and the recording.
I’ve always done that since I was a kid, you know? I just kind of made up…stuff. I was just singing and writing songs. And also I’m just kind of a little intimidated by lyrics because I don’t want to sound lame. So it’s going to be a challenge because it’s not what comes to me naturally. I’m not naturally a singer-songwriter, you know? So that will be new territory for sure.
Do you plan on bringing in more outside help from musicians like you did with Nepenthe?
I kind of have that in the back of my mind. I’m really just at the start of the process with the new record. I might have a voice or two that aren’t mine possibly. I like the idea of doing that. And maybe some string players.
That would be awesome. Do you have any songs fully fleshed out yet or are they just ideas still?
They’re just demos right now.
So you probably won’t be playing any new material on this tour and at Lobsterfest?
I might. I’m writing a bunch of new stuff so I might want to try it out and see what it’s like in its skeletal state. I’ve played at least 150 shows with Nepenthe songs so I’m kinda ready to start playing some newer stuff.
Yeah that’s what I was figuring, because Nepenthe came out about a year and a half ago and I would imagine it gets a bit tiring to play the same songs.
Yeah, I mean it’s always fun but that’s a lot of it. It’s not as much touring as a lot of other people do, but yeah I am ready to play something new. It will be good for my brain.
Speaking of your live material, how difficult is it to translate your recorded material in a live setting and to produce it on the spot?
Well with Nepenthe I had so much help with producing, guitars, voices and all of these things, you know? It was definitely a challenge. It was basically me listening to my own record and writing down on a piece of paper the chord structures and what I was going to add when and where.
When I make stuff, it just kind of flows out. When I made [Nepenthe], I wouldn’t come with any demos or anything. I would go to Alex [Somers] and things would happen on the spot and we would work on it together. So I kind of had to go back and learn my own things, like, “How did I do this again?”
So yeah it definitely is a challenge, but I only have so many fingers and toes and stuff (laughs) so hopefully the songs come through at least halfway like they do on the record. I guess I just do my best.
Well you have so many intricate little parts and layers, I’m sure it’s tough to remember exactly when to come in and to make sure that all of the loops line up. What happens when you record a loop that you don’t like? Do you just go with it or restart it?
If it’s really bad, like unfixable, then I’ll keep singing and erase it. But luckily that doesn’t happen too often. But with everyone who loops, you have to have a carefree attitude about it. It’s not always perfect the first time. If it happens, it’s not the end of the world.
That’s where a lot of the charm of seeing you live comes from. It’s not necessarily going to be exactly the way it was on the record, it’s just going to be however it came out that night. It just adds this whole other element to your music.
Yeah, I mean I’m performing the songs off of the record, but when they’re live they take on a different emotional value. It’s kind of fun to sing the songs and put that day’s emotions, thoughts and feelings into the music. And the songs that are vocal are a little different every time. That’s one of the things that I love about performing with vocal loops. It’s never going to be exactly the same.
You’ve never been to Athens before, have you?
Nope.
What is your experience with performing in college towns?
I’ve done it all. I played a chapel with Grouper at the University of Virginia a few weeks ago. I played the cafeteria at Carnegie Mellon once.
You’ve been all over the place [laughs].
Yeah! But I love doing college shows, they’re always so youthful.
Is the crowd reaction and participation any different from a gig in a non-college town?
Not really. I tend to have pretty quiet and respectful audiences and I’m forever thankful for that. So it’s always worked out. The only difference, and this doesn’t pertain to colleges, but if it’s a bar or something then it can be a little bit difficult. The environment isn’t totally appropriate for somebody who is making quiet vocal-looping music [laughs]. But yeah, college audiences are great.
Are you aware of the crowd when you’re playing or do you just focus on what you’re doing?
I totally zone out. Almost completely out, unless there’s a talker or something weird happening. But generally speaking, I get into this thing and then an hour has passed. Plus I usually can’t even see the audience. But yeah, I pretty much have my eyes closed and I’m just getting into it.
Well you’re playing on a great bill for Thursday of Lobsterfest. Have you had a chance to look at the lineup?
I did a few months ago, but what’s happening now?
For your night, Weyes Blood is playing before you. Have you ever seen her before?
No, I haven’t seen her live. I’m looking at the lineup and this is crazy. I’ve seen so many of these people. I’ve played a lot of shows with Noveller and Tim Hecker.
Yeah the lineup is stacked this year. Well we can’t wait to have you come through. I think people who haven’t seen you live will really be taken aback.
Oh thanks! I’m excited. Unfortunately I have a flight at like 6:00 a.m. the next day, so I’ll just be driving in and out, but I’m totally looking forward to it.
