Jessica williamson ethereal melodies lyrics

This is Baylee, how are you today? Jess Williamson: Hi! How are you? Are you in Memphis? Well we've been shut down for a while now in Memphis. Our county and mayor actually shut us down before the rest of Tennessee. It hasn't gotten out of hand, thankfully, but our mayor's just deciding whether to open us up in a few weeks or not. You're in LA, correct?

Definitely, I think a lot of people are kind of using staying at home to reassess priorities and reassess how busy our lives really were. But yeah, it is a weird time to release a record but I really enjoyed listening to record I'm excited to talk to you about it today. Are you looking forward to releasing it? Williamson: Yeah, I am.

That's so good I'm so happy for you. Well, I'm glad you're good, glad you're healthy, glad your family and friends are healthy. Mine all are as well. But I'd love to just jump in if you're ready to go. Williamson: Totally. This new album and choosing to host this interview is my real introduction to you as an artist, which I was really excited about. I love your music, love your lyricism, and I really adored your album.

With Sorceress, I loved a lot of the themes that you wrestled with in this album. One that really stuck out to me was the idea of the untamable woman, and women living alone and aging alone. How did you develop these themes and what kind of drew you to the word ''sorceress,'' specifically, your album title, and what kind of drew you to writing about lone women?

Williamson: Yeah, great question. Which is essentially being a woman, and not being a sorceress, but being expected to be one. As women were expected to shoulder a lot, to shoulder domestically, within relationships, within a family, within friendships, and to be able to do it with a smile on our face. I wrote it coming from a place of feeling like I needed to have supernatural power to be able to make certain things work. So every song on the album, for the most part, features a central character or a woman who on some level is needing to be a kind of supernatural, larger than life, kind of figure for one reason or another.

You go through life alone, and people come and they walk alongside you on your path for a while and then your paths go different directions. No, I haven't! That really affected me. This idea that, we only know one side of the prism of a person, right? For example, the way that I know my best friend is different than the way that her boyfriend knows her, or the way that my mom knows me is different than the way someone I work with knows me.

In particular in that movie, the idea that a mother can only know her son one way, and someone else is going to know him a different way. Those are some things I was thinking about while writing these songs. I love that. I think that the characters you created are really powerful and you can definitely hear them in the album, the different voices and things that you wanted to incorporate. It's really beautiful. Williamson: Thank you!

One song that really stuck out to me as a separate character and one song that was really powerful was ''Rosaries at the Border. What drew you to this character, to this woman, and why did you choose to add this song to your album?

Williamson: I wrote that song when Trump was separating children from their families at the border, when that was all happening and is kind of still happening. And I was really — obviously — really affected by that as a lot of people were. I felt pretty powerless and felt really sad. To then be imprisoned and have your children taken away from you.

I was thinking a lot about how this is supposedly a Christian nation. And I was thinking about the figure of Jesus Christ. I have become more spiritual in the last few years than I have been in my whole life with my own version of spirituality. I grew up Christian and I know a lot about the teachings of Jesus Christ. Jesus was the person that was hanging out with the lepers and the prostitute, he he was turning the tables in the bank and telling everybody, all the supposedly religious people that they were doing it wrong because they were.

I was thinking about the story in the Bible where the prostitute came up to Jesus and washed his feet with her hair and put perfume on his feet while the ritual leaders were all making fun of her. Well, I think it's amazing that you gave a voice to some people who are really voiceless right now and their voices have been taken from them. Thank you for writing that song and painting the picture so vividly.

So, you mentioned that the past two years have been transformative for you. I know it's been two years since your last album released Cosmic Wink. What what has changed? Both with your approach to music making and what has influenced this album that maybe didn't influence Cosmic Wink? Williamson: One big thing is I started writing songs on the keyboard. I was always writing on guitar before, which for me really roots the song in like a country or folk or rock place.

It helped me get out of my own way, in thinking that I needed to make it musically sound interesting, all I could really do was pound out chords, and it became this blank slate. For me writing a song on a keyboard, it means it can go anywhere it could go in any direction and sort of genre-less. It just became this container for the song, like an open field that the song can sort of fit in, and become anything. I wanted to step outside of the genres I was more comfortable with for this record and move more into a pop direction, but also bring in some country elements.

So starting the songs on the keyboard, really helped me think in a new way about the songs. It helped me open up what might be possible for them sonically. So musically that really helped. I also wrote a few song on an omnicord. Do you know what that is? I've definitely heard the word but please describe it for me again.

Basically, it has buttons that you push for all the chords and it also has this pad on the side that you can stroke. It almost sounds like a harp. It also has a drum machine which is really helpful. So I used that to write a little bit on this record too, which again helped to open my mind sonically. Then sometimes it started on the keys ended up on the guitar. Yeah, well I think the shift in your sound is really apparent for example, some songs especially ''Infinite Scroll'' you can hear it almost immediately with the more pop and psychedelic feelings, very atmospheric to me.

So what inspired you to go more in a pop direction this time, rather than in the country roots? What drew you to go more outside of your grounded folk sound? Williamson: I started listening to more pop music, and realizing I liked and it was really interesting.

I wanted to open up more and see what that I could do for my own songs. That's awesome. I actually am a big fan of pop music. It's funny because when I tell people that I love pop music, they're like, 'Oh, okay. Like what? There's really amazing pop music being made right now with so many different influences. Williamson: Well right now I think that pop and indie and and rock or all swirling around together in a really interesting way.

Yeah, genre-bending and genrelessness is a real topic right now, especially among writers, because genre is how we've always really classified and described music for so long. It's hard, well, especially because a lot of your songs are really different from each other - especially on Sorceress.

They're gearing up to release new album Double Tubble and you can get a taste with "Street Fighter Man. We stayed up late drinking with my roommate and went to my friend's studio the next day to make some music together. I went upstairs and took a nap and in the meantime, while I was sleeping, he had written the music and melody to 'Pictures of You. I've always approached lyrics in isolation and writing this song showed me a whole other way of making music with someone else.

A month after becoming friends with Michael, I visited him in Los Angeles for the first time and decided I wanted to live there, so it feels special having this song come out a month after my move to Los Angeles, a year after we wrote it. On "Chicory," her voice lilts with an ethereal softness, while her solo acoustic guitar grounds the sound with low, arpeggiated chords.

The brief and sweet "Nocturne Interlude" soundtracked the end credits of an episode of Good Girls last year, and "Unholy Appetite"'s laid back groove gets a boost through an intro of twinkling synths. The Toronto-based singer has a retro feel in her voice but the instrumental is decidedly fresh and current. Because of this, Mexican food has always been my comfort food. I think that most towns and cities in the western US have a place like this, even in 'red states.

And the horrid politics playing out in the foreground amplified the unease. My friend Dave says this song feels like magical realism. My dad died many times years ago. We were drinking steamy coffee on a winter morning, wrapped in blankets, and looking out at the desert morning. Miriam died during the pandemic.

This is the second of three albums the band are releasing this month.

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