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68 NOVEMBER 2016
MUSIC NEWS
continued
Brothers Michael and Brian D'Addario (17 and 19 years old,
respectively) are creating the kind of late '60s, lo-fi romance that
makes gets you involuntarily engrossed. The tracks on Do Hollywood
shasay between styles and time signatures and tempos, sometimes
within the same song; one minute you're swaying to a do-wop ballad
a la The Penguins, and the next Michael has flicked his drumsticks
into a nimble fill and you're marching in Sgt. Pepper's parade. Despite
the retro elements, this talented duo are fixing their starry eyes firmly
forward. Greatly recommended.
AGNES
OBEL
THE LEMON TWIGS
INTERVIEW
Q1/ The ‘citizen of glass’ concept is very
fascinating; rather than transparency and lack of
privacy, though, my first thought was of glass’s
fragility. Do you think they’re connected?
I think transparency and fragility are linked and
therefore certainly a strength in artistic endeavours.
The question of it being real or not is so difficult
to answer. We all experience things so differently
so even if you are completely honest, the people
[listening] might experience it in wildly different
ways. Also we are, I think, all mysteries to
ourselves so even if you want to reveal everything
it may not be possible, but you can be open with
the investigation of yourself. In my opinion these
are the most interesting pieces of art.
Agnes CarolineThaarup Obel
is a Danish singer-wongwriter
with a flood of musical admirers;
her music is tender, serene and
completely asked
her about her latest album, the
beautiful Citizen Of Glass.
MARTHA WAINWRIGHT
Do
Hollywood
by The
Lemon Twigs
is out now
via Remote
Control.
Goodnight City is the fifth
studio album from Martha
Wainwright, on which the
singer-songwriter has further
crystallised her confessional
style without losing any of
her fearlessness. Lead single
Around The Bend is swooping
and intimate, the gorgeous
Franci is a letter of love and
advice to Wainwright's 2-year-
old son Francis Valentine, and
there are further co-writes with
Beth Orton, Glen Hansard, and
tUnE-yArDs' Merrill Garbus.
Goodnight City
by Martha Wainwright
is out November 11
via Inertia.
Q2/ Can you tell us a little bit about how
the trautonium works? I watched Oskar
Sala play it on YouTube; it also looks like
he creates the tremolo himself, like the
way a lapsteel player or violinist does.
The trautonium is sort of an early modular
synthesizer where you play on a metal wire. The
model I have allows attachable keys made of
leather that can help the player navigate scale
notes by depressing the metal wire. Like you,
I have only seen Oskar Salsa play on YouTube,
so my guess is as good as yours, but I agree, it
looks like he makes the tremolo with his hands. I
know Oskar Sala used a lot of effects like delays
and reverbs on the output on the trautonium.
Q3/ You have warped your voice very
beautifully in various places across the
album (especiallyFamiliar). Does it sound
unfamiliar to you when you artificially alter
the pitch or tone?
I believe we all have different voices that
allow us a large palette of expression. On this
album I wanted to explore the extremes of my
voice, however I could always recognise these
different sides of myself.
Q4/ What is the set-up in your Berlin flat like? Do
you have a piano there?
My studio is in the centre of my flat, and I actually have
two pianos, a celesta, the trautonium, a home-organ and a
keyboard. It’s a very warm and inviting space with Turkish
carpets; a space to get lost in work.
Q5/ How do you write the vocal harmonies
on something like Trojan Horses – is it a long
experimental process or do you find the kinds of
combinations you want slip out very quickly (or
even while recording)?
I would say I do all these things. Some songs are
a long process where I re-do and rewrite lines and
melodies again and again, whilst other songs are
written and sometimes even recorded in one night. I
have to say on this album I have changed and redone
a lot of songs, much more than the other albums. I think
I really wanted to make sure I got the right state of mind
in each song.
Citizen
Of Glass by
Agnes Obel is
out now via
PIAS.
FACTOID: Martha Wainwright appeared in all four episodes of HBO miniseries Olive Kitteridge (starring Oscar winner Frances McDormand), as restaurant pianist Angela O'Meara.