By Leasia Korbel
Q: Your latest single “Living In The Past” dives into themes of grief and introspection. Was there anything specifically that inspired it that you could talk about? How did the track come together?
A: The past 5 years have been without a doubt the hardest years I’ve experienced. In my personal life there has been a lot of death, overdoses, surgery, divorces, relational abandonment, and health problems while there has also been problems in the world and covid. And on top of all that, a profound loneliness, disappointment, frustration and grief more intense than I ever thought possible, only made worse by how I handled it. Thank God for the consequences because without them, I might not have grown.
For me, part of trauma is that I replay mistakes regularly. This song is about the power of grief mixed with regret and what it feels like to be stuck. It’s my attempt to process all that while begging God for a second try.
Q: Almost every aspect of the industry is evolving, from how we share music to how it’s created. How do you maintain your artistic integrity and authenticity in an industry that is constantly changing?
A: This kind of piggy backs the question about advice I would give new artists. I haven’t maintained my integrity. I have compromised my integrity at times in my life and the consequences have been traumatizing. I have needed to make mistakes at times to realize who I am and what I’m doing. It’s so important to know why you are doing something and if it is for selfish reasons.
On a different note, right now A.I. is making a huge splash and it can be a useful tool or compromise your integrity. I’ve had many conversations about it and for me at this point the line is do i know what i’m trying to go for or do i want the ai to tell me what the “right” thing is.
Q: Let’s talk about the upcoming album for a minute. You’ve got an album release coming up later this year? Can you talk about any overarching themes and inspirations behind it?
A: This album is a person getting their footing in life again. From new responsibilities and expectations, post covid life, and after a ton of loss and mistakes. This album is a mid recalibration expression of sorting life out. A bit messy and a bit all over the place but sincere and honest.
Q: What do you hope fans will take away from the album?
A: That they aren’t alone and that we are loved more than any of us could ever know.
Q: How has your sound evolved in this upcoming album compared to your earlier release Hope For The F.U.T.U.R.E.?
A: Hope for the F.U.T.U.R.E. was a record of clarity, i knew what i wanted to say and how i did things and how i wanted the music to sound. This record is a record of transition and exploration.
My influences have expanded and my tools have changed. I am surrounded by new types of support with the Fixt label. My family and friends have changed. Basically it’s a whole new life. All of that has deepened my relationship with God.
We have done this record as singles broken up by 9 surgeries so far. Lyrically the record is about a person processing many stages and aspects of life while trying to keep moving forward.
Sonically, I am trying to remove some process crutches that I’ve been able to identify and that has been super challenging to say the least. I have crossed some of the dunning kruger thresholds and I am growing everyday!
Q: Are there any collaborations on this album? If so, how did these artists influence the album’s direction?
A: Earl Cohen worked with me on 2.5 of the songs on the records. I have my studio in my house and I was lucky enough to have him come live with me for 6 months while I recovered from surgery and keep the ball crawling.
Earl has been an intimate musical mentor in my life. We have had many ups and downs over a 20 year friendship.
He has influenced my process almost my whole recording life. But for these songs, he is a part of why “predator” turned out the way it did. My original version was very metal, and I had programmed a vibey break chorus that we felt was so cool that we changed the verses to the vibey version and looked at each other and said “this might be more the essence of what we are going for.”
I try to be a flexible person because I don’t think that stubbornness is constructive or collaborative. I also don’t want to be a perfectionist because I believe it to be counter productive. I like trying a lot of stuff and exploring.
That being said, around my own music, I’ll try stuff and suggestions but I can be very hard to influence. I often know what I want and have something I’m trying to get out and I am relentless in that pursuit. I am still trying to express that vision, I still have a long way to go still. Earl was definitely in a tough place with me in this area and he did a great job.
Q: What advice would you give to young artists just starting out in the music industry?
A: I think about this question often because I would go back and give myself advice if I could. Make sure you know what your motivations are and be very honest with yourself. God put everyone here for a reason. Being yourself is a service and contribution to the world, I wouldn’t recommend doing art for selfish reasons such as money or status. And then also discipline is crucial, slow and steady.
Q: Can you share your process for songwriting? How do you start, and what inspires your lyrics and melodies?
A: How long do you have? lol I usually start by jamming with an acoustic guitar or piano and singing over it until I have a chorus melody that I feel is useful. Then I will make a rough demo with that melody where I make the whole song very quickly with copy and pastes just to hear an entire arrangement. By this point I have decided what the song is about and have chorus lyrics. I need this to move forward and it is often dictated by feeling what the song is doing emotionally and asking myself what I’m going through that relates to that feeling or could be the reason why I’m interested in the emotional energy that way. Often, I try to relate that to others in a way that I think could be empathetic, sympathetic, or challenging and detail the lyrics and parts from that place.
Q: On a scale from 1 to ‘Spinal Tap’, how would you rate your last live performance?
A: None more black.
Q: What’s the most awkward stage moment you’ve ever had? Did it involve a wardrobe malfunction, a forgotten lyric, or perhaps a rogue insect?
A: One time I threw up on stage because we all ate right before the show and were rocking too hard lol. A girl that was there was very happy that some got on her and tried to use it as a platform for an intimate relationship if you know what I mean. She misread the significance of me puking on her.
Q: And finally, I’m contractually obligated to ask everyone this question in every interview now: Which would you rather fight: one horse-sized duck or a hundred duck-sized horses? And how would you distract them with your music if they turned on you?
A: I would deal with whichever was thrown my way I guess, take life as it comes. For decades, I have had a recurring nightmare where 100s of cats attack me in a haunted mansion. I’m not sure whether that sets me up for ptsd with the duck sized horses, or whether it means i’ve been subconsciously training my whole life in my sleep to fight them. Only one way to find out!