Q&A: Scottish Americana-pop musician Linzi Clark welcomes new friends into her starry world amid recent release of “The Couch”
INTERVIEW
INTERVIEW
☆ BY PATTI DOUD ☆
AMONG THE SPARKLING NEW WAVE OF FLOWING JAZZ POP (Clairo, Luna Li, Alice Phoebe Lou), Scottish native Linzi Clark has introduced herself with a persona unafraid of experimentation. Her repertoire consists of haunting vocal runs, swaying basslines, and dubious metaphors that transport her listeners back to the eclectic niche worlds built by icons like Kate Bush. However, what really makes her stand out in the sea of soft-spoken Lana del Reys is Clark’s ability to pull off a perfectly structured pop record that not only interests the audience but allows them to travel through the sonic experience as a friend and guest on the Linzi Clark musical planet, which twinkles in the sky each night if you look real close.
Her most recent release, “The Couch,” is a melodic reflection of memories and how materialistic items take hold of them, through a metaphoric (and literal) couch. Likening this couch to a fabricated murder scene, Clark guides us through a changing moment in life. We spoke to her about this record, and all things encompassing the Linzi Clark world and the stars that sparkle around it.
LUNA: What was the creative process like when forming and fleshing out the sound and creative vision for your recent singles, as they’re the first music you’re releasing since your debut album in 2021?
CLARK: My process tends to be a little inconsistent. I write when I have inspiration, I tend to produce my best work in the early hours. I always start with a feeling which comes through melodically, and go from there. I very rarely write with a set intention, I see what flows out and go from there. As the song comes together, the fun bit begins, as I give myself permission to go full delusion and envision the world each story lives in and try to emulate that visually. I’ve worked with my producer Bovine on all of my songs so far. I’ll send him a rough demo which can range from a melody hook, a verse, or a full song which is usually recorded on my phone. From there he works his magic and we very rarely disagree on the direction the song should take. He just gets it! Which is so rare and lovely, but also enables me to be very lazy when it comes to my musical vocabulary. The fun part is always the visual elements, the different fashion looks, the make-up, and the video ideas. Thinking big and then making it work on a tiny budget. We’re a bit of a dream team when it comes to creative ideas.
LUNA: Can you tell us a bit about your journey into music (how you started playing instruments, when you started releasing music, etc.) and how that impacted the album?
CLARK: I guess I didn’t have the traditional story of growing up being surrounded by music from a young age. I always loved listening to music but my family isn’t musical and I didn’t pick up a guitar until I was around 17. I did play cello throughout school, which at the time felt really uncool.
Music felt most powerful for me during the indie days of NME when I was around 15, my older sister definitely had an influence on my music taste. Artists like Regina Spektor, Lykke Li, Bat for Lashes, Radiohead, etc. all had a big impact on me.
I’ve always been drawn to cinematic music too, from traditional americana-style songwriting to the theatrics of Kate Bush and musical theatre. I tend to write songs like a Disney princess that’s got trust issues. I started to carve a sound from all of these inspirations and began writing songs when I was 17 and went on to study music at university and later completed a Master’s in Songwriting, which was where my debut album All I Have Now was born.
LUNA: What are some of the biggest creative inspirations for the sound and artistic execution of “The Couch?”
CLARK: “The Couch” is one of my stranger babies, more like a twice-removed cousin than a sister to my typical writing style. I wrote “The Couch” while I was getting rid of my old couch...very literal! My partner and my dad were carrying it down the stairs of my flat and out to the garden to chop it into pieces before taking it to the recycling center. I started to reminisce about all the memories that couch had played silent witness to during my last couple of years of living alone for the first time. I wanted to execute this by playing with the idea of the death of that chapter, a murder of sorts, and nodding to ideas around a toxic relationship. It flowed out so quickly because it was in many ways such a silly concept, but naturally started to take the form of a theatrical ballad. I knew that the imagery would need to be gothic glam and took influence from Hammer Horror aesthetic for the artwork, which my producer is a big fan of too. It all came together naturally, and we finished the project by filming a live version in an old church. My witchy gothic fantasy came to life.
LUNA: What should new fans know about you, and what should we expect next?
CLARK: New fans should know that I write songs for the girlies first and foremost always. Especially those who are drawn to a bit of cosmic wonder, heart-wrenching songs with a touch of camp. I love the moon, make-up, astrology, all things camp. My life is messy and even now in my 30s, I’m still struggling to figure things out and have been told that my songwriting is relatable, which brings me lots of comfort.
You can expect my best songs yet! I have a new album coming out this year and I’m so excited to share it soon. I also have no team, it’s literally just me and my producer so support from my small, loyal fanbase literally keeps me from having a breakdown. Join them! Join them [by listening] to my songs “Woot Woo” and “Lemon,” which offer a little more of a light-hearted perspective to my songs.
