Reflecting on the 10th anniversary of your debut album, “Mercy Hunt”, what emotions and memories does this milestone evoke for you?
“Sort of a wistful pride, I think. In many ways I miss the innocent ambition that I had about the whole thing - I had made a full-length record as a band member before, so why shouldn’t I be able to make one of all of my songs? So I just sort of planned it and raised the money and went for it.”
Can you share your favorite memory of the recording process of this album?
“On my way up to the recording studio, my sister Carissa gave me a photo of us when we were kids, with a note on the back: if we can get through this, we can get through anything. I carried that with me throughout the process, and anytime I faced doubt I would look at this photo and press on.”
Can you share your creative and collaborative process behind the album?
“I had about nine songs that I thought worked well as a whole theme together and were ready to publish; I had been playing out with them for a while. I had worked with Paul Kneevers on some recordings previously, such as my songs, and some I was hired to sing on other folks’ tracks, so I knew we worked well together creatively. Once he was on board, I got my rhythm section together: Kavi (drums) and Jeff (bass) back in those days were in so many bands together and playing out almost every night; they were like one brain. We’d been in a band together before and had fun. It was about the same with the other players - people I knew and trusted, who I thought would understand my vision. I sent them the tracks ahead of time but I didn’t know that they prepared at all, we kept it very loose and in the moment, learning songs as we tracked them.”
What inspired the sounds of the album, and how do you feel they would resonate with an audience today?
“We wanted a vintage sort of sound while still making good use of the flexibility that digital recording has to offer. The drums are all tracked live to tape with the full band, and then we went in and did overdubs. On top of the sort of “standard” rock band pieces, (drums, bass, guitar, lap steel, organ), we’ve got some ocarinas, melodicas, and a cornet going on. I think it has some timelessness, you know. It could have happened anytime in the second half of the twentieth century, set in an abandoned church. I think the sounds suit the emotions of the songs, and I think audiences today would still make that connection.”
How has your debut album shaped your career over the past decade?
“Among other things, it demonstrated my ability to carry a long-term project from start to finish, and I have carried that knowledge forward with me in everything that I have done since. This record still hasn’t been heard by so many people, but I am still here sharing it with the world.”
Has your personal and artistic growth over the last decade changed how you view “Mercy Hunt” and its significance in your catalog?
“I was pleasantly surprised to listen back to it after being away for a while. I was in kind of a low spot and I was being very brave, about to listen to my work and decide whether or not I should keep pursuing music. I was worried that I would find evidence that I should let it all go, but it was the opposite. I found encouragement to continue. The songs on that album were all written 100% by me. Since then I have collaborated with and learned from so many wonderful songwriters. In a way I am lucky to have this one album trapped in amber, that’s just my songs without other influence.”
How did the crowdfunding campaign and collaborations with other artists shape the overall direction of the album?
“I think the crowdfunding made it a little more stressful since I basically had everyone work on deferred payment. I was certainly stressed out about it, but I made the goal in the end! I think some added pressure is good. I didn’t want to let anyone down so I just kept asking people to pre-order. I think I’ve gotten better about that stuff now, partly because now I have the evidence that I get things done! I had to have a lot of faith. Working with Paul Kneevers as a co-producer was great, we “threw a lot of paint at the wall” and had a creative safe space for sounds and textures, and then were also ruthless with cutting out things that didn’t need to be there in the end. We experimented, had fun, and I ended up learning a lot from that experience.”
How do you think your sound has evolved since the release of your debut album? Do you still draw specific elements from that album and use them in your newer music?
“I use a lot of really “traditional” sounds; I like guitars and pianos and tambourines. If anything, I think my singing has evolved. I support myself better musically as a songwriter now so there is more vocal power there. Lyrically I still reference nature quite a bit, the animism is definitely in the poetry. So while I have grown, I still think this sounds “like me.”
In what ways do you hope the re-release of “Mercy Hunt” will impact listeners, especially the older ones who have already heard the album and the newer ones who may relate to its themes of healing and resilience?
“Well, it isn’t a re-release, I haven’t had it remastered or anything like that. I think the album's “release” is actually the day the listener hears it for the first time… and a lot of people still haven’t heard it! In a way, it is a map out of the dark forest, an album that can get you through the worst nights of your life.”
What do you think fans can expect from your future releases, and how do you envision your artistic journey unfolding from her?
“Some lullabies, some fight songs. I’m gonna keep at it, and I hope to connect with the audience who wants to sing along!”
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