"With Ring, I almost didn't know I was making a record until I was already in it," she says. Interiors, which will be released October 8, was a much different experience. "This time around, I thought about every part of the music with intensity and decided to make every decision an important one." Inspired by architecture — both figurative and actual — the result is Glasser's most personal record, but also her most expansive.
We met with Glasser to talk working with visual artist Jonathan Turner, producer Van Rivers, and how she may be an "anti-musician" at heart.
Big Bang Theory
"I always had a feeling of 'go big or go home.' I definitely thought, when I made Ring, that I was making a really big record and wanted to push past that when I made this one. It was sort of a competition with myself."
Labor of Love
"Van Rivers really is a very special producer. We started working together and simultaneously started dating, which made for a really intense studio experience when we were working on Interiors. I knew him from his work with Fever Ray. He has such an expansive knowledge of sound and space — it really seemed to suit where I wanted to go with things. On Ring, I didn't quite stand out and say 'This is who I am!,' [but] he had this prior experience working with fully formed artists, and that was a real goal for me in terms of making this record."
"I watched a ton a movies and had lots of visual things around me — lots of art books and stuff. I would literally open them up on the floor and leave them around. [Rem Koolhaas's book Delirious New York] was just one of many things that I read while working on the album. Jonathan Turner recommended that book when I told him about my idea for the record. Reading that book was part of the record shifting, in my mind, to literally being about buildings, to me as a structure — me as a sort of home for all of these thoughts and feelings that I'm expressing."
"I'm a bit of an anti-musician. I'm a little bit against traditional means of making music. Not for everyone — I don't care if other people are making it — but for my own self. Starting at that 'voice as an instrument' place and expanding on that. To me, what I wanted to build was something that was more atmospheric and had a good vibe to it, but you can't put your finger on why. It's like a regular person, who hasn't studied architecture, might not know why they enjoy being in a particular place. It may be a welcoming space or a dangerous space. The music, I think, sometimes sounds like a dangerous-sounding space or a bottomless space."
PS: Interiors is streaming early only on glassermusic.com
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