Interview

Anna Calvi

Anna Calvi

By Courtney Sanders

Tuesday, 29th November 2011 9:20AM

Anna Calvi released her critically acclaimed debut album earlier this year and, after being nominated for a Mercury Prize and touring the world all year she is heading to New Zealand as part of Laneway Festival in January 2012. UTR caught up with Calvi to reflect on the year that was, talk about her debut album, and why she hates being constantly compared to other female artists.

Hi, Anna, how are you?

I'm a bit tired itís so early in the morning.

Where are you at the moment?

Iím in bed.

Are you taking a break from touring?

Yeah Iíve got a couple of days off.

Itís been a pretty massive year for you I imagine?

Yeah it really has been.

Is it crazy to look back over everything thatís happened in the past 12 months?

Yeah it is I canít even really think about it. So much has happened itís pretty crazy.

But itís been amazing, youíve had a good time?

Yeah itís been really fun, Iíve really enjoyed it.

So let's start with your debut album. Tell me a little bit about writing and recording it.

I spent about two years writing and recording it and I worked with Rob Ellis and we recorded a little bit in the studio. I just basically wanted to create a lot of atmosphere?

Were there any themes or anything you were particularly inspired by?

Yeah I listened a lot of classical music; that was a big thing for me at the time. Basically I was influenced by the music that Iíve grown up with, like Bowie or all that classical music I have listened to, I tried to make all of that come across on the record. I also listened to Nick Cave a lot too; I guess a wide range of music.

You collaborated with a couple of people on the album, including Brian Eno. Tell me a little bit those experiences.

Well with Brian Eno, he happened to see me play a show in London and he looked me up on YouTube and the stuff that he saw he must have liked because he got in contact and I gave him a couple of demos I was working on and he really liked those. He just became really supportive through the entire journey; he was just a great person to talk to when I was hiring a producer. He came along to the mix sessions and did some backing vocals and played some piano and I could chat to him about the direction.

Is the collaborative experience an important part of the creative process for you?

I find the creative process is actually very singular and secretive; I do it on my own. Obviously thereís a point where you take the work youíve done and create it into an album and collaborate with people and that can be really fun so the end product is a great combination of both.

My basic interpretation of the album is that itís quite eerie and dark? Is that a fair statement?

I donít know, for me it has elements of darkness but I think it also has hope. I wanted certain songs to sound almost the opposite of dark. I wanted to have a combination really and I wanted it to be an honest representation of my creative vision, wherever that may take me, so itís got both sides I think.

Tell me a little bit about growing up with music, because you studied classically and then went to university and did a music degree. What have you taken away from all your years of studying music?

I started playing the violin when I was six and I think itís just really trained my ear. Also when you learn classical music - not to generalize - but youíre made to work harder. To play the violin well requires practicing everyday and being very regimented about it. Iíve found that discipline has helped me because I still am disciplined in whatever I do and I think I learned that from playing classical music. When I was a kid I was a bit grumpy about it but I liked the results, and I think Iíve definitely taken that regiment with me. Also just being in orchestras Iíve grown to really love orchestral sound and I try to imbue in my music with it in some way even when Iím not using orchestral instruments.

Since your album was released youíve been nominated for a Mercury Prize and done a lot of touring. How has your outlook on the industry and your work changed? Has it altered your perspective at all?

Well, when I was making the album I had no idea Ė I was a complete unknown Ė how people would take it. I thought I was probably the only one who was going to like it so I was really surprised when people responded to it. Itís really easy to be cynical about the music industry, like 'you have to write really commercial music if you have any chance of getting heard'. The fact that I didnít have to give into that and focused on just having my vision and keeping to it makes me feel really proud. I think itís a really great thing and proves to me that the industry doesnít necessarily have to be that way; as long as your mature about it and as long as itís good, you can get heard.

You're compared a lot to some pretty prolific and amazing artists in the industry. Do you feel itís good to be a female role model in an industry that is traditionally male dominated?

I donít really see it like that because if there was a female painter critics wouldnít compare her work just to other female painters. Itís not like because youíre a woman you can only be influenced by other woman in your art - itís completely irrelevant whether Iím a woman or a man Iím just a musician. I find it really limiting the fact that female musicians have to be influenced by female musicians and talk about female musicians, itís just crazy. I find it frustrating overall and I find it frustrating getting compared to PJ Harvey. There are so many musicians that Iíve fallen in love with so much more than her. I mean I have one of her albums and Iíve followed her career Ė I respect her work Ė but itís not something that really connected with me and Iíve loved all my life someone like David Bowie. But because heís a guy no-one asks me about him.

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