"Although I didn't write this song, it spoke to me in a way that made me feel as if it was my own story,” Brandon said. “I found myself playing it over and over again in my bedroom, remembering situations that I've been through.”
Check out the video for yourself below.
If last year’s All Mirrors—a synth-laced record that documented the same breakup in soaring, orchestral splendor—was a career climax for Olsen, Whole New Mess is something of a come-to-Jesus moment. “When it all started and nobody cared about my music, making something was so simple and pure,” she tells me, “I needed to return to that, because I realized I had basically become a business. People were depending on me for their livelihood.”
Whole New Mess, Olsen’s first solo album since her 2012 debut, features nine of the eleven songs that first appeared on All Mirrors, though you’d never recognize them. Olsen relocated to a crumbling church near the Canadian border to reconnect with herself and rework the album, swapping full-throttle vocals and a 14-piece band for ghostly reverb and a solitary guitar. “I needed to let those feelings haunt a space that wasn’t my house,” she says, “and to only be responsible for my own wellbeing.”
Now that Whole New Mess is out in the world, Olsen finally has time to focus on new projects—from writing comedy to trying her hand at sound design for film. To celebrate the release, we sat down with Olsen to discuss everything from the recording process to the best technique for running intrepid tourists out of quiet North Carolina towns.
Tell me how you spent your morning.
I'm sitting in my plant room between my bookshelf and my potted jade. It’s like a greenhouse in here. Last night I had to sign a bunch of records for a promotional thing, so I invited my friend over to sit with me and listen to Gary Numan while I did that.
Now that the album is finished, have you been taking a break?
I have not had a break in a long time. I try to leave my house for an hour a day just because I get so tired of being in my house working all day. There’s a lot of promo to do for this album, and when I’m home all the time I just get sucked into task after task. But in September, I’m finally gonna just chill the fuck out.
What does that look like for you?
Well I’m so focused on other projects now that it’s really hard to focus on Whole New Mess. It’s often the case that by the time the record comes out you’re already into something else. I’ve written six or seven new songs recently, but I’m not really sure what direction they’re headed in yet. Other than that, I’ve been trying to work on totally new projects with friends. I’m working with one friend on a comedy show featuring New Age music and historical anecdotes.
Wow.
[Laughs] I know. Niche. Other than that, I’ve been working on sound design for an upcoming film. So I’m excited to make my side projects my main projects for a while. Another one of my hobbies is that I’m trying to find a way to get rid of these damned tourists. When the reopening comes I want to be prepared. My best plan so far is to import truckloads of durian to leave out in the streets. That is one stinky fruit.
What inspired you to move to Asheville?
I was chasing someone. He owned—well, owns—a record store here. It was very High Fidelity. I really did chase him though, I don’t think he wanted to be with me. I was like “Oh, but you do. I’ll change your life!” [Laughs] But I loved the town, so I stayed. I was like, “You’re not gonna get rid of me! You’re going to bump into me at the grocery store. I fucking love this place.”
Let’s discuss Whole New Mess—
Oh, so you don’t want to talk about my relationship in endless detail?
I’d actually love to talk about a different relationship of yours, the one that inspired All Mirrors and Whole New Mess. Both of these albums are about heartache. How did you cope with it?
Well, I looked around and saw who my actual friends were. That was the hardest part of losing someone whom I built a life with—realizing how many people I thought I was close to who I actually wasn’t. I guess it really needed to happen, because it shook my whole value system up. I learned to focus on friends who actually listened, were curious and not so self-involved. If you’re a friend caught between two people going through a breakup, there’s a way to be supportive to both parties. It shouldn’t have to be a battle.
What do you think you learned?
Well, I just had another relationship end, which sucked, so that’s why I have so much to say about this right now. I went through the whole journey of asking myself, “were any of the things he said even true? Did I make it all up?” But I know that, from my side, all that I said and felt was real. When I think about heartache and everything that goes along with it, the most important thing I realized is that my identity doesn't need to be rooted in whether or not that person and I work out.
You just have to wait for it to pass.
You do. And I’m so fucking grateful for that process. Because this most recent time, I was like “Okay, I know the drill now. I need to not make this day about my tragedy. I must get out of the house and see my friends, and hear about what’s going on with them.”
How does Whole New Mess relate to All Mirrors for you?
I wanted All Mirrors to show people where I was heading, and what I can do when I work with people. It was always the plan to do a solo version of those songs that felt like Strange Cacti [Olsen’s 2010 EP] with distant, dreamy reverb. I wanted Whole New Mess to feel like my roots, where I started. I also wanted to explore how the context of my words changes when the music alters the meaning somehow.
Whole New Mess also came from processing a lot of what I’d realized about this industry. I thought I was just making music, but after I released Phases [2017] I realized that I also became a business. I had to learn the difference between generosity and exploitation. These industry interactions are all so complicated. Sometimes I just want to throw up my hands and say, “Just take all the money. I don’t care, I just want to write a good song.” But I can’t do that, because I employ people. It all feels very corrupt, but it’s a classic tale. So, I’m trying to be more frank about what the value system is for art today. I’ve learned a lot of this the hard way.
Is that part of the reason this album is so spare?
Absolutely. I really needed that experience of working alone and not feeling responsible for anyone's livelihood or happiness. There’s so much freedom in that.
That seems like a real weight off.
As someone who focuses so much on how other people are doing, I often forget about myself. People who are working with me and seeing an audience praising my work every day don't always realize that I may need friendship more than a crowd sometimes. People assume that an artist who has a strong following has all the attention they need.
Tell me a bit about where you recorded this album.
No, I just want to talk about my problems! [Laughs]
I had my eye on Phil Elverum’s studio in Washington state. After the breakup, I needed to get out of Asheville. I wanted to find someplace far away so that I could release all those feelings.
You say you want this album to reflect where you started. Are you trying to remind your listeners—
I’m trying to remind myself. I’m glad that there’s a real community around my music, and I’m learning to make it less about me. I mean, I don’t walk around saying “I’m Angel Olsen buying tampons,” or anything. I’m not carrying that awareness of my audience with me everyday.
Is there a song on this album that’s particularly special to you?
“Lark” was four different songs that I stitched together. I’ve never written anything like it, so I wasn’t sure it would work. When I perform it live, I break it into different musical parts vocally to express the different facets of this memory. I think of it as an example of how I’ve entered so many relationships without realizing that I’m getting involved with someone broken. All the trauma and verbal abuse that I’ve dealt with in some of my relationships are right there in that song.
There's a line in “Lark”—“I was there and I held him, I was there and he put it all on me.” That line still breaks my heart. I was holding this person who was crying right after he yelled at me. But that song ends in a realization: that it’s not my burden, that it’s not my shit to deal with. I’m so proud of articulating that feeling.
I’m glad you feel like that’s all behind you.
Thanks. At this point, I’m just trying to have a fuckin’ sense of humor man. About my karmic situation.
Are you a believer in dating apps?
No. Should I sign up for tinder right now though?
We sat down with Miss Madeline to discuss her origins, why she strives for pop stardom, and how she's gonna achieve it.
Where are you from?
I’m from Hoboken, across the river. But I always went to high school in the city, so I've been trying to live that life for a long time.
What are three things your quarantine consisted of?
Lots of Instagram pictures, recording sessions (writing and stuff), and kinda getting my shit together to really get this show on the road and do this pop star thing.
What led you to doing music?
I grew up a competition dancer—very Dance Moms. I was always around music. Then, actually, I was on broadway for a couple years when I was a kid…
What show were you in?
I was in Billy Elliot as a ballet dancer. So after that ended when I grew two inches, and I was devastated that they let me go, I started writing music on piano and guitar. I guess I always played instruments, and my mom was a singer back in the day. So she definitely supported me through that. So I started recording at this local studio in Hoboken, and like, working with producers, and yeah. Been doing that ever since.
What instruments do you play?
I play guitar and piano, but I don’t play it so much anymore because of my nails. Honestly, I haven’t written on piano and guitar in so many years because of the way I approach writing… A lot of times I’ll come up with lyrics first, or a concept. I’ll go in the studio and have a vision for what kind of vibe I want, and just build the beat there and play around over the beat and create the song as we go.
What inspired “Attention”?
Well, I spent some time in Berlin… Not to be that bitch that’s like, Studying abroad changed my life, but it did. I started getting more and more into house and techno music and dance music and I love going to the club. I think I wrote that song when I was in Berlin. It’s pretty straight forward.
Of course, this song is influenced by genres like house and techno that are totally rooted in black culture, and I want to acknowledge and credit that. It’s our responsibility as artists to give credit where it’s due and know the history of the kind of music you make because a lot of this industry is exploiting blackness, and queer culture as well. Club culture has always been a safe space for the queer and POC communities. I definitely want to acknowledge that.
When did you write it, and what inspired the lyrics?
I wrote it probably a year ago, now. I think I always wanted to write a song about being an attention whore, so this is the way I did it. I think everyone feels that way sometimes—might as well be honest about it. Nothing is worse than trying to hide it. Like people who are dishonest about being attention seeking. But I think it's totally cool and fun to admit it and be that character for a night. To me, this song is kind of playing that character when you’re out at the club—just being your flirty self.
Do you feel like it’s empowering?
Yeah, for sure. No matter who you are, and especially now since the context sort of changes since we can’t go to the club and enjoy the song at the club… So, I’m thinking it’s a hairbrush microphone in your mirror moment. We’re alone, a lot of us are alone right now, so give yourself the attention. A self indulgent moment. We all deserve that sometimes.
I agree. Which is your favorite song you’ve ever written?
The next single I’m putting out after this one is called “Ready, Set, Go”, and I really like that one. My favorite lyric in it is, “You look like you want to be me,” I just feel that a lot. A lotta bitches, I know I’m on your moodboard. Period. I’m excited about that one.
When is that one dropping?
Hopefully a month after this one.
What is your main goal for the next year?
Pop stardom. That is totally what I want, it’s what I’ve wanted since I was a little girl. This is my life. I’m not ashamed of it. I think a lot of people shy away from that, even though that’s what they want. I’m very, as of recently especially, speak it into existence.
Early 2000 pop star vibes.
Yeah. Growing up with the Britneys, the Paris Hiltons, the Christinas… This era of the popstar. Of course, I idolized that as a little girl, and I sort of just, like… never let that go.
No, never let it go.
Maybe the idea of the popstar has changed over time because, of course, the music industry is so different now.
How do you think it’s changed?
I think streaming and TikTok and creating, now more than ever, is really up to the artist to create a community and get an audience. You have to prove to people, and people know that, audiences aren’t dumb, so find your audience and create a community. Maybe before, it was more, like, a record label had more cultural influence.
Is Miss Madeline an alter ego?
A little bit. I feel like Miss Madline is an exaggerated version of myself. I do consider it a persona. It’s funny, my Instagram and everything of course is Miss Madeline, but my friends call my Maddy. So sometimes people are like, Madeline, and I’m like, who? She’s an elevated and exaggerated version of myself, and I think she’s a more obnoxious version of myself. It’s a character of the it girl. And I think I kind of have to be that extra to get what I want.
What’s one thing you want to say to new fans?
Miss Madeline and my whole vision is a party, and it’s gonna be so fun and fabulous and flirty. Anyone who needs a little extra fabulousness in their life will have a lot of fun with my songs. Turn that shit on when you’re feeling yourself and you wanna have a good time.
“Raw, honest, iconic artists like her are rare, and we’ve always been interested in ‘extraterrestrial’ types of people,” Daisy Mortem told office. Both Fontaine and Daisy Mortem are otherworldly in that neither artist is held back by this realm; their art doesn’t follow any rules. The homage to French punk in this cover also illuminates the intersections between devastation, rebellion, absurdity, vulgarity, and poetry. The experimental track transcends subject and time.
We spoke with the duo about punk sentiments, post-apocalyptic Paris, and the wonders of growing old.
What inspired you to cover Brigitte Fontaine’s “Prohibition”?
In France, Brigitte Fontaine is part of a scene inspired by literature, poetry, punk and dadaist artists. She’s 81 years old, more punk than ever and still touring. Raw, honest, iconic artists like her are rare, and we’ve always been interested in “extraterrestrial” types of people. We also love to tackle unusual material, so it was a very obvious choice to focus on one of Brigitte’s songs.
How do you continue her punk sentiments with your own music?
We continue her punk sentiments by doing an auto tuned noise reggaeton cover of her song with all our heart and guts.
What did Brigitte Fontaine’s version of the song mean to you when you heard it?
Her song is about urban misery, and being old in a world that falls apart. It’s incredibly well written and audacious. For non-French speakers, here’s a translation of the chorus: "I’m an old woman and I fuck you in the ass / With my dragonfly style / I’m old and I’m going to die / A small forgotten detail." There is everything we like in a few words: tragedy, humor, vulgarity, poetry, all mixed. It’s funny, sad, and very political at the same time.
How has the meaning of the song changed to you after covering it?
It never changed. A good song is a song that can talk to a wide range of different people. This is why "Prohibition" is interesting: it’s way more than just old women who can identify to the lyrics. It’s about not fitting in anywhere and feeling left out by the world. We try to write our songs this way—there’s no user manual, no unique meaning. You have to search inside you if you want to find the meaning.
What inspired the music video and its taking place in post-apocalyptic Paris?
We rightly wanted to underline how the song is still relevant, universal and prophetic. Anyone today can relate to the way she describes her feelings, urban life and our society. Sick people are prohibited. They are thrown away in ditches, unless they bring some money/cash to the wealthiest. A main topic in the lyrics is ultra liberalism so, here’s Paris burning. This is an elderly woman singing what all the young generations are growing into. We all share this sad state of the world. Aesthetically, we were inspired by the retro futurist video game Duke Nukem 3D. We imagined aversion with Brigitte Fontaine as the protagonist, our post-apocalyptic heroine.
Who are some of your musical inspirations?
We’ve always been inspired by visceral and intense music. This could be Nine Inch Nails, JPEGMAFIA, Mike Patton, or SOPHIE.
What does the musical landscape of today look like to you?
It’s been super interesting lately to see how all the genres are blending together and being deconstructed. The only concern is that there is also less sincerity and more superficiality. It’s very seductive, this kind of “Fast Music,” but it makes it harder and harder to discover truly experimental and interesting projects.
What makes you angry these days?
It can sound weird to say that in these very dark times, with a lot of horrible things going on in a lot of countries, but we try to be less and less angry. Anger can destroy you without letting you do anything that matters.
What makes you laugh these days?
Cindy—Just being alive is kind of funny. So we always find some jokes and have fun with anything, anywhere. Being alive is so awesome that you don’t really need that many things to laugh. Besides this, we think humor is very important and we like to play with it at different levels in our songs, from ambiguity to irony, parody or absurd.
Vampiro—This brilliant mashup by Lobsta B of 'O Fortuna' from Carmina Burana and Crazy Frog. It’s the only thing left that gives us hope for humanity, bwing bwing.
What can fans look forward to seeing from you this year?
We will just try to venture into unknown and unexpected worlds and challenges to create the best music possible. We have an orchestral gothic reggaeton remix album of songs from our LP, Faits Divers, a pandemic opera original soundtrack for a short film, and probably more random generated stuff.
