Tag: Ableton

Interview: A Q&A with I AM SNOW ANGEL’s Julie Kathryn

Julie Kathryn is a New York-based singer/songwriter, multi-instrumentalist, sound designer, producer and creative mastermind behind I AM SNOW ANGEL, a critically applauded solo recording project that has received critical praise from the likes of Huffington PostIndie ShuffleMagnetic MagazineCreem MagazineRefinery 29All Things Go and others.

The acclaimed New York-based artist and producer has developed a reputation as a highly sought after sound designer and producer working with Ableton and Splice.com – and she’s the co-founder of Female Frequency, a musical collective dedicated to empowering women and girls in the music industry.

Photo Credit: Julia Drummond


Last year, Julie Kathryn released her I AM SNOW ANGEL full-length debut MOTHERSHIP. Recorded in a cabin in the wintry Adirondack woods, the album is a concept album that touched upon themes of isolation, longing, love, paranoia and the paranormal. Since, the release of MOTHERSHIP, the New York-based artist, producer, sound designer has managed to be rather busy: she gave birth to her first child, collaborated on Sophie Colette’s attention-grabbing “In Love a Little,” and continuing on the momentum of a rather big year for her both personally and professionally, the New York-based recently released a gorgeous and spectral cover of Leonard Cohen’s “Tower of Song,” featuring shimmering, reverb-drenched guitars, atmospheric synths and Julie Kathryn’s vocals. Interestingly, her interpretation of the song is centered around a plaintive yearning and vulnerability.

I recently exchanged emails with the I AM SNOW ANGEL mastermind for this edition of the JOVM Q&A. For this interview, we discuss the difficult balance of one’s creative live with being a parent, her collaboration with Sophie Colette, leveling the playing field for women producers and of course, her aforementioned cover of Leonard Cohen’s “Tower of Song.” Additionally, as a result of governments across the world closing bars, restaurants, nightclubs and music venues to prevent the spread of COVID-19, the impact on the music industry – especially on small and mid-sized independent venues and the indie touring artists, who grace their stages has been devastating. Much like the other artists, I’ve interviewed this year, I’ll continue to ask artists how they’re getting by, how they’re keeping busy and of course, how this period is impacting their careers.

Julie Kathryn’s full-length album Mothership and her rendition of “Tower of Song” – and below the jump, check out the interview.


WRH: You’re a new mommy. So before we start: Happy belated Mother’s Day. How do you balance the obligations and responsibilities of motherhood with your creative and professional life?

Julie Kathryn: Thank you! Being a mother is wonderful. It’s definitely been challenging to balance everything. Taking care of a baby feels like a full time job, as I expected it would, but I didn’t realize all the ways that I personally would be changed by motherhood – emotionally, physically, and spiritually. Everything feels different now. I’m finding a way to make music in this new normal and I’m excited to see how it turns out.

 WRH: The COVID-19 pandemic has caused major disruptions in almost every aspect of our lives. For most of us, the seemingly indefinite fear, anxiety, uncertainty, loneliness and boredom of the past few months of social distancing and quarantines have been overwhelming. How have you been holding up?  How have you been keeping busy? Binge watching anything?

 JK: This is such a strange and uncertain time. I try to make a gratitude list every day to keep me balanced and thankful, particularly for my health. Also, I’m lucky that I have a clear and immediate purpose right now – to take care of my son! He keeps me focused and in the moment. I’m very grateful to be able to spend this time with him. In my free time, when I can find some, I make music, practice yoga and yes, binge watch! Dead to Me (Netflix) and Breeders (FX) are two of my recent favorites.

 WRH: How did you get into music?

JK: I’ve always been very musical. I took piano lessons as a kid. I taught myself how to play the guitar during high school. For a while, I was an acoustic/Americana singer-songwriter. Eventually, I started engineering and producing my own material, and it became much more electronic. That’s how this project – I AM SNOW ANGEL – was born.

WRH: How would you describe your sound for those, who may be unfamiliar with I Am Snow Angel?

 Dream pop. Melodic, electronic. Ambient and earthy at the same time.

 WRH: Who are your influences?

 JK: For this project, I was definitely inspired by Imogen Heap, Portishead, The Postal Service, Massive Attack, and other electronic and trip hop acts. Over the years, there are a lot of songwriters that I’ve studied, like Bob Dylan, Leonard Cohen, Neil Young, Joni Mitchell, Paul Simon, Bill Withers. The National is a band whose albums I’ve played on repeat for months at a time. I also love the artistry of Thom Yorke, Lou Reed, David Lynch. I love moody electronic soundscapes by artists like Trentemøller and The Knife, and 80s synth /new wave music like Roxy Music and Yaz. I also spent a lot of time listening to late 90s female R&B —  Lauryn Hill, Jill Scott, Macy Gray.  The list goes on and on and it’s hard to encapsulate it.

WRH: Who are you listening to right now?

JK: Today, I’m listening to meditative sounds – Max Richter, Brian Eno. Recently, I’ve also been listening to rootsy alternative rock (Wilco, Neko Case, Sharon Van Etten).

 WRH: Earlier this year, you collaborated with Sophie Colette on “In Love a Little.” As you know, I wrote about the song earlier this year – and in a lengthy statement for the song, Colette wrote:

“Working with Julie was an amazing experience – it was very hands on and communicative. We sat side by side and made decisions together from the tracing to the comping to the mixing. I learned so much about Ableton and the possibility of different soundscapes that could be created outside of traditional instrumentation.

 It became apparent to me, that working with a female producer, who inherently applied these types of sounds to her own work, came with the advantage of being able to feel the same nuances of emotion without having to explain them to each other. Each session was an open-ended conversation and quite nurturing to be honest. Something about that female-to-female energy in a room is really powerful when the ego isn’t there.”

How was it like to collaborate with Sophie Colette? Do you find it easier to collaborate with women artists and producers?

JK: Working with Sophie was a lot of fun. I really like how our collaboration turned out. We were able to tease out some interesting emotional undertones in her song. I remember her showing me moody photos of an urban landscape at night in the aftermath of a storm, with the city’s colored lights reflecting in puddles on the dark streets.  She said, “this is my inspiration for the bridge.” We spent the day sonically recreating this idea, and it became the soundscape for the bridge of her song. It was a really organic process. I do end up working with a lot of female artists, and I find that we often have similar communication styles and a shared experience of coming up in the music industry.

WRH: How do we level the playing field, so that there are more women producers?

JK: For me, being visible as a female producer who can do it all – instrumentation, engineering, sound design, mixing – is important. When I was starting out in production, it really helped me to see other women who were doing it. Also, when I work with other artists, I share my knowledge and encourage them to learn production and engineering, in whatever capacity is appealing to them.

 WRH: What advice would you give for women artists and producers trying to make it?

JK: Have fun!! The process of producing music is intense and quite involved, so it needs to be a fulfilling one. If the production process is merely viewed as a means to an end (ie, the finished product), it’s more likely to feel like a chore or an insurmountable feat. But, if the very act of creating music is thrilling and emotionally rewarding, the finished product is just the icing on the cake – a bonus. Don’t worry about doing it “right.” There are many ways to produce music. When possible, seek out mentors and collaborators who support and elevate you.

WRH: You recently released a slow-burning and atmospheric cover of Leonard Cohen’s “Tower of Song.” What drew you to the song?

JK: I love Leonard Cohen. His songwriting and performance style have inspired me for a long time.  I first visited the song a few years back when my dear friend Gus Rodriguez (he performs under the name Silbin Sandovar and is a wonderful musician, talent buyer, and connector of artists in NYC and beyond) asked me to cover a few Leonard Cohen songs in a tribute show he was putting together. I immediately felt connected to the lyrical content of this song, to the existential themes of isolation and loneliness that Cohen associated with being a songwriter.

 WRH: Instead of a straightforward note-by-note cover, you turn Cohen’s song into your song. Was that an intentional decision – and was that a difficult thing to do, considering how beloved his work is?

JK: It wasn’t really intentional. It felt very natural for me to re-imagine the song in this way, and I didn’t overthink it.

 WRH: So what’s next for you?

JK: I’m working on a new EP. In some ways, it’s a sequel to MOTHERSHIP, which I put out last year. So far, it feels ambient, emotional and layered. We’ll see where it goes. I’ll keep you posted. And thank you for talking with me!!

Mark Andrade is a Toronto-based singer/songwriter, multi-instrumentalist and producer, who first came to attention with his previous band Paradise Animals. When Paradise Animals called it a day in 2017, Andrade continued working on music with his solo-recording project TIO and through collaborations with Green Go and Favours.

Marney Isaac is a multi-instrumentalist — primarily cello and bass — who has played in a number of bands in the Toronto and Guelph area, since the 2000s. She’s also Andrade’s life partner and creative partner in their latest musical collaboration together, New River Beach, a project that derives its name from a beloved summer vacation spot the couple return to every summer with their family in Issac’s hometown of Saint John, New Brunswick.

Written and recorded in their Toronto area home, after their young children went to bed, the duo’s debut single “The Right Place” is a lushly textured yet gauzy fever dream centered around shimmering synths, thumping 808s, reverb-drenched vocals, a propulsive New Order-like bass line, sampled live drumming and a soaring hook. And while sonically, the track reminds me a bit of Canadian JOVM mainstay Rich Aucoin and others, “The Right Place” with a shoegazer-like attention to texture and mood, the track finds the duo employing a unique creative process: Issac plays almost all of the instrumental parts and after laying down the arrangements, Andrade shapes the parts into a cohesive whole using Ableton, creating a seamless synthesis of the organic and electronic.








Comprised of longtime friends Lauren Morgan and Jordan Shih, the Orlando, FL indie pop duo SALES can trace its origins to when Morgan and Shih met in high school Latin class. In fact, as the story goes, the duo bonded over a mutual love of pop music and despite coming from completely different musical backgrounds — Shih was an electronic music artist and producer, who learned to play guitar while Morgan was a punk rock guitarist, who learned how to use Ableton and other programming, essentially finding a way to synthesize their influences into a familiar yet unique sound. However, SALES didn’t start in earnest until 2012, when the duo invited their friends to like their music page. They then released their debut single “renee,” and split the costs on the first pressing of their 7 inch vinyl single “renee”/”tonka time.” Quickly building upon the buzz they started to receive, the duo self-released and self-promoted a series of singles (i.e., “chinese new year,” “getting it on” and “vow“) before releasing their 2014 debut EP, which was released to critical praise from the likes of Hype Machine, who named them “Ones to Watch,” Pitchfork, and from BBC Radio 6.

The Orlando, FL-based duo self-released their full-length, self-titled debut last year and because of the strength of their previously released singles, as well as album singles “ivy,” “big sis” and “jamz,” the Floridian pop duo have amassed more than 33 million streams. Pretty impressive for a fiercely independent and DIY-leaning band, who write, record, mix and master all of their material in their bedroom studio.

“Talk a Lot,” the duo’s first single of this year, is also the first bit of new material they’ve released since their full-length debut, and as the duo’s Lauren Morgan mentions in press notes, their latest single was produced with “a few new toys.” But interestingly enough, the single will further cement the Orlando-based duo’s reputation for crafting breezy and infectious pop that’s incredibly heartfelt and gushingly earnest — and in an age of sneering irony, and disingenuous, pre-packaged pop product, played on your multi-national conglomerate radio station, the Floridian duo are a welcome breath of fresh air.

The Orlando, FL-based duo will be embarking on a lengthy tour throughout the fall. Check out tour dates below.


Tour Dates 

SEP 14 / DENVER, CO / Globe Hall
SEP 17 / LOS ANGELES, CA / The Echo
SEP 20 / SAN FRANCISCO, CA / Great American Music Hall
SEP 22 / KALAMAZOO, MI / Audiotree Music Festival
SEP 23 / CHAMPAIGN, IL / Pygmalion Festival
OCT 3 / ATLANTA, GA / The Masquerade
OCT 5 / HOUSTON, TX / The Secret Group
OCT 6 / SAN ANTONIO, TX / Paper Tiger
OCT 7 / AUSTIN, TX / Barracuda
OCT 8 / DALLAS, TX / Club Dada
OCT 9 / NORMAN, OK / Opolis
OCT 12 / TALLAHASSEE, FL / Club Downunder
NOV 30 / SEATTLE, WA / Neumos *
DEC 1 / VANCOUVER, BC / Biltmore Cabaret *
DEC 3 / PORTLAND, OR / Aladdin Theater *
DEC 6 / SANTA CRUZ, CA / The Catalyst *
DEC 8 / SAN DIEGO, CA / The Irenic *
DEC 14 / PHOENIX, AZ / The Rebel Lounge
* w/ Chaos Chaos