Alison Mosshart is a Vero Beach, FL-born, Nashville-based singer/songwriter best known as one-half of the acclaimed indie rock act JOVM mainstays The Kills — and for being the frontwoman of the indie rock/blues punk supergroup The Dead Weather. Over the past decade or so, Mosshart has been restlessly creative: her painting has been show in galleries across the world and she has published her first book, CAR MA, a collection of her art, photography and writing that serves as a love letter to all things automobile. In that same period of time, Mosshart has become a go-to collaborator, adding that extra dash of swaggering badassery, working with her Dead Weather bandmate Jack White, Arctic Monkeys, Primal Scream, Gang of Four, Cage The Elephant, Foo Fighters, James Williamson and Mini Mansions in a rapidly growing list.
2020 will continue a period of remarkably creative prolificacy for Mosshart: Currently, Mosshart and her bandmate Jamie Hince are working on the next Kills record, which they hope to be able to bring to the road — pandemic willing, of course. This year will also see Mosshart stepping out into the spotlight as a solo artist, releasing material under her name for the first time in her career. Although, releasing music under her own name is a completely new and thrilling experience, the album’s material can be traced back to unreleased material Mosshart had been compiling for the better part of the past decade. Now, as you may recall, last month, I wrote about her debut single, the Lawrence Rothman-produced “Rise.” Initially tracing its origins to a song sketch that Mosshart wrote in 2013, the song is a slow-burning and searing blues with brooding and ominous undertones centered around thumping beats, fuzzy power chords, Mosshart’s imitable vocals and an enormous, arena rock friendly hook.
Mosshart’s second and latest single is the atmospheric and brooding, Alain Johannes-produced and recorded “It Ain’t Water.” Centered around a sparse arrangement of shimmering acoustic guitars, strings and gently padded drums, the song manages to bring PJ Harvey, Nick Cave, and JOVM mainstay Mark Lanegan to mind. Although the song was written late last year, Mosshart had been sitting on the track for some time — with the acclaimed signer/songwriter guitarist turning to the then-unfinished track whenever she found herself battling a bout of writer’s block.
“Working with Alain on ”It Ain’t Water’ was a blast. He’s such a talent and such a kind person,” the JOVM mainstay says of working with Alain Johannes. “His mind is wide open. He understands and sees the beauty in imperfection, magic moments, accidents- the soulful human stuff, and the spirited super-human hard to explain stuff that makes a song great. Working with him was an honor, and also, hot damn he can play any instrument like a champ . . . like he invented the instrument himself. Alain Johannes IS music.”
Directed, edited and shot by Mosshart, the recently released video continues a run of decidedly DIY visuals — but unlike its predecessor, its shot in an aptly film noir-like black and white and evokes our pandemic-influenced isolation, as we see the acclaimed Kills and Dead Weather frontwoman in her own home, expressively dancing in the background while we see a superimposed image of a sunglasses wearing Mossheart singing the song.
Alison Mosshart is a Vero Beach, FL-born, Nashville-based singer/songwriter a best known as one-half of the acclaimed indie rock act JOVM mainstays The Kills and for being the frontwoman of the indie rock/blues punk supergroup The Dead Weather. Interestingly, over the past decade or so, Mosshart has developed a reputation for being restlessly creative: she has had paintings shown in galleries across the world and she recently published her first book CAR MA, a collection of her art, photography and writing that serves as a love letter to all things automobile. Additionally, Mosshart has developed a reputation for being a go-to collaborator for that added dash of badassery, working with her Dead Weather bandmate Jack White, Arctic Monkeys, Primal Scream, Gang of Four, Cage The Elephant, Foo Fighters, James Williamson and Mini Mansions in a rapidly growing list.
2020 will continue a period of remarkably creative prolificacy for Mosshart: Currently, Mosshart and her bandmate Jamie Hince are working on the next Kills record, which they hope to be able to bring to the road — pandemic willing, of course. Interestingly, this year also see Mosshart stepping out into the spotlight as a solo artist, releasing material under her name for the first time in her career. And although for Mosshart, releasing music under her own name is a new and thrilling experience, it’s a process that can be traced back more than a decade with Mosshart compiling a trove of unreleased material. Her debut single, the Lawrence Rothman-produced “Rise” can trace its origins back to 2013 when she first wrote the initial sketch of the song. The end result is a slow-burning and searing blues with brooding and ominous undertones centered around thumping beats, fuzzy power chords, Mosshart’s imitable vocals and a soaring hook.
“I didn’t ever forget it,” Mosshart recalls. “I remember right where I was when I wrote it, sitting at my desk in London, missing someone badly. Interestingly, when the Sacred Lies team reached out to the Kills and Dead Weather frontwoman about doing a signature song for the song, she knew “Rise” had the right sort of vibe for the show. Interestingly, “Rise” is prominently featured in the final episode of the FacebookWatch drama Sacred Lies with the song serving as a major plot point within the series’ story.
Much like everyone else across the world, Mosshart is hunkered down in her Nashville home and she’s used this period of social distancing and quarantine to teach herself video editing. Shot, edited and directed by Mosshart, the recently released video for “Rise” is comprised of footage from a recent trip she took to Los Angeles with most of it centered around capturing lowrider culture.
Several months ago, I was invited to be a panelist on a Baby Robot Media hosted panel titled “Your First PR Campaign” at this year’s Mondo.NYC conference in Lower Manhattan, a conference created by some of the original organizers of the beloved and sadly defunct CMJ Marathon. In fact, after speaking at the panel, I along with several colleagues went to a nearby bar, where I watched my beloved Yankees lose a confounding and infuriating heartbreaking Game 2 of the American League Division series against the then-defending League Champion Cleveland Indians. At some point, I went from networking and mingling mode to yelling and cursing at the TV – and I couldn’t tell if these people, who I had worked with in some capacity for much of JOVM’s history were amused, knowing how much of a Yankee fan I am or if they were horrified. But the postseason when your team is in it is another thing altogether. I’ve frequently told a story about sitting in Clem’s with my dear friend and colleague Natalie Hamingson after watching the New York Rangers lose Game 7 of that year’s Conference Finals to the Tampa Bay Lightning at home, in which I went into a furious 45 minute, expletive laced tirade. About half way through, the bartender at the time said to Natalie, “I don’t think I’ve seen him that angry before.” In my mind, I thought “if I was at home, I would be throwing things at my TV,” but that’s another issue altogether.
Thanks in part to built-in travel days within the postseason schedule, and the weather actually holding up in early October, I was able to squeeze in some live music coverage at this year’s Mondo.NYC. Because I had spoken at Baby Robot Media’s PR campaign panel and worked with them for a good 6-7 years or so, the company’s co-founders had personally invited me to come out to the showcases they were hosting at Piano’s during the weekend. Admittedly, I just wasn’t able to do any research prior to the actual live music, so I went into everything with no expectations and a clear mind as to what I might be seeing – and interestingly enough, I wound up being pleasantly surprised by the variety of the acts I caught throughout that particular weekend. However, in a weekend with several impressive acts – including British folk singer/songwriter Hannah Scott, New York-based Americana singer/songwriter Mieka Pauley, Austin, TX-based Americana act Fairbanks and the Lonesome Light and Kellindo Parker, best known as Janelle Monae’s sideman, there was one decidedly clear champion of the weekend, the classically trained, Sebastian, FL-born, Somerville, MA-based singer/songwriter Hayley Thompson-King.
Thompson-King’s solo debut album Psychotic Melancholia was released earlier this year through Hard to Kill Records, and the album is a “Sodom and Gomorrah concept album” that in some way is an amalgamation of several different sources and wildly disparate sources. The overall concept of the album is largely influenced by her childhood obsession with the stories of the so-called wicked women in the Bible. “I was the skeptical kid with her hand up in Sunday school,” Thompson-King recalls in press notes. “Also, I spent weekends performing with my church youth group called Clowns for Christ. I guess you could say I was obsessed with getting to the bottom of what exactly would send one to hell. I consider myself agnostic at this point, but I’m still inspired by the questions I had as a kid about disobedience, and about the characters I was taught to believe were evil, like Lot’s Wife and Judas and Lucifer. Upon revisiting these stories, I was inspired by their questioning. I thought they were strong and exciting, and I could put myself in their shoes.” Along with that, the album’s material draws from the Sebastian, FL-born, Somerville, MA-based singer/songwriter and guitarist’s small. Southern town upbringing, in which her father was a team-roper and trained cutting horses, and she grew up riding and showing American Quarter horses. “I spent a lot of time in the dually listening to country music,” Hayley Thompson-King recalls. “And then I went to opera school.” And lastly, the material which references Romantic period art also draws from her classical training at the New England Conservatory of Music, where she earned a Master’s in Operatic Performance.
And while having an operatic sweep with seemingly larger than life characters with oversized emotions, the album’s songs interestingly enough manage to possess a deeply personal and introspective nature. “I write about real things that have happened in my life,” Thompson-King says in press notes. “My relationships, like with my folks, the people I love, but using the landscape and stories of outside characters. They’re all about me, I guess, but it’s easier to write if I’m looking at a third party. So I look at myself as another character.” But perhaps more important, that voice, man; while there have been some comparisons to operatically trained vocalists like Pat Benatar and Heart‘s Ann Wilson, as well as Linda Ronstadt, which are all pretty damn reasonable, Thompson-King’s vocals throughout the album switch from feral howls and yelps, the sort of defiant, and self-contained resiliency and pride that only women possess, a world weary ache from a messy life, full of bad (if not completely fucked up) decisions, dysfunctional relationships with shitty, irresponsible lovers and good, decent ones – before ending with a gorgeous and sparse rendition of Schumann’s “Wehmut,” which translates in English to “Melancholy” and features Thompson-King singing in operatic German “Ich kann wohl manchmal singen / als ob ich fröhlich sei / Doch heimlich Tränen dringen / Da wird das Herz mir frei” (“Sometimes I may be singing as if I were full of joy, But secretly the tears are flowing and then my heart feels free”). Photo by Simon Sinard. Styled by Rachel Rule Walker.
Simply put, it’s a powerful and incredibly self-assured debut but it’s arguably among my favorites released this year. Now, as you can imagine this year has been incredibly busy as I’ve had to manage the responsibilities of an involved day job with that of this blog, but several weeks ago I spoke to the incredibly thoughtful and charming Hayley Thompson-King via email about Psychotic Melancholy, her classical training and how it’s influenced her own creative work, how much the Sun Records sound has influenced her on this album and more in a rather revealing interview. Check it out below.
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WRH: You grew up in the tiny town of Sebastian, Florida near Melbourne and Vero Beach, and as the impressively detailed press notes I was provided mentioned, you spent great deal of your youth riding and showing American Quarter horses and your father was a team roper, who trained cutting horses. It’s understandable that you would have grown up listening to a helluva lot of country music; but I understand that you’re a classically trained opera singer, who went to opera school, which defies the stereotype of the country singer/songwriter. How did you get into opera? Did you have any of your friends or others make fun of you for singing classical opera? How has your classical training influenced you and your work? When did you realize that you needed to write for yourself?
Hayley Thompson-King: I’ve always had classical leanings…When I was about 12, I basically woke up one day and my voice had changed…like I hit puberty and all of a sudden I had a ton of vibrato and could speak Italian (just kidding about the second part 🙂 But, ya, it was very natural for me to sing classical music. No one made fun of me! (…to my face…At least not for that!) I feel grateful that I had the opportunity to attend college and then graduate school. I think besides being able to control my voice and all it’s little nuances, the training has helped me to be able to analyze music. To dig into what the composer and lyricist are trying to convey and then honoring that…which is great for country music because it’s tradition to sing other people’s songs. I take every note and every lyric very seriously and when I break from that, it’s intentional… As a songwriter, it’s sort of a blessing and a curse…it takes me a long time to compose the “right” song because every note and every word have to serve the plot…It’s challenging for me to rattle off something visceral like Louie Louie (one of the greatest songs of all time, in my opinion).
Realizing I wanted to go down this path- what feels like performance art; using my brain, my feelings, experiences, and my body to express something- came about 7 years ago. I became tired of waiting for someone else to tell me when or whether or not I could make art. So, I wrote, produced and released my first record (an entirely analog production) called Save The Rats; it was the first release on my label, Hard To Kill Records.
HTK: Please don’t judge me, but I am LOCKED on Traditional Holiday Favorites: Christmas Music of the 40’s, 50’s and 60’s on Sirius XM…I have no excuse.
WRH: How would you describe your sound to those unfamiliar with you and your work?
HTK: I like to say it’s Psychedelic Country or Alt-Classical. Some folks have said Garage Country or even Riot Girl.
WRH: Earlier this year, I stopped by both of Baby Robot Media’s Mondo.NYC Showcases at Piano’s without any expectations of anything and honestly without researching any of the artists or anything, and out of all of the very talented artists, you and your backing band blew me away. I’m a jaded New York-based music journalist, so I don’t say that often! One of the things that I noticed that you and your backing band seemed incredibly road tested. How did you meet your backing band and how long have you been playing together?
HTK: Oh, that is very kind of you to say! I have about 5 musicians who I work with regularly (2 guitarists, 1 drummer and 2 bass players). Everyone who plays with me has one instruction from me: serve the song. I don’t need them to be perfect or play it like the record, I just want to play together in the moment and serve the song.
That show, I had my original bass player (who played on the record) Chris Maclachlan. Chris is a classically trained singer and bassist for seminal Boston band from the 80’s called Human Sexual Response. He’s been with me the longest…we started as a duo and that was when we began incorporating classical repertoire. I had Rob Motes on drums and Nick Mercado on guitar. My other Bass player Ben Voskeritchian is in a band along with Rob and Nick called These Wild Plains from Boston. Their whole band approached me with the idea to go on the road opening me and then backing me up. They are fantastic musicians, they listen to everything I do and respond…I feel really lucky to have them in the band. And my other guitar player (who played on the record and also engineered and co-produced) is Pete Weiss.
WRH: I’ve listened the album a number of times and sonically it’s like you and your backing band manage to bridge honky tonk country with the Sun Records/early rock sound — I can’t help but think of Elvis Presley, Johnny Cash, Roy Orbison, Jerry Lee Lewis, and so on because the album’s material has this raw, feral quality to me. Was that intentional? And how much has that particular period influenced you?
HTK: It’s funny you bring that up…and I’m so glad you pulled that thread. I’m also a college professor on the side 🙂 And I’m preparing for a course right now in Rock and Roll History so listening to A LOT of Elvis. I think ‘feral’ is the perfect term. That music was highly intelligent the way Nature is… and I think results from a feeling of being bound. There is a release and it doesn’t feel contrived, but rather instinctive. AND, most exciting, the audience was effected that way! In my music, I’m working completely instinct-driven, so, yes, I’d say those artists have influenced me.
WRH: The album reportedly stems from your childhood obsessions with the Bible’s wicked women, doubters and questioners, questioning what exactly made them “evil,” and in some way viewing them in a very different, empathetic prism in which you put yourself in the shoes of Lot’s wife, Judas and Luficer among others while tying that together with your own personal experiences. When I read that in the very detailed press notes about you and the album, my immediate thought was “holy shit, that’s pretty heady — for anything these days.” When you began writing the material for the album, did you begin with that overarching theme, crafting material so that it would hew to it — or was it something that came about subconsciously and organically as you were writing?
HTK: As far as the concept for the record, one day as Pete (Weiss) and I were working on pre-production, he said jokingly, “this sounds like a Sodom and Gommorah concept album”. So, that kind of stuck because it was a way to talk to people about what the hell is going on in this body of work. But, truly this was not something that I was in control of… I was guided and sensed it was divine intervention. My entire life, I’ve been haunted by these characters because, it seems to me, they were pawns in a game… Isn’t Judas the real martyr? I realize that this might come across as blaspheme, but I’m resigned to burning in whatever hell being a reasonable person gets you sent to.
WRH: You and your backing band spent the closing months of 2016 and the early months of this year writing and then obsessively revising and then recording the material that wound up comprising Psychotic Melancholia. How much revising and tweaking went into the writing sessions? And when did you know that you had finished, fully-fleshed out songs?
HTK: Pete (Weiss) and I got together in little pre-production sessions before we went into the studio and tweaked some of the songs… those sessions involved adding a chord here or there, some arrangement choices, and our plan of attack for mic-ing/live recording/vocals. Most of the songs were fully formed at that point. Then we went to the studio and a lot of what you hear is live with some minimal editing/overdubs. BUT, a couple of the more kinetic pieces (Lot’s Wife and No Room) needed to be played live in order for us to get the feel… so we booked a couple things and then went back and recorded those… they are mainly live, but what you are hearing is probably the 3rd version of both of those. I just get a feeling when something is right and the band trusts that… so that’s how we work.
“Dopesick,” and “Old Flames” are among my favorite songs on the album. What can I say, a sad song sometimes just works, you know? In any case, there’s a deep and visceral ache to them that comes from very real, lived-in experience, while drawing from some of the country songs I’d expect to hear while in some beer and whiskey soaked honky tonk. What is the story behind those two?
HTK: “Old Flames” is actually a cover song. It was written around 1978 by Hugh Moffatt and Pebe Sebert (Sebert is the mother of Ke$ha!). I only add a cover if I feel a deep connection to it and if I feel I can bring something new to the table…for that one, I had been trying to write about being in love with my partner…I found it VERY challenging to write about joy. I started playing that song and it said the things that I wanted to say about my love. (I’m still trying to write originals about this topic and getting much better at expressing this these days)
“Dopesick” is an old song. I probably wrote it about 5 years ago. It’s also about someone very close to me who was struggling…but, in hindsight, it’s also about me. It’s my favorite song.
WRH: I’ve mentioned this to a number of artists I’ve interviewed but I think that the one of the keys to an exceptional album is when the song order is so perfect that it creates a very specific mood, and if you were to rearrange the songs, it would be a different album with a wildly different mood — closing the album with a rendition of Schumann’s “Wehmut” is an eccentric yet gorgeous and fitting way to close out an album with a huge, operatic sensibility. Did you have any difficulties in arranging the material as it appears on the album or was it something that you always knew?
HTK: It took me about 3 days to do the song order…which, to me, felt long. I was taking into consideration the tempi, flow of the keys and lyrical arch…but really, this was the only way it could be. On the vinyl (which I’m planning to release this spring, but am hoping to get some label support for), each side will end with a Schumann piece….I think the whole thing works beautifully for a record where you listen to one side and then flip:
Side A:
Large Hall, Slow Decay
Dopesick
No Room For Jesus
Soul Kisser
Mondnacht (music -Schumann / poem – Eichendorff)
Mondnacht (Moon Night):
It seemed as if the sky
Had silently kissed the earth,
That she in the shimmer of blossoms
Could only dream of him.
The breeze blew over the fields,
The grain stalks gently surged,
The forests rustled softly,
So starbright was the night.
And my soul unfolded
It’s pinions so wide,
Flew over the silent lands,
As if it were flying home
Side B:
Lot’s Wife
Melencolia I
Teratoma
Old Flames
Wehmut
Wehmut (Melancholy):
Sometimes I may be singing
As if I were full of joy,
But secretly tears are flowing,
And then my heart feels free.
The nightingales will sing,
When spring breezes play outside,
Their melody of yearning
Out of their prison’s tomb.
Then all the hearts are listening,
And everyone is glad,
But none can feel the sorrows,
The bitter grief in song.
WRH: What’s next for you?
Well, we are home working on a couple videos and doing some writing and light recording in January…and teaching my R&R History course at the college of course. We’ll be doing about 3 weeks east of the Rockies in March. I turn in my grades for \ on May 14 and on May 15 we leave for a month long tour in Scandinavia which ends at the Stockholm Americana Festival. I’m pretty excited about spring. I’m hoping to get back to NYC a few times in the next couple months…we’ve had such exciting crowds there (including yourself 🙂 It feels like the audiences really get what we’re doing and like the artistic aspect of it. So, that’s the plan.
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