Conversations is an interview series where we discuss a specific component of an artist’s work.

In this edition, Molly Long talks to Montreal electronic artist Marie Davidson about Angelo Badalamenti, composition, and inspiration.

The influence of Angelo Badalamenti really jumped out to me when I first heard your music. How did you first become interested in him? Are you a David Lynch fan?

Angelo Badalamenti is a big influence for me. I first discovered his work while watching Mulholland Drive. I remember the night I rented the video (VHS at the time) at the Video Club. I was 16, and I didn’t have any idea who David Lynch was, I was just very intrigued by the cover. I was alone at home and was hypnotized by the movie. I didn’t know if I liked it or not, but I couldn’t stop watching it. I remember feeling confused when it ended. Two years later, I got to know who David Lynch was, and then fell in love with is whole body of work. I believe that Badalamenti’s soundtrack is the major reason I’ve been so captivated by those movies. To me, it’s almost perfect music. It fits every scene and every mood the director wants to recreate. The music is never off, it is always adding to the magic of the images, the aesthetic of the decor, the purpose of the characters. One thing I hate about finishing a Lynch movie is that there is no more music when it’s done. I’ve often wished Badalamenti’s work would be the soundtrack for my own life. Maybe that’s why his influence is so present in my music; I’m trying to please myself.

That’s funny, I had the exact same experience with Muholland Drive when I was around sixteen! Sometimes I miss that experience—being too young to understand a piece of art in its context and being completely mystified by it. What other media (music, movies, etc.) did you discover when you first started exploring?

Music actually. I was not very curious until the age of seventeen, but when I discovered experimental, electronic, and ambient music I became very passionate. The album that really made me want to be a musician is The End by Nico. It literally changed my life.

Angelo Badalamenti is the type of musician that people would call a composer, and you’ve also mentioned your interest in the composer Klaus Schulze. In your opinion, what makes someone a composer rather than just a musician?

It’s funny that you made a parallel with Badalamenti and Klaus Schulze because I feel there are similarities between the two—especially melodically, for example with the piece “I Sing The Body Electric” and the theme to Mulholland Drive. I once played them at the same time, and they go perfectly well together. To answer your question, I’d say that first a good composer is not necessarily a good musician, and the opposite is also true. Some composers hear it all in their heads and write it down, but could never play it. A musician is firstly a player, and a composer is a composer. He can also be a player if he has the technique. But that’s not what matters to me. What’s important is the inspiration—that’s what makes good compositions.

That’s a really cool idea to play two songs together and see what they sound like. Is that something you do regularly? Are there any other songs you like playing together?

I do that sometimes. Two other songs that I find go well together are “Body Music” by Daniel Maloso and “House Nation” by House Master Boyz. That’s a totally different style, though. It’s to make people dance.

Cool! Getting back to the idea of composition, though—when making a song, do you usually start with a musical structure, or do you start with a feeling? (Or both, or neither?) How do you balance technicality with spontaneous emotion?

For melodies I definitely start with a spontaneous feeling. When it comes to programming (sequences, beats) it has to be technical. Sometimes it’s very frustrating. (Laughs.) But when I get what I want out of a machine, I can’t even explain how it feels. It’s THE best feeling in the world.

Do you think of yourself as a composer?

I don’t know. I’ve been hearing sounds and melodies in my head for all my life, which is why I decided to make music a living. I like to compose songs or an imaginary soundtrack, but does that make me a composer? Certainly not. I studied classical violin from 10 to 16, then completely stopped music for two years. I consider myself an autodidact, but I learned a lot by playing with other people, like David Kristian, who has been my mentor with electronics. I wish I had the skills to put down in music everything I hear in my head. Due to technical limitation I can’t do that yet. Maybe one day I’ll compose and get people to play for me. Meanwhile, I’m experimenting.

Tell me more about your mentor, David Kristian. Who is he? How did you end up working with him?

David Kristian is a incredible sound designer. I meet him three years ago. He invited me to come play processed violin in his studio while he would improvise on electronics. A whole new world appeared in front of me. I was amazed by the all the sounds he could create. We instantly had a very good musical dialogue. Later, he introduced me to sequencers. I became obsessed with those machines. I owe him a lot. I don’t think I’d be doing the type of music I do if it weren’t for him.

If you could choose anyone in the world to play a song you had composed, who would it be?

I haven’t thought about it yet. Right now, I would say my husband Pierre Guerineau, with whom I collaborate on the musical project Essaie pas. He also helps me with the mixing of my own music. I would ask him because we have a strong musical connection, and he understands the emotions I try to communicate in my music.

Can you tell me about the album you’re working on now?

I am very excited about my next album, it is actually finished. It’s called Perte d’identité, which means “Loss of identity.” It will be released on Weyrd Son Records. There is a lot of spoken text involved, mostly in French, but there are two songs in English. Sound-wise, it will go further than my first EP because I have better gear now—analogue synths and sequencers, digital and analogue drum machines. I am also finishing another LP for Holodeck Records, which is still in gestation.

How do you choose between singing a melody and using spoken text on a song?

I tend to sing when I want to express warm or melancholic feelings. If I talk, it’s usually because I am preoccupied. There is a lot of talking in my solo stuff because I first started this project for cathartic reasons. Now, I feel more light about it, and sometimes I even joke, but it’s dark humor of course!

Of course! What is your process for writing lyrics? How do you choose between French and English?

The lyrics are always inspired by the sounds. Like for “Abduction,” my first song in English, I chose this language because the sounds didn’t inspire me to speak French. I wanted the voice to have a persuasive drive, so I needed the stress on different syllables that comes with English.

Who do you make your music for?

I make music for myself and for whoever will take the time to listen. I say much more in my music than I do in real life. My music is my fantasies. There, I allow myself to live my dreams. It’s also a place where I make peace with the past and where I lay my hopes for the future.

Marie Davidson’s new record will be out next year via Wyerd Son.