The ethereal empress herself, Lorely Rodriguez is the latest songstress to emerge from the bursting masses of Brooklyn artistry. With the release of her debut EP, Systems, under the moniker Empress Of, Lorely will make her debut at Boston’s inimitable Brighton Music Hall on April 11th. Lorely was gracious enough to speak with Marry Pivazian of Allston Pudding about everything from tacos to Twin Peaks and beyond.
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Marry Pivazian: So, you’re originally from Los Angeles but then you moved to Brooklyn. What incited that transition?
Lorely: I’ve always wanted to move to Brooklyn. I think the moment I got there I realized just how that transition would affect me. It’s a completely different pace, almost like going to college again. You really learn more about yourself and what you want to do as an artist. The second I moved to Brooklyn I thought, “Wow, this is really hard,” but I wouldn’t want to be anywhere else. Now that I’m back in Los Angeles for a bit, I’ve noticed just how different the pace is. For lack of a better word, it’s very “chill.”
Do you miss Los Angeles at all? The food, especially?
L: Oh yeah! It’s been really great to visit. I get nostalgic sometimes and want to move back, if only for a second. Me and the rest of the band have had so many tacos since being back here. Nothing compares to the tacos here. We also tried to go to In-N-Out last night after our show, but it was closed.
You go under the moniker ‘Empress Of.’ Can you explain what that means and where it came from?
L: The song ‘Hat Trick,’ which is the first single I released off of the EP Systems, was originally called ‘Empress’ because the opening line says “You say I’m a fool you// You say I’m an empress.” That song is about my friend Patrick and I giving each other Tarot card readings, and when he pulled out the empress card for me, I really got into the idea of my destiny and my future, and it all came from that empress card. So I wanted to call the project Empress, but there’s already a metal band called Empress.
It seems to work well with the preposition because it adds an air of ambiguity.
L: Yeah, totally. I asked my manager Brian, “Well, what can I do now?” and I later came to the name Empress Of. I realized that ambiguity was how I started my project with all the Color Minutes. It seemed the most fitting, and I like how people at shows now say “empress of” whatever town I play.
Speaking of the Color Minutes, on your website (which is awesome by the way, I love the craigslist theme) you cite your project as a project of ‘cite + sound’ which you reflect in your unique series of Color Minutes on YouTube. What inspired you to showcase your music this way as opposed to other traditional mediums?
L: The Color Minutes are how I first exposed my project to the Internet. I sort of just wanted a way for people to listen to my music without judging the music. Once you put a face to a sound, you’re identifying it with something – it’s boxed in. I wanted to put it out there in a way that disregarded all of that. If it’s just a solid block of color, all you have to identify the music to is that solid block of color. It’s like when you listen to a song and you can’t really understand the lyrics but you make up your own lyrics instead, which I do all the time. It’s hilarious. Even with really popular songs on the radio, sometimes I don’t get the lyrics so I make up my own.
Yeah, like the classic I’m blue da ba dee da ba die…
L: Yeah, exactly! I’m blue and I will beat up a dog.
Ha, yes! I’ve never heard that one. I’ve heard I’m blue and if I were green I would die. But that one’s great too, I like it.
L: So I basically I separate the songs from each other with these Color Minutes. If you have a series of songs with an album color, it’s sort of just one cohesive thing. With the different colors, however, I wanted to separate the songs from each other, but I also wanted to let people make decisions for themselves.
You have pristine and delicate layers in each of your songs. How do you record your music? What is that process like?
L: Right now the process is just me producing everything in my bedroom with a lot of sampling and synths. How the music sounds sonically is important to me. So right now, the process has been to create a track and then worry about the lyrical aspect of it after I get a general mood of how the melody is going to be. It usually begins with one synth idea, and then I’ll add drums and samples over that. Then finally record the vocals in the end.
It’s interesting because when I was first introduced to your music, I immediately associated it with a Julee Cruise sort of ambiance. Then I recently read in an interview that you cite her as an influence in your music.
L: Oh yeah, she is the biggest influence ever. Both Julee Cruise and Elizabeth Fraser of the Cocteau Twins. When I discovered their music, I just thought, “Holy shit, this is exactly the music I hear in my dreams when I’m sleeping.” It’s perfect. They’re not the only musicians I’m influenced by, but as a female vocalist, songwriter, and producer, I really relate to their sort of sound. There’re tons of other music I listen to as well. I’m really influenced by Colombian music, a lot of music from the 60’s, The Zombies. I’m a huge fan of The Zombies. I really admire strong songwriting, and that can span from any decade. Oh, and of course The Beach Boys.
I’m assuming since Julee Cruise is such an inspiration for you that you’ve seen the show Twin Peaks.
L: That’s another thing. I really love Angelo Badalamenti, who scores a lot of the music for David Lynch’s work. I’ve seen Twin Peaks probably like 3 or 4 times.
How would you say Twin Peaks has impacted your life? It’s a dark, twisted, cathartic sort of show. I took a lot from it after finishing it.
L: I think that my generation especially is very affected by Twin Peaks because we didn’t really experience it coming out on TV, but with Netflix and everybody rediscovering Twin Peaks, a lot of the art and music I see is influenced by it. But yeah, I love Angelo Badalamenti. There’s this video of him sitting by a piano coming up with the theme for Twin Peaks. It’s so emotional and awesome and he talks about how David Lynch came over and put a tape recorder on top of his piano and said, “Okay Angelo, give me the theme for Twin Peaks.” They kind of just get romantic together in this dark, twisted way. David narrates what’s happening in the story while Angelo provides musical narrative for it.
Although you’ve just recently begun this project, you’re catching a lot of people’s attention, especially around here in Boston. Who are some artists you’d be interested in collaborating with in the future? Do you have a dream tour lineup?
L: It’s really funny because I just talked about this when I was in SXSX, and I think the coolest part of being there was meeting all the other bands and watching them on stage do their thing. Now they’re my friends. If I could make a mixtape of just collaborations with my friends, who are also these awesome musicians, it would be amazing. But, you know, it would be cool to just call up Julee Crusie one day and be like, “Hey, what do you think of this track?”
Would you say you’re a sit-down-with-my-notebook type of writer or an in the moment, let-me-grab-this-napkin type of writer?
L: Definitely in the moment, say it to myself, and don’t write it down. If it’s good enough to remember, then it’s good enough to record.
What environment do you typically find comfort or inspiration for writing?
L: I really like quiet spaces where I don’t have to be distracted by what’s going on outside. Being in my room and not having to worry about what I have to do that day is usually the best.
Do you have any comfort snacks that aid this process?
L: Yeah! I’m trying to remember what I was snacking on when I was making my EP. I think I was chain drinking coffee and eating Oreos. So many Oreos! That EP was fueled on coffee and Oreos.
Direct quote! That should go on the back of the record, “fueled on coffee and Oreos.” Classic Oreos, mint, or–?
L: Double Stuf. Double Stuf Oreos.
Are there any records out lately that you’re currently grooving to? Who are some artists that you follow regularly?
L: I listen to Panda Bear’s record a lot, so I’m kind of just desperately waiting for a new one to come out. Tame Impala. I really, really love their new record Lonerism; it’s awesome. I’m also just excited to see what my friends put out, like my good friends Celestial Shore have a new record coming out. I’ve listened to it and it’s going to be awesome, so I can’t wait for people to hear it. I listen to that whenever I can.
If I’m correct, this is the first time you’ll be playing in Boston. Are you excited? What are your thoughts on the city itself, both musically and culturally?
L: I was there maybe a few weeks ago to see Unknown Mortal Orchestra, actually. I’m excited to play there, Brighton Music Hall seems like a cool room and I’m excited to tour with Jamie Lidell, who I’m a really big fan of myself. I can’t believe I get to open up for him. If I told 18-year-old me that I was going to go on tour with Jamie Lidell with my own musical project, I’d be shitting myself. I mean, I used to work at the Goodwill on Commonwealth back when I went to school at Berklee. Going to Berklee was a transition for me, but it definitely wasn’t my favorite thing I did. I definitely learned a lot more from living in New York than going to school in Berklee. I don’t want to completely dismiss that experience, but it wasn’t a highlight for me. I spent most of it not going to class and staying in my bedroom learning how to make music.
Now that Systems is about to be released, what’s next for Empress Of? Do you have anything planned? Any smaller or bigger milestones you hope to hit?
L: This is the first tour, and I don’t even know how I managed to do that, financially and everything. I just can’t believe I’m even on tour. When I get back from tour, though, I’d really like to write up a full-length record. It’s all about finding some peace of mind and a quiet place to do that. Touring has been a complete learning process, even with things like adjusting to play a different venue every night. I’ve played with so many new bands that are now my new favorite bands. We played a lot of shows with the whole Canadian scene in Montreal, as well. So I’ve been listening to their music and their sets over and over again and I’m really inspired by their sounds.
Now for some silly questions! What would you say is your spirit animal?
L: Michael Jordan is my spirit animal.
Do you want to elaborate on that or just Michael Jordan… period?
L: Michael Jordan. Period.
What would you say is the theme song to your life?
L: The theme song to my life right now is “Bitch, Don’t Kill My Vibe” by Kendrick Lamar.
Do you have a favorite Color Minute that you’ve done?
L: Number 2, the teal one, is a very big favorite of mine.
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