Following the success of her collaboration "God Gave Me Feet For Dancing" with Ezra Collective, soul and jazz artist Yazmin Lacey joins us to discuss her development from her debut LP to her second album, "Teal Dreams." She shares the music that has shaped her sound, the unconventional art forms that inspired this particular record, and the significance of artistic evolution. Lacey also reflects on her unique writing processes and how she immerses herself in creating new music, free from external influences. This interview portrays an artist on the rise who is discovering her voice. — — Can you describe the inspiration for this album? I created a lot of material last year, but not everything resonated with me. In January, I took some time away and learned about an artist named Danielle McKinney, who paints black women in their safe spaces. I found myself drawn to one painting featuring a woman in a teal room, which was significant to me because I was living in a teal room at the time. It resonated deeply, representing a space where I reflect on my thoughts and experiences. That became the foundation for my album. It was a departure for me since I had never drawn inspiration from a different art form before, but it inspired me to create "Teal Dreams". Have you found that your collaboration with Ezra Collective influenced this album? Not really. There was quite a gap between when I worked with Ezra Collective and when I started this album. I began working on this album in late February of this year, and we wrapped it up by early summer. There was a lot of material created during that time that ultimately didn’t make the final cut, making the two projects feel distinct. I enjoyed making the Ezra Collective track, and it might have sparked my creativity, but I feel like there was a significant time gap between the two. That track had a significant impact, especially with the Mercury Prize recognition for them. Did that add pressure for this album? It was a pleasant surprise to be part of something that received such a positive reaction. However, I think there would be pressure regardless, simply because it's my second album. With the first album, there are no expectations, but by the second, listeners have something to compare it to. Nevertheless, I always prioritize making music for myself first. It's only once I finish the tracks that I begin to consider how they might be perceived by others, so I'm not sure if that song added more pressure. Do you feel your creative process has evolved from your debut to this album? Is there a greater focus on reggae or ska? I believe there aren't any ska influences in this record. It's more aligned with reggae and lovers’ rock. While my last album hinted at reggae elements, like in "From a Lover," this experience working with new collaborators challenged me and pushed me out of my comfort zone. My creative process remains largely unchanged; I write primarily for myself and enjoy collaborative sessions in the studio. The main difference lies in collaborating with different people. — — Your sound spans a wide range of genres. How do you manage the various styles in your experimentation? Sometimes I worry about whether my sound is too scattered. I have a commitment to myself as an artist to prioritize my own enjoyment first. I find that I like to challenge myself and explore different sounds. Some songs cater to a distinct sound, allowing me to enjoy the diversity of my music. Working with various producers helps me learn more about songwriting, making experimentation feel organic. I focus on what excites me when I'm in the studio. For those who are new to your music, how would you describe your overall sound? Regardless of genre, I view my overall sound as music from the soul, for the soul. My writing typically reflects personal experiences, and I dislike being confined to specific genres. For me, it's more about expressing emotions and vulnerabilities, which I believe embodies soul music. What sonic influences shaped this album? Typically, I make it a point to avoid listening to new music while working on my own. I don’t think that approach is particularly beneficial. As mentioned, the album features multiple styles, reflecting that I don’t rely on one specific sound or album for inspiration. I prefer to enter the studio, experiment, and develop what resonates with me. Instead, I stick to familiar albums and artists I know well, avoiding new music while creating. Can you elaborate on your writing process and the themes explored in the album? The album encompasses a range of themes, arranged chronologically to reflect my experiences through different times. I structured it this way to capture my evolving feelings. I’m particularly proud of addressing various topics in this album, such as "Water," which explores how friendships change in adulthood and how to navigate those shifts. The diversity of themes is significant, from "Grace"—which serves as a self-prayer about kindness to oneself—to topics around love and personal experiences with nature, as seen in songs like "Wild Things." Writing about these aspects allowed me

      A revealing, transformative exploration of the self...

      ‘ICONOCLASTS’ might not be the most fitting name for Anna von Hausswolff’s seventh album. After ten years in the industry, the Swedish avant-garde artist has established a cult following with her distinctive – indeed, iconoclastic – sound. She has turned her voice into a chaotic instrument, unleashing a barrage of shrieks, ululations, and wails. Von Hausswolff has crafted expansive soundscapes solely using church organ, creating a peculiar sonic space between drone and Gregorian chant. However, on ‘ICONOCLASTS’, she aims to rein in her sound, producing what she considers her most “traditional” album to date.

      This does not imply that ‘ICONOCLASTS’ lacks the bold experimentation that defined her; fans of von Hausswolff’s organ-centric work will appreciate the gothic magnificence of the instrument returning in tracks like ‘Quest’. Rather, this confident transition revitalizes a musical approach that might have risked becoming gimmicky, a reliance that could have stifled her creativity.

      Throughout the album, Otis Sandsjö’s almost feverish saxophone leads the way. It’s gentle and muted in ‘Aging Young Woman’, then overwhelming in the nine-minute masterpiece ‘Struggle With The Beast’, where it rages for nearly four minutes before von Hausswolff lends her voice. The saxophone serves as a guiding light, taking on a Virgil-like role in this Dantean journey, as von Hausswolff plunges into the layered realms of the human psyche, salvation, and sin.

      What is striking about ‘ICONOCLASTS’ is the earnestness found in von Hausswolff’s profound self-exploration. Here, she does not rely on grandiose sonic structures or literary references (although both are present). Instead, she grapples with themes of loss, faith, and love – mature, universally relatable concepts that were somewhat obscured in her earlier works.

      Consider ‘Aging Young Woman’, a dreamlike duet with the like-minded Ethel Cain. The hymn-like composition, reminiscent of Lana del Rey at her most melancholic, resonates with the pain of time passing as von Hausswolff reflects on her approaching 40 and the fading of her “dream of a family.” In ‘Facing Atlas’, a power ballad steeped in mythological references, she chases a ghostly former lover like Orpheus after Eurydice, quickly realizing “that’s not what you want.” Meanwhile, ‘The Whole Woman’, a folk-inflected collaboration with her idol Iggy Pop, presents a somber dialogue between two drifting souls, balancing her desperate yearning with his wise, lighthearted perspective.

      In ‘ICONOCLASTS’, life and love take on new significance, perhaps revealing the true iconoclasm of the album.

      9/10

      Words: Jude Jones

      If you enjoy this, explore more: Ethel Cain, Diamanda Galàs

      Join us on WeAre8 as we dive into global cultural happenings. Follow Clash Magazine HERE as we enthusiastically explore clubs, concerts, interviews, and photo shoots. Gain backstage insights and a glimpse into our world as the excitement unfolds.

      Sign up for the Clash mailing list to stay updated on the latest in music, fashion, and film.

Following the success of her collaboration "God Gave Me Feet For Dancing" with Ezra Collective, soul and jazz artist Yazmin Lacey joins us to discuss her development from her debut LP to her second album, "Teal Dreams." She shares the music that has shaped her sound, the unconventional art forms that inspired this particular record, and the significance of artistic evolution. Lacey also reflects on her unique writing processes and how she immerses herself in creating new music, free from external influences. This interview portrays an artist on the rise who is discovering her voice. — — Can you describe the inspiration for this album? I created a lot of material last year, but not everything resonated with me. In January, I took some time away and learned about an artist named Danielle McKinney, who paints black women in their safe spaces. I found myself drawn to one painting featuring a woman in a teal room, which was significant to me because I was living in a teal room at the time. It resonated deeply, representing a space where I reflect on my thoughts and experiences. That became the foundation for my album. It was a departure for me since I had never drawn inspiration from a different art form before, but it inspired me to create "Teal Dreams". Have you found that your collaboration with Ezra Collective influenced this album? Not really. There was quite a gap between when I worked with Ezra Collective and when I started this album. I began working on this album in late February of this year, and we wrapped it up by early summer. There was a lot of material created during that time that ultimately didn’t make the final cut, making the two projects feel distinct. I enjoyed making the Ezra Collective track, and it might have sparked my creativity, but I feel like there was a significant time gap between the two. That track had a significant impact, especially with the Mercury Prize recognition for them. Did that add pressure for this album? It was a pleasant surprise to be part of something that received such a positive reaction. However, I think there would be pressure regardless, simply because it's my second album. With the first album, there are no expectations, but by the second, listeners have something to compare it to. Nevertheless, I always prioritize making music for myself first. It's only once I finish the tracks that I begin to consider how they might be perceived by others, so I'm not sure if that song added more pressure. Do you feel your creative process has evolved from your debut to this album? Is there a greater focus on reggae or ska? I believe there aren't any ska influences in this record. It's more aligned with reggae and lovers’ rock. While my last album hinted at reggae elements, like in "From a Lover," this experience working with new collaborators challenged me and pushed me out of my comfort zone. My creative process remains largely unchanged; I write primarily for myself and enjoy collaborative sessions in the studio. The main difference lies in collaborating with different people. — — Your sound spans a wide range of genres. How do you manage the various styles in your experimentation? Sometimes I worry about whether my sound is too scattered. I have a commitment to myself as an artist to prioritize my own enjoyment first. I find that I like to challenge myself and explore different sounds. Some songs cater to a distinct sound, allowing me to enjoy the diversity of my music. Working with various producers helps me learn more about songwriting, making experimentation feel organic. I focus on what excites me when I'm in the studio. For those who are new to your music, how would you describe your overall sound? Regardless of genre, I view my overall sound as music from the soul, for the soul. My writing typically reflects personal experiences, and I dislike being confined to specific genres. For me, it's more about expressing emotions and vulnerabilities, which I believe embodies soul music. What sonic influences shaped this album? Typically, I make it a point to avoid listening to new music while working on my own. I don’t think that approach is particularly beneficial. As mentioned, the album features multiple styles, reflecting that I don’t rely on one specific sound or album for inspiration. I prefer to enter the studio, experiment, and develop what resonates with me. Instead, I stick to familiar albums and artists I know well, avoiding new music while creating. Can you elaborate on your writing process and the themes explored in the album? The album encompasses a range of themes, arranged chronologically to reflect my experiences through different times. I structured it this way to capture my evolving feelings. I’m particularly proud of addressing various topics in this album, such as "Water," which explores how friendships change in adulthood and how to navigate those shifts. The diversity of themes is significant, from "Grace"—which serves as a self-prayer about kindness to oneself—to topics around love and personal experiences with nature, as seen in songs like "Wild Things." Writing about these aspects allowed me

The title 'ICONOCLASTS' might be somewhat inappropriate for Anna von Hausswolff’s seventh album. After ten years in her career, the Swedish avant-garde artist has created a

Other articles

Slew Releases New Mixtape ‘WHO ELSE?’

Jack Kane's 'Obvious' Explores the Breakdown of a Relationship

Isabel’s new EP ‘It Is That Deep’ Celebrates Authenticity.

The Damned Honor Brian James With Covers Album Titled 'Not Like Everybody Else'

Developing as an Artist: A Conversation with Yazmin Lacey

CATTY's EP 'Bracing For Impact' Offers a Dose of Authenticity.