The keen reader will certainly remember London-based songstress Pisgah from a couple of features we published earlier this year. On a journey towards her forthcoming album ‘Faultlines’, expected on December 4, the talented creative has so far unveiled a number of meaningful, introspective singles, relatable and observant pieces emerging from a place of deep authenticity and committed artistry. ‘Bend To Break’ is the perfect evidence of that.
Wrapped in lush and evocative guitars, the single unfurls a nostalgic, striking look into eclectic rock and Americana prowess, while drawing from Pisgah’s personal experience over themes of resilience and independence. We suspect the song will feel extremely relatable for some, as it reminds us to stay true to ourselves, never forgetting to develop our own storyline. Recorded by Pisgah herself, ‘Bend to Break’ benefits from Austin-based producer Dan Duszynski on mixing and mastering duties.
Intrigued by the record, we caught up with Pisgah to learn more about her overall artistry… Interview below!
Hey Brittney, thanks for chatting with us! Your artistic alter ego Pisgah has been riding an adrenaline wave since September, with ‘Cumulonimbus’, ‘Favor’, and the recently released ‘Bend To Break’ marking your comeback year. How does it feel to be releasing music again? Could we describe it as an emotional release of sorts?
This is such a great question! The answer that came to me in a flash is that it feels inevitable. I think I’ve finally come around to the idea that music isn’t just something that I do, but actually part of who I am. That means that, even if I take a break for a while, I can’t not write songs. And it feels really great to know that, and to finally be making things again.
I have always believed that it takes courage to share deeply personal songs with an audience of strangers, especially if we assume that art comes from a place of vulnerability and reflection. Is that something you resonate with? If so, is there a common lyrical thread in your upcoming album that arises from personal experience and introspection?
This resonates with me so deeply, and it’s exactly why I write songs. As cliché as it sounds (and I always remember that clichés are such because they’re so universally true), I write to understand complicated feelings that can take years to process, and often I don’t even fully know how I feel about something until I’ve written a song about it. It’s also important to me personally that the songs are emotionally true to me while also being universal enough that someone else can slip into them.
The coming album is called ‘Faultlines’ and it’s all about reflecting on the metaphorical fractures that have happened in my life, that have made me question my sense of self, my sense of home, familial stability and who I’ve become when things have fallen apart. So I’d say the common lyrical thread is loss and transformation through that loss.
I’d love to know more about your musical upbringing; what motivated you to pursue music in the first place? Are there any artists that particularly influenced you growing up?
Music has always been central to my life! I started singing shortly after I learned to speak and, like a lot of young artists who grew up in conservative, religious towns, I grew up singing in the Baptist church my family attended. I dabbled in piano lessons, and eventually landed on playing the clarinet so I could join my middle school band and, eventually, my high school marching band (nerdy but so true!).
By the time I made it to university, I was singing with a couple of local bands and had so many musician friends, but I felt too intimidated to even try making my own music then. That changed when I finally bought an electric guitar in 2012, when I was in my early 20s, and taught myself to play. By 2016, I was writing my own songs, and one of those early songs will finally see the light of day on the new record.
In terms of influences, there are just so many! I was a real emo kid growing up, and some of those bands are still my favourites: Brand New, Jimmy Eat World and Death Cab for Cutie, just to name a few. I also grew up listening to a lot of the alt-country artist Ryan Adams, and while things have really gone downhill with him in recent years, I can’t deny how much he’s influenced my songwriting – particularly as a fellow North Carolinian.
And others who deserve a mention: the one and only Tori Amos, alt-rock songwriter Aimee Mann, and pretty much the entire Lilith Fair scene from the ’90s.
‘Bend to Break’ is your latest single, a striking taste of what’s to come. I appreciate its evocative, nostalgic flair; it does feel like your most ‘poignant’ single so far. Are you proud of how the record turned out? What does the song mean to you?
I’m really proud of how the record turned out, and I feel so grateful to even be able to say that, because I’m hard on myself! It’s really hard for me not to nitpick my music into oblivion, so it feels like a win that I can’t think of anything I’d change on the album. ‘Bend to Break’ in particular felt like a game-changer when I wrote it, particularly the lyrics.
I think they strike a good balance between poetic and direct language, and they really conjure strong visuals for me every time I sing them. I hope they do that for listeners, too. When I played it for my husband the first time, he told me he felt like I levelled up as a songwriter, which is a very funny way to put it, but I think he was right!
Can you take us through your creative process? Do you usually write alone or with others? Also, how hands-on are you with the production side of things?
I’m very much a loner when it comes to making music. My songs often come from my own shifting emotional landscape, and I need a lot of time and space alone to draw them out. I have tried co-writing with others and, while I think it could be brilliant to do more at some point in the future, so far it hasn’t scratched the same itch for me as working in solitude.
It’s the same with production. I spent a lot of time learning Logic Pro before I started making this record, and found that I absolutely love recording myself because it’s fun for me! I always start by building a rough drum part and recording a rough demo of the song with as many of the parts as I can from the jump, and I try not to worry too much about how polished or even in time they are.
From there, I spend a lot of time listening to them, over and over, to decide what changes are needed – whether the arrangement, any of the lyrics, a different bridge, etc. And then I build the final drum part and record a more polished version with a metronome and all! I have a strong sense of what I want my songs to sound like, and they’re pretty much there by the time I send them off for mixing and mastering.
I love interviewing artists who have a past, so to speak; there are a lot of really young creatives out there who make cool things, but without so much context around them. From you, Brittney, I get the sense that the art you make is deeply informed by a lot of real-life experiences, giving it a more authentic, sombre vibe. I like that! It makes your records even more lively and raw, even intimate.
Here’s a dramatic question for you: Is there anything you learnt about life and art that you could share with our readers? Perhaps a particular challenge you had to overcome, or a particular realisation that hit you after a while…
I really appreciate you saying this because, honestly, in today’s musical landscape I feel very old! I’m in my late 30s now, so I have had time to accumulate real, hard life experiences that make their way into my music. In terms of what I’ve learned about art and life, I think it combines both a challenge I had to overcome and a realisation that hit me: don’t talk yourself out of making the thing before you’ve actually made the thing.
I spent so many years doubting myself, feeling like an inadequate musician, comparing myself to other people, and I’m not fully over those things by any means… but I finally realised that I was the only person holding myself back from actually being the musician I want to be. There’s also a great quote from the American writer Annie Dillard that I always think of: ‘How we spend our days is, of course, how we spend our lives.’ I didn’t want to spend all my days doubting myself and not making music.
With roots in the American South, you are now based in London, UK. How are you finding the music scene there? Have you met any like-minded creatives? How does it compare to other cities or places you’ve been in?
London is an amazing yet intimidating place to be a musician! It’s amazing because there are so many opportunities to play and meet other musicians if you want them, and so many incredibly talented people concentrated in one city. That said, the thing that makes it amazing is the same thing that makes it intimidating. There are so many people making music that it can feel hard to differentiate yourself.
I don’t really believe in the scarcity myth that there’s only so much space for so many people because art is so subjective and everyone who makes something has something unique to say, but the industry thrives on the scarcity mindset, and it’s hard to avoid comparing yourself to other people when you’re operating in a market as saturated as music. So it’s both a blessing and a curse. It’s the biggest city I’ve ever lived in, by a long shot, and such a massive scale has taken me a lot of time to come to terms with!
‘Faultines’ is your upcoming album, expected on December 4th. What can we expect from it? Any other plans we should know about?
The album continues all the themes that have been introduced in the three singles – generational trauma and inheritance, relational breakdowns and reckoning with tragedy in a way that leads to self-transformation. Sonically, a few of them expand beyond even what I’ve shared through the songs that are out, and that’s really exciting for me because they point to how I’ll continue to evolve my sound!
In terms of other plans, I’m already working on new songs that I think will become another album in time, and I’m also thinking about re-recording some of the songs from my first album now that I’m more serious about actually sharing my music. So there’s plenty to stay tuned for!
What’s the best place/platform for people to stay updated on all things Pisgah? 🙂
There are three places I’d recommend! Instagram (@pisgahmusic), my website (here) and Bandcamp (here).
Thank you so much for having me, and for asking such thoughtful questions. It’s been a real pleasure.
