Carly Rae Jepsen Talks with Amanda Petrusich
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Remember twenty twelve seems like about fifty years ago but if you've forgotten your ancient history twenty twelve was the year of call me maybe Carly Rae Jebsen song was so big so in your face that ubiquitous is an understatement in the year since Jepson won a legion of fans and the devotion of of countless critics including several of my colleagues here at the New Yorker her fourth record dedicated just came out in May and while she was still working on it this was back in twenty seventeen carly red chips and sat down at the New Yorker Festival with our music critic Riddick Amanda. Thank you so much for being here. Thank you so much for having me my goodness I mean I wish you guys were around every morning. The best sweetest response that means to me so your last album emotion was released in late two thousand fifteen. I'm I'm just asking for it. I know I'm I'm provoking it. I can't I can't help it lyrically a lot of the songs on emotion I think either describe or sort of take place in what I would call kind of limited sort of in-between state so sometimes as in I really like you. It's that kind of tents and extraordinary moment right before relationship begins in a song like boy problems. It's the moment right before. A relationship ends <hes> so I wanted to start by talking with you a little bit about what interests you about those kinds of high stakes moments. I know if I know the answer that completely what a taxi to anything I think I had a fascination in my whole life with love and I think because of my lifestyle being on the road there is sort of more fantastical side of love that I've experienced and that is the high of you. Don't get the day to day kind of mundane chores. You get like the runaway weekend weekend in Paris and it's this sort of feeling of I don't know movies stout love and I think I'm quite addicted to that feeling but it also has its ups and downs and everything in between with emotion I was really looking for a way to tap up into the different phases of love that that I was allowed to talk about which we're things that I had experienced so you've said I love pop music from the eighties because there's so much longing in it and I thought gosh that's exactly right right and it's a melancholy kind of longing and it feels to me that something different is kind of happening in contemporary pop nowadays it's a little more boastful or sort of self empowering or maybe even self aggrandizing moments and it's kind of less less frank about how sad or suffocating desire can be. Sometimes I mean it was that also a sort of thing for you as you were working on the record. I thought too much about it. I do remember falling in love with the eighties around the time. And that we were in Osaka at at a festival where Cindy lauper was plane and she was doing my girls just want to have fun and that kind of dug into some old school Madonna and some prints and I think you're right. That's sort of feeling of maybe not holding in your heart box so much. I'm just sort of like this passion and this is real and this is life and death. I loved that versus just like having a host party just needed more and I think that pop can be thought of as trait if there isn't that emotion behind it if there isn't really almost like an nineteen forties like jazz song. It's like a very constricted amount of space for lyrics so let's make every word count and like let's not talk about things. Let's talk about heart. I mean you mentioned prints and I hear a lot of prince on on emotion particularly in the title track. I think something about your freezing and also in L._A.. Hallucinations the way sort of hit the beat that hard I mean is he an influence of yours. Are there other records in your collection elections that maybe would surprise some of your fans well. I find if I'm working during the day at one type of music. If I'm working sessions right now for this next album I'll go home and I'll go home and need to listen to very opposite so I'll drive in the car to forty four. Let's classical at home and kind of need to just rebel from what I'm doing and when I was doing Cinderella Broadway I in my would run to prince in the morning that was sort of my like Cinderella had like kids and then that would sort of motivate for the day of just like be ready to go into very romantic Atlantic theatrical side. That's awesome because prince sort of the consummate performer away yes and his rhythms are just so exciting and that sort of what caught my attention I think absolutely right. I knew that you wrote <music> over two hundred songs for emotion yeah. You've been teasing us with some of those besides. Do you ever get writer's block no but the but that doesn't mean I don't that saw the I think I think no. I mean if you wanted I could write you song right now it. It might not be good but it was just be. I never ran out of ideas and I never thought enjoying doing it and that's I think what keeps me so excited about having found something I love so much is that right I mean I'm probably about eighty songs deep for this next album and yeah and and I keep on Sunday like whenever I get on a flight or anything like if something were to happen to me I've got the order in my closet. Please so call me. Maybe was released at the end of two thousand as an eleven of course became one of the best selling songs of two thousand twelve but I wonder at a certain point. Do you have to kind of and you mentioned this a little bit when you were talking about heading into the recording sessions affirm both emotion in for the new record jeff to compartmentalize that success in way almost mentally emotionally place at aside to kind of move forward and make new work. I think there was a time in a place in my life where I really had to and that would be in between releasing kiss. The album released emotion because I knew I was. Sort of identified as like coming maybe girl I can remember even four months after it's really sort of beam claimed in the press is like a one hit wonder and I was like isn't it to get the chance <hes> but again talks tavist talks with my bandmates. There were just sort of really adamant that this was not how they identified me and nor how I should I identify myself so that was it was a really important time to compartmentalize it but at this point in time it's just feels like a really wonderful ride and memory kind of part of the catalog that was a high Fisher and who gets a dream like that to come to him so oh lucky but also it was like crazy so I'm glad it's done so. I don't think anyone here would forgive me. If I didn't ask about the new record well I don't know because being eighty San's it could be a lot of different things at this point it's about choosing them and polishing and getting place where I feel like order make sense and everything I was really highly attracted to this this sort of understated disco but having an intention and going into the studio sometimes I would realize that I wanted disco but I made a Mumbo so and so I'm not really giving any disclaimers but what is going to be because I think it's got different different flavors in there and I really excited about it. I think that and finally at that place where I'm starting to feel like who <music> now's the fun part of like cleaning and polishing and picking stuff but it's great to have an intention. It's great to sort of say it's you know it's got to have like a little bit of this understated disco still tapping into this and then I can remember trying to explain it inarticulate way to my publishers and my guy and they were laughing at my pitch so hard 'cause like okay so I wanna make an album kind of like music to clean your house to what I think about it. I don't I want to do it at the club yeah. I don't do it like when else do you listen to music like exercising like I wanted clean my house and put on an album that I can just listen to good mood about now. I have to ask what do you listen to when you're drying dishes or like unpacking your suitcase and really into both back. I'm a different things. I think that it's really important to to push yourself to continue to find new music and spas great for that. There's a lot of different ways where you can be. I don't know just sharing your coolest the music friends and like send playlist Romantically to each other. That's like my favorite thing to do like I heard that you're going to China. I made you a China and on playlist that amazing. You are a great friend on behalf of the New Yorker thank you for coming now is currently has someone she would link to invite onstage this tab tash chrome. Hey Hey hey so strange to make like a sin based pop album and then do them acoustically. It always find funny to me but we're going to do it anyways and if you WANNA sing along we always encouraged that it'll make it less awkward open with how I feel about this room tonight. which is guys? I thought you really really really really really WANNA stop but Scott tea serving the block act boil honey on hand commute the boy man on Eh fish but how we get in this position it's way too soon and this is now and Surya something the only really like you and you want me to do with really like you and a while you want me to one too much really like you and a while you. Do you want make duwamish. It's saying say sweet shun all one do he's scared into you could say long your man temptation mm step in on your lives hanging on bus. They lay mad on mission but how we get this position. It's way too soon on this is now and tell you something really really really thank you and all you. Do you want me to really really really thank you now on you want me. You won't be too Saito much us. Thank you thank you carly Rae jebsen performing coming. I really like you at the New Yorker Festival in two thousand seventeen along with Tavist Crow on Guitar. She spoke with our critic Amanda petrous which I'm David Remnant and that's The New Yorker Radio for right now. We've got a new episode of the podcast up every Friday and Tuesday at New Yorker Radio DOT ORG or wherever you get your podcasts the New Yorker Radio our covert action of W._N._y._C. Studios and the New Yorker our theme music was composed and performed formed by Merrill Garbis of tune yards who additional music by Alexis Corrado. This episode was produced by Alex Barron. Emily Boutin Ave Correo rian corby. Jill Dubov Karen Filmon Calia David Krosno Louis Mitchell Sarah Knicks the Stephen Valentino from emily man and Monk Fe Chen The New Yorker Radio Hour is supported in part by the down that Front The New Yorker.