Luis Mojica Interview
Q: I really have to first ask about your trip to the mountains. How much of an influence was this on your exceptional album Wholesome? What was your experience like living in the mountains?
A: These mountains completely influenced the record. It was originally a very cold sounding, solo piano album. The community in Woodstock is unlike any I've every found. It's pure magic! The love and support I found here made me make the decision to turn this record into a collaborative piece of work which drastically changed the tone and shape of each song - for the best. We live at the bottom of two beautiful mountains that converge into a waterfall and creek. It's insanely enchanting, grounding and let's me go deep into my body in a way I wasn't able to in the city.
Q: You got a number of great musicians to collaborate with you on the album from Melora Creager (Rasputina) to Brian Viglione (The Dresden Dolls/Violent Femme). Can you talk about the collaborative process?
A: I met Melora after opening for a Rasputina show in Hudson, NY in 2014. We were like long lost siblings and just loved each other from the get go. I became a member of Rasputina and in 2015 toured the US with Melora, and we've been good friends ever since. Melora channels so much when she plays. I give her a visual or let her feel the piece just for a moment and she delivers perfection every time! I contacted Brian because I was always such a fan of his dynamic percussion work and was really happy when he responded positively to the demos and laid down his magic on two of the tracks. I'm going to hire him for future work because he's such a positive, sweet, easy person to work with - a true virtuoso.
Q: There are so many unique textures and sounds scattered across this album. On top of that the structure of the songs deviate from typical verse/chorus/verse/bridge. Can you provide any insight on this topic?
I've never been a formula musician. I don't follow chord progressions or any structures or theories. This worked against me for many years because people didn't understand my work and that all of those "random" notes (accidents) or bizarre changes were carefully thought out and intended. I let the songs guide me. Phil Glass says he "listens for the music.” I think that's the best way to put it for me, too.
Q: There are so many songs that stuck with me after the album was over. I'd like to ask if there are any songs on the album which resonate with you more for whatever reason?
I'm so happy the work resonated with you! Making this record was so interesting because each song became brand new when it was recorded and then again after it was mixed. I think I am most excited by "Bridgette Song.” It's the pop-iest song I've ever written and my engineer, Jason Sarubbi, nailed every inch of it. The saxophone work by Caelan Manning at the end still gives me butterflies and tears.
Q: These songs are so dense with vocals harmonies and instrumentation. Are you going to perform these songs live? And if so how will you approach it?
A: Yes! I am touring the album in November and throughout all of next year. It is extremely daunting to try and accomplish on stage what I did in the studio. It's nearly impossible because I would have to have 10 people with me! I will use my trusty loop pedal which I beatbox into and create vocal harmony textures. I can sing and play over that live and I'll be joined by Caelan Manning on the saxophone, Ryder Cooley on the singing saw and, for some shows, Rebecca Moore on electric violin. Those three musicians create such an ethereal sound that the dense textures are not lost in the live performance.
Q: Wholesome is such a behemoth of an album I'm guessing you're somewhat artistically exhausted? On that note can you elaborate on the future whether it be touring, more music, etc?
A: Haha, I'm only getting started! While writing Wholesome I side-wrote an album of 18 songs on the guitar and autoharp. I'm going to be recording that next year along with another piano record about the birth of my daughter Lyra. I leave in a few weeks on a U.S. Tour with Rasputina, then my tour in November, then some more touring in December with Rasputina. I'll take a break in January then jump on the tour wagon and hop in the studio again before the spring!
Q: I really have to first ask about your trip to the mountains. How much of an influence was this on your exceptional album Wholesome? What was your experience like living in the mountains?
A: These mountains completely influenced the record. It was originally a very cold sounding, solo piano album. The community in Woodstock is unlike any I've every found. It's pure magic! The love and support I found here made me make the decision to turn this record into a collaborative piece of work which drastically changed the tone and shape of each song - for the best. We live at the bottom of two beautiful mountains that converge into a waterfall and creek. It's insanely enchanting, grounding and let's me go deep into my body in a way I wasn't able to in the city.
Q: You got a number of great musicians to collaborate with you on the album from Melora Creager (Rasputina) to Brian Viglione (The Dresden Dolls/Violent Femme). Can you talk about the collaborative process?
A: I met Melora after opening for a Rasputina show in Hudson, NY in 2014. We were like long lost siblings and just loved each other from the get go. I became a member of Rasputina and in 2015 toured the US with Melora, and we've been good friends ever since. Melora channels so much when she plays. I give her a visual or let her feel the piece just for a moment and she delivers perfection every time! I contacted Brian because I was always such a fan of his dynamic percussion work and was really happy when he responded positively to the demos and laid down his magic on two of the tracks. I'm going to hire him for future work because he's such a positive, sweet, easy person to work with - a true virtuoso.
Q: There are so many unique textures and sounds scattered across this album. On top of that the structure of the songs deviate from typical verse/chorus/verse/bridge. Can you provide any insight on this topic?
I've never been a formula musician. I don't follow chord progressions or any structures or theories. This worked against me for many years because people didn't understand my work and that all of those "random" notes (accidents) or bizarre changes were carefully thought out and intended. I let the songs guide me. Phil Glass says he "listens for the music.” I think that's the best way to put it for me, too.
Q: There are so many songs that stuck with me after the album was over. I'd like to ask if there are any songs on the album which resonate with you more for whatever reason?
I'm so happy the work resonated with you! Making this record was so interesting because each song became brand new when it was recorded and then again after it was mixed. I think I am most excited by "Bridgette Song.” It's the pop-iest song I've ever written and my engineer, Jason Sarubbi, nailed every inch of it. The saxophone work by Caelan Manning at the end still gives me butterflies and tears.
Q: These songs are so dense with vocals harmonies and instrumentation. Are you going to perform these songs live? And if so how will you approach it?
A: Yes! I am touring the album in November and throughout all of next year. It is extremely daunting to try and accomplish on stage what I did in the studio. It's nearly impossible because I would have to have 10 people with me! I will use my trusty loop pedal which I beatbox into and create vocal harmony textures. I can sing and play over that live and I'll be joined by Caelan Manning on the saxophone, Ryder Cooley on the singing saw and, for some shows, Rebecca Moore on electric violin. Those three musicians create such an ethereal sound that the dense textures are not lost in the live performance.
Q: Wholesome is such a behemoth of an album I'm guessing you're somewhat artistically exhausted? On that note can you elaborate on the future whether it be touring, more music, etc?
A: Haha, I'm only getting started! While writing Wholesome I side-wrote an album of 18 songs on the guitar and autoharp. I'm going to be recording that next year along with another piano record about the birth of my daughter Lyra. I leave in a few weeks on a U.S. Tour with Rasputina, then my tour in November, then some more touring in December with Rasputina. I'll take a break in January then jump on the tour wagon and hop in the studio again before the spring!