Published in Blog, Villin. Tags: Canada, Interviews, Music, Nashville.
Born in Canada and now stationed in New York City, FJØRA isn’t a traditional “Nashville artist,” despite the roots of her debut release being firmly planted in the city’s musical landscape. Having moved to Nashville to attend Belmont, she expanded her presence in the city’s scene following her graduation last year, establishing herself within an ever-evolving network of like-minded artists in “a city that hasn’t historically been known for pop music.”
Most recently FJØRA returned to town for some studio time and to celebrate the release of Generdyn’s new Chronicles EP (where she is featured on the track “Bridges”). Now, in heading back to NYC, she’s also book-ending a period of creative success she’s found in Nashville with the release of her new Watercolor EP. “So much effort, collaboration, and love was put into this project,” the singer shared recently on her Instagram page. “And I am just so unbelievably grateful to every single person who helped in its creation.”
Watercolor bears production by the likes of Super Duper and Bryan Todd, with the EP’s six tracks focusing their sound around vibrant synth-pop and the singer’s “Ellie Goulding vibes.” Various inspirations can be heard throughout the release, as well, whether it be through tracks such as “Wild Animals,” which pulls from FJØRA’s international heritage, or “Just Us” which boasts a playful Timbaland-sounding throwback beat.
The following discussion came over email where FJØRA detailed her entire musical journey, while also previewing what might come next as she continues to pursue her musical education at NYU’s Steinhardt Graduate School of Music’s composition program. Watercolor is out now and is available via Spotify and Apple Music.
You’ve already worked with a number of highly talented writers and producers – what has the process been like when you’re approaching co-writes, and how do you change your approach in that realm versus the solo composition writing you do?
FJØRA: I have been extremely fortunate in that I have gotten to work with a great many talented individuals in the music industry. Co-writes and sessions vary on a day-to-day basis – there are days when I walk into a session with a particular lyrical or melodic idea bouncing around my brain, and days when I enter a room with my mind a blank slate. The beautiful thing about working with fellow artists, writers, and producers is that there is no one right way to do something or to create. I try to remain as open as possible when creating new music – this is especially important within co-writes. Sometimes prior to the session the writer and/or producer and I will exchange any thoughts or concepts we’ve been conjuring up to see if there is any potential for creative chemistry. Being honest in the creative process is also something I consider vital. The most rewarding sessions are those where the writer/producer tells me the truth about what they are thinking and feeling. No sugar-coating necessary. In my own solo composition writing, all of these values are weighted just as significantly. The only difference is that instead of talking out loud, I have all of my conversations in my head. Well, mostly.
How did you meet Charlie Lowell and what was it like collaborating with him? Several Christian music sites have made reference to your work – is your personal faith at all part of your own creative process, as it has been Charlie’s?
FJØRA: Charlie Lowell is an incredibly talented, motivated individual. Working with him has been very inspirational to me. I met Charlie through my acting manager, Matt Bronleewe (Unsecret Music, Showdown Management), as they were both in the band Jars of Clay. Suffice to say, it is still very surreal to me that I get the opportunity to work with not one, but two members of this band I listened to growing up. I do think that my personal faith remains a consistent, underlying foundation to my creative process, as I know it does Charlie’s. It is not necessarily an intentionally devised, molded shape to which I fill my creative energy in, but rather a silent anchor which keeps me grounded and secure.
When did you begin attending Belmont, and what influenced your decision to continue your education there?
FJØRA: I attended Belmont University for my Masters in Commercial Music (Composition and Arranging) between the years 2014-2016. I gained very valuable experiences and insights into the world of commercial music that I might otherwise had not been exposed to. I decided to attend Belmont because of several factors important to me: the school was personal and encouraged professor/student relations and friendships, the program was one of two music commercial graduate degrees offered in North America, Belmont offered me to attend their school of music on scholarship, and most significantly it was located in the vibrant city of Nashville.
Prior, you were an Istvan Electroacoustic Scholar. (Sidenote: What an amazing title!) Did you attend school at Queen’s University before heading south?
FJØRA: Yes, I did attend Queen’s University in Kingston, Ontario (Canada) for my Bachelor of Music degree before heading south. My specialization area for this degree was piano performance and music composition and theory. The composition major was comprised (upon my choice) of exploration of both electroacoustic and acoustic musics. As a result, many compositional works I created had an electro thread present, if not entirely based around electro music. The advent of sampling and sample sounds within music libraries also fascinated me, and I loved spending hours “playing” with various music sound libraries. I was incredibly honored to be named the Istvan Electroacoustic Scholar my graduating year – and yes, it is an awesome title! Very impressive… might look into the possibility of a bumper sticker.
Your Instagram feed captures various stops at major studios and recording companies around town. From the time you spent here, do you have any moments that still stand out to you where you thought “I can’t believe this is even happening right now!”?
FJØRA: Yes. Absolutely. There are so many moments where I look around and think, “Huh? What? How am I here right now?” I am constantly anxious that somebody is going to look up at me and say, “Hang on, what’s she doing here?” Some of these past moments that I still can’t believe happened were sessions I spent at Universal Music Publishing Studios in Nashville, where my first single, “Wild Animals” was actually created. Or my time spent at BMG Studios making music with the primary writer for the band Echosmith. I still remember rolling up in my car at Capitol Music Studios, parking in the lot, and walking up to the front glass doors thinking, there’s no way they’re going to let me in. But miraculously, they did. They do. It’s mind-boggling even now.
Are your parents from Macedonia, or does that heritage come into the picture from prior generations?
FJØRA: My father is an immigrant from Macedonia, having immigrated to Canada in his early thirties. My mother is seven generations Canadian, or as I like to say, extremely white. I think there’s some German background on my mom’s side, too. There is definitely Scottish heritage from my mom too, as one of my sister’s middle names is the Scottish clan we belonged to, way back in the day. The MacDonald clan! No wonder we love McDonald’s so much!
Beyond your father being a musical professor, what do you recall about how music was used and regarded in your family’s household growing up?
FJØRA: My entire life was music growing up. I mean, I did other things and pastimes that were also very significant to me as a child; reading, swimming, gymnastics, eating Oreo cookies. However, music was a constant. I woke up to music, and fell asleep to music. My father taught my sisters and I piano from the ages of four, and by the time we entered middle school we had all completed the Royal Conservatory of Music levels of piano. I also completed all levels of music history, harmony, counterpoint, and pedagogy by age fourteen. Needless to say, I had a very classically-trained background. But it wasn’t just classical music that I learned, nor listened to around the house. My dad is a jazz musician, so I was exposed to jazz music at a young age. Additionally, my mom, who also achieved her piano levels as a child, listened to “old school” music like the Carpenters, Elton John, and the Beatles around the house. She also really enjoyed playing the great folk Canadian artists, like Stan Rogers on vinyl. Oh, and Michael Bublé. My mom really likes Michael Bublé.
How did growing up in Canada influence your musical tastes? (I’m from Calgary, so I’ve got my own take on this… haha.)
FJØRA: Haha! I didn’t realize you were from Canada, too! Yes!! That’s awesome. I’ve actually never been to Calgary, meaning to though. Well, I suppose growing up in Canada influenced my musical tastes in a few respects, like what I was exposed to on the radio (Canadian radio promoting Canadian artists) as well as the music I would hear at local festivals (the folky, alternative, and sometimes electronic Canadian sound). This is something to consider too, that the T.V. shows I was watching were mostly Canadian, and so the music accompanying these scores were likely sourced from Canadian composers. I was and am a huge fan of Canadian artists like Metric, the Arcade Fire, and Simple Plan – so my childhood was peppered with Canadian musical influences from all of them. I think more than just growing up in Canada, growing up in the greater Toronto area really helped shape the musical tastes I garner now. Toronto is incredibly multicultural, and so my musical palate just grew and expanded in the most positive way as a result. (My food palate, too!)
Was there ever any stress put on you, growing up, to focus on the classical aspect of your musical education?
FJØRA: I think any stress or pressure put on me is almost always put there from me. I am convinced I am a masochist, or at least have masochistic tendencies. I do it to myself. Focusing on the classical aspect of my musical education was definitely supported by my parents, but not necessarily pushed on me. Perhaps there was a bit more pressure placed on me once I got the ball rolling in that realm myself. But I am the captain of my own ship, the master of my own seas. A masochistic sea master. There’s another Pirates of the Caribbean movie waiting to happen — Pirates: Jack Sparrow Versus Masochistic Sea Master, Part I.
Did you ever try to rebel against formal musical training?
FJØRA: Not really. I was a pretty nerdy kid. Extremely introverted, very “head in the clouds.” I honestly didn’t really understand or know that everyone else didn’t study music on this formal musical training level. I thought that all my friends were doing it, too. Once I hit middle school, the realization that they in fact did not study the various four-part harmony motions every morning struck me. It was pretty eye-opening.
How important do they continue to be to your own progression as an artist, and what are the greatest take-aways from your time together as the GiGi Sisters and ASK?
FJØRA: The GiGi Sisters was an incredibly enriching and positive experience for me, as well as my sisters (who were apart of it). There are three of us, and we sometimes joke that we’re pretty interchangeable – all coming from similar musical backgrounds, and all having longish hair. All joking aside, both advents of the GiGi Sisters and ASK opened up the threshold of popular music as a genre to me personally, it being a potential and very real avenue I could choose to explore. Another take-away from these groups was the confidence and practice gained in singing publicly, as I had little to none prior.
Do Stefanie and Katharine still write, record, or perform music?
FJØRA: Yes, they do. Katharine is actually studying her Bachelor of Music degree in composition at the University of Toronto, and Stefanie is wrapping up her Undergraduate degree in Entertainment Industry Services at Belmont University (more on the music business side of things).
What was the basis for your thesis, “Behind Closed Doors: Meaning Through Musical and the Modern Family,” and did you draw from personal experience in its compilation?
FJØRA: Can I just say, I am amazed that you have the title of my masters thesis. The basis for this thesis was essentially tying together the musical platform concept with sociological and historical themes, using music to convey and support a narrative highlighting domestic abuse, equality, gender-normative roles, and identity. I don’t want to necessarily say that I drew entirely from personal experience in its overall compilation, but let’s just say there were predominant themes present that correlated with my own life’s trajectory.
Having achieved your master’s, and now continuing on to NYU where you’ll be attending graduate school and focusing on film scoring (I believe?), what do you see yourself doing musically once you’ve completed your formal education?
FJØRA: Honestly, being a planner, I really like to plan things. I’m also a keener, so that doesn’t help. I usually do way too much, all the time. Believe me, the realization that I can’t actually control or plan everything hit me the hardest. But I can’t. That’s really what it comes down to. No one can. Life kind of just happens. I didn’t expect to find myself back in school necessarily at this stage of my life, but here I am, pursuing my PhD at NYU. My intention these days is to just be – to create music within the paradigm of school, of my professional life, FJORA, and keep my heart and mind open. I am an intense lover of film scoring, music for multimedia, and combining this passion with my love of artistry is an exciting prospect. I can’t wait to see what happens next.
What might listeners hear with [the Watercolor EP] that they may not expect, given the selections you’ve already released?
FJØRA: I am extremely excited for [Watercolor]. The tracks on this EP are all cohesive, but in my opinion offer insight into the slightly nuanced genres within pop music today. I don’t want to give anything away too much, but there are some tracks that are not only electronic, but also delve into the synthesizer world in a fresh, organic way. There is also presence of “chill” beats used amidst soaring, lullaby-esque melodies. I’m really looking forward to this EP!
Were you born on Canada Day?
FJØRA: Hell yes.
And lastly — why did you decide on the name “FJØRA”?
FJØRA: When I was a child, I played this made up game with my sisters called Fairyland. One of the characters in this fantasy world was “Fiora.” Then, later on, I found out that the same pronunciation, only spelled as FJØRA, was a Faroese term of the Faroe Islands, meaning “rolling tide.” This had perfect cyclical symmetry to me, as I grew up spending my time near or on the water. For me, water is the greatest symbol of change, development, fluctuation, and rebirth. I felt it was perfect to use “FJØRA” as the name for this next chapter of my life journey.
[This article was first published on Villin.net]