Apr 27

Apr 27 BLOOD LEMON

Blood Lemon is a classically trained Boise three-piece — singer/bassist Melanie Radford (Built to Spill, Marshall Poole), singer/guitarist Lisa Simpson (Finn Riggins, Treefort Music Fest), and percussionist Lindsey Lloyd (Tambalka) — formed in 2018 out of a medley of mutual admiration, a cover band called Mostly Muff and a unanimous love of Kim Deal and ‘90s riot grrrl music. They had no idea they would soon be writing a perfect soundtrack to kick off 2021. What they did know was that they were eager to play music with their fellow women; they wanted a sound informed by ‘90s stalwarts like Pixies, Sleater-Kinney and Veruca Salt; and they were eager to get more political.

In this interview, Melanie, Lisa, and Lindsey talk about their music backgrounds, the Boise scene, their influences, and the making of their newly released self-titled album.

Interview by Abby Provenzano

You are all classically trained, experienced musicians. When did music begin to be a prime form of expression for you all? Do any of you come from a musical family background, or was music something you just felt naturally drawn to?

Lisa: My family always loved music, and I grew up singing all the time. I have been drawn to music as far back as I can remember. The year I turned sixteen, I finally learned to play guitar and shortly thereafter began to write songs.

Lindsey: My parents have always been supportive of the arts, so, naturally, that same appreciation was instilled in each of their five kids. We grew up participating in singing groups, choir, dance, band, theater, etc. I was maybe eleven when I first took notice of the drums at a family friend’s house. As a tomboy, this was another way for me to rebel against my sisters. But also as someone who was a bit shy to singing and being front and center, it was the perfect way for me to still have a musical voice.

Melanie: I grew up with parents who loved classic rock and everything in between so I was made into a fan of music at a young age. My mom would quiz me in the car when we listened to the radio (I had to know the name of the band and the song that was playing). In 7th grade I wanted a bass guitar because I was really into The Who & The Police at the time - both bands with stellar bass players. That Christmas, I was given my first electric bass from my dad and it’s been an obsession ever since.

Blood Lemon was formed in 2018; what is the story behind your band?

Lisa: Boise is a tight-knit music scene, for the most part. We’re not a big city and it’s easy to become acquainted with other musicians/bands. I had played in a band called Finn Riggins from 2006 onward and we moved to Boise in 2009. I decided to join with some friends to form an (almost) all-girl band called Mostly Muff. We would play a themed cover show once a year for a local charity or cause and did this for ten years. Lindsey joined Mostly Muff once she had moved to Boise as well. I’d met her and her husband in Pocatello when they came to a Finn Riggins show. Towards the last few years, we had some other all-girl groups open for us, and Mel was part of those bands. I also knew her from her previous group, Marshall Poole.

Mel approached a mutual friend about starting a band, and that friend suggested Mel and I get together to play. So, I reached out to Mel and let her know I’d be interested in giving it a shot. I suggested Lindsey would be a good option on drums. We started learning some covers to get the feel of playing with each other, and the rest is history.

You recently shared the exciting single and video for “Black-Capped Cry” off your debut album, out April 23rd; what has the creative process of this album been like, and how long have you been working on this album? What are you most excited about in finally sharing this project with your audience?

Lisa: We recorded the tracks back in January/February 2020 but we were writing most of them in 2018 and 2019. A lot of the songs were sparked by our frustrations with the US administration at the time. After we recorded, the pandemic, though terrible, gave us a chance to take our time with the mixing. We were able to work with ZV House (Rabbitbrush Audio) here in Boise as the engineer and producer. We’ve known him for many years so it was easy and comfortable working with him. We’re really proud of how the album turned out, and after such a long wait, we’re beyond thrilled to finally share it. It’s been fun to release the singles that we have, but we’re more excited for people to hear the entire album.

Can you speak also about your experience with making the video for “Black-Capped Cry,” and some of your favorite visuals from the music video?

Lisa: This is just one of four videos released with the corresponding singles leading up to the album. Each one is a different style. The shoot for “Black-Capped Cry” is the only one that we actually feature in. Jessica Winfree with Northwest Motion Pictures Production did the treatment and direction for the video.

Melanie: I messaged Jessica initially because I had worked with her and the NWMP team on a few previous projects and thought they’d be perfect for what we were looking for. Jessica really had a deep understanding of the pain behind that song so it clicked pretty quickly when we talked about how we wanted to conceptualize the concepts of nature vs. industrialization and colonization. It turned out to be a stunning video that we were all incredibly happy with. I think my favorite part was filming us playing the song because we had to play it way faster for it to be put in slow motion to the real tempo in the video. It was actually pretty difficult!

Are there any other particular tracks in this album that you’d like to speak to?

Lisa: We’ve been very excited to share the entire album. It wasn’t always easy to decide what tracks to feature as singles, because we feel all of the work is strong. Personally, I’m excited for people to hear “Master Manipulator.” Mel came to the group with that song just a couple days before we went into the studio, so it was brand new for us and brimming with raw energy.

A recurring theme in your album is what has been described as “environmental (in)action;” can you speak to your passion here and the impact you hope your album may have?

Lisa: I have a daughter. She’s only seven years old. When I think of how inaction could impact her lifetime…it’s hard to put it into words. I think the theme is there because of the nature of how it is present in our day to day lives. I didn’t intentionally write music to spur action but often I’m writing as a way of processing my own feelings. I was very inspired by the address Greta Thunberg made to the UN Climate Action Summit in 2019 and that inspiration led to the track “Leave the Gaslight On.”

Melanie: There are so many possibilities and things we can do for our planet and the people who inhabit it (on a global scale) so inaction can’t be an option anymore. My hope, as we’ve written songs like “Black-Capped Cry” and “Leave the Gaslight On,” is that it sparks conversation and reflection.

The album explores what has been considered our “modern state of discontent” — America’s political scene, social justice, the female experience of adulthood, and the aforementioned environmental issues. How would you describe your desire here to “get political” with your music?

Lisa: There was no conscious intention. As I said, I’m often processing what’s going on around me in my own songwriting. Sometimes I’m drawing from other source material, books, people. These are all topics that are part of my day-to-day life. I’ve been performing as a musician since the mid-90s. The experience of women and music and being a woman that makes music have always been important to me. Maybe it feels like a chicken-or-the-egg kind of question. All of these things have been politicized, and I’m over here just trying to process that experience. I’m making art that imitates life that imitates art. I don’t have a need to shy away from the process. We don’t believe creating art about our experiences is in any way representative of all women. I would be foolish to think that. It’s my experience, and if other people find connection with that — well most music is more about that connection, the context for me. I love to listen to a great song, a well-written or just plain fun song. I also love to listen to music that I can find a personal connection with. I write a lot of songs that are very personal to me.

Another hallmark of your album — and overall style — is the palpable 90s alternative feel. You have previously cited influences like Pixies, The Breeders, Hole, and 90s Riot Grrrl bands like Sleater-Kinney. Can you speak to the role of these influences in each of your music careers and lives as artists? How do you like to describe your “Post-Riot Grrrl” sound and style?

Lisa: I was a teenager in the early 90s. I was listening to this music and reading Sassy magazine. I wore cut off corduroys and baby barrettes and black lipstick when I was feeling particularly dramatic. I really didn’t write music as heavily influenced by that until this project. I’ve always felt very influenced and inspired by musicians such as Kim Deal or Tanya Donnelly. My own “career” as a musician has been one of jumping on the ride and seeing where it takes me.

Melanie: I had the opportunity to see The Breeders perform live in 2018 and it was definitely a contributing factor in deciding to start a band with other women. I was deeply inspired by how they didn’t give a shit on stage. They were laughing at each other, making mistakes, but still totally KILLING IT. In that moment I realized that, for so long, I had been overthinking everything. So with the philosophy of starting a band with friends and writing good songs we enjoyed, all while presenting ourselves authentically and RAW, we drew inspiration from Riot Grrrl. As for the “post-” part, 90’s Riot Grrrl was criticized for not being intersectional enough and it’s important to acknowledge that. We want it to signify a movement forward as well as a branching of other genres to draw from.

What message do you have for fans who may see Blood Lemon as musical inspiration and/or feminist role models, in turn?

Lisa: I’ve always looked up to other women in music. It’s an honor when anyone looks up to me. I’m always taken aback if someone says that I’ve inspired them. I would say that I don’t expect to fill that role but would always encourage others to follow their own passion. It doesn’t have to be music. It could be anything — bee keeping, auto racing, martial arts, gardening, being a parent, volunteering. Whatever fills your cup. You have to fill your cup.

Melanie: I’m not sure how I feel about having a “feminist role model” label because I feel like it has a connotation of being perfect in feminism. We are not perfect. We are also three cis white women who sing about our personal experiences (although hoping to bring awareness to broader issues) so we do not embody all feminine experiences. I think I echo Lisa in saying that we don’t expect to fill that role but we appreciate it and encourage others to appreciate their authentic selves.

Is there anything else you explore stylistically and/or thematically in your album that you’d like to share here?

Lisa: I think the track “The Stone Castle” is interesting. It’s an instrumental and based on a theme from “Pictures at an Exhibition” by Modest Mussorgsky. I think creating a fully instrumental piece was satisfying. I have done this with other projects before, and really enjoyed the process with Blood Lemon.

Your album has mastering done by Mell Dettmer [Sunn O))), Earth, Black Mountain] and production from Z.V. House of Boise’s Rabbitbrush Audio—what was that collaboration like?

Lisa: Working with Z.V. House was really comfortable. I’ve known him for several years and he’s recorded many friends. He made the experience easy. He was great to collaborate with on getting the production where we wanted it. He was patient with me as well. I can be a bit more poetic rather than technical when talking about how I want something to sound. He really listened and we always found our way to a common language. He likes working with Mell Dettmer, and it was a natural fit for us too.

How has your experience been with music, and working together as a band, during the quarantine and current pandemic? What aspects of your album may resonate even more during these current times?

Lisa: Stay-at-home orders came within a month or so of getting the tracks laid down. The pandemic gave us time to get the mixes the way we wanted and then decide how and when we wanted to share the finished product. We are close friends, and it has been invaluable to have each other to connect with. Half of the time we spend in our practice space ends up being time to connect and chat, commiserate. We’ve had times where we didn’t see each other in person for safety reasons.

As far as how the album may resonate…I think it’s always been remarkable to be alive. We certainly seem to be living through some very uncertain and likely historic times. The album really is a reflection in many ways of that.

What can we look forward to from Blood Lemon in 2021 — and beyond — after your album comes out on April 23rd?

Lisa: We are looking forward to playing live shows again! We have been booked for some things and we hope they can safely happen. We’re starting to work on new material and see where that takes us.

Melanie: So far, we can reveal that we are playing Sawtooth Valley Gathering in August and Treefort Music Fest in September. Hopefully these things will happen (and safely) and more shows can be revealed in the future!

Blood Lemon’s new album is available now.

You might also like our interviews with these musicians:

Main page photo by Matthew Wordell