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Interview with Emily Wells

The wonderfully talented Emily Wells has been described as “the musician who will crush any preconceived notions you ever had about classical music and hip hop.” I sat down with her at SXSW recently to talk about toy instruments, turning down a record deal as a teenager, and lucky charms.

AfterEllen.com: So Emily, I understand that you play many instruments; unusual, toy instruments, etc. Can you name a few favorites?

Emily Wells: My main instrument is the violin. I’m also really into little toy instruments. I have a few toy pianos and always bring one on the road with me. I have little glockenspiels, I love analog synthesizers, old synthesizers, old drum machines … anything that I can sample – I’m into. I really like the combination between real instruments and electronic stuff. I also like the uke a lot … [The Melodica is] a really cool instrument. You can kinda make a sound like an accordion because it’s got air going through. You can play chords just like you would on an accordion, but you can also play single notes.

AE: I love that you are able to use so many instruments to create a totally unique sound.

EW: That’s what I’m most interested in. Different sounds. Whether it’s the drummer or bass player I work with, or a unique instrument. Like, Joey, the bass player, plays three different basses. It’s great. It brings something different into it.

AE: Something great about your music is that it doesn’t really fit into a specific genre. It seems like the two main styles you merge in your music are hip-hop and classical. What other influences are there?

EW: I love folk music. I like Bob Dylan … but so does everyone. He’s definitely someone I totally respect. I would say I’m also heavily influenced by Jazz, although I’m not sure how much of that makes it into my work. Gosh, I love anything I can get my ears on. Just like instruments – whatever I can get my hands on. Old country music, I love—

AE: So could you see yourself bringing some of that stuff into future songs? Like merging country and classical or … ?

EW: I don’t know, but that would be cool actually. My new stuff is really down tempo with the beats and I bring in hip-hop, for sure, and the classical stuff too. The Symphonies: Dreams Memories & Parties album is basically 10 compositions. Some of them have choruses, but I really focused on the instrumentals. The new stuff I’m working on still brings in that symphonic element, but has a more lyrical song base.

AE: Is there anyone who stands out as a childhood influence? Any current artists you want to mention?

EW: I grew up in a Classical world because of my parents. I was playing violin at 4. My dad listened to a lot of church music. So it wasn’t until I got a little older that I was able to branch out and listen to stuff like the Beatles, Big Brother, and then I really got into early ’90s hip-hop.

As far as today goes, I go through phases. Lately I’ve been listening to a band called Department of Evil, which the production is really good. Another classic of our day is Joanna Newsom — so brilliant. Especially, her last album … it’s like, wow.

AE: I’ve heard you love working in the studio because of the endless possibilities, but there is something special about a live show. How do you feel about the outcome of your live show vs. studio work? Is it as satisfying?

EW: It’s totally satisfying. In a way you can’t dwell on things. It happened in the moment or it is happening, you know what I’m saying? With studio recordings you can take it with you and play it in all sorts of places. You can nit pick it, so there’s a type of restlessness with that. I love the feeling after playing a live show. There’s no drug that can compare.

AE: With the live-looping, you probably feed off the audience while you are playing—

EW: Absolutely. You don’t have that live audience when you’re in the studio. I use to think of it like a hot air balloon. The more the audience gives to you, the more full the balloon becomes and it lifts you up.

AE: So you turned down a major record deal, huh. When did that happen?

EW: Well, I got the offer when I was about 19. The whole thing got started when I was 17 or 18. It was one of those situations where I needed to develop a lot more as an artist. They wanted me to develop in a more mainstream sort of way. Not that I knew what I was doing. I just knew I didn’t want to do that.

AE: It can be kind of permanent.

EW:That’s true. When you get a lot of promotion for something, you are kind of stuck doing that. It’s not like you can’t do whatever you want to do on your own anyway, but it’s about people taking you seriously after that.

AE: It had to feel good to get that sort of validation.

EW: Yeah, totally. It came out of nowhere for me. I was just this kid who made a CD and this fancy person in NY liked it. I was like whoa, okay. So, I went on the ride for a while, but then I had to get off.

AE: Do you feel like being a female in the music business has made it difficult to get your music heard?

EW: I feel like I have a very gender diverse audience. Honestly, there might be more dudes. I don’t really care one way or another, but the diversity is great. Sure, I get put into that girl-singer-thing at first, but after people hear it all that matters is that they keep listening.

AE: Is there anything weird, funny, a lucky charm that you always bring on the road when you tour?

EW: Okay, this is really embarrassing. I’m not proud of this at all. Let me preface it with that. I have this lucky pair of socks that I always wear on stage. On the socks, it says “I’m too sexy.” I wear them at every single show that I play which on the road can get kinda gnarly…you gotta do a little sink wash. I can’t believe I just told you that. I’ve never told any [interviewer] that. You made me all comfortable.

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