A Conversation with Elizaveta – HuffPost 5.20.14

Mike Ragogna: Elizaveta, would you take us on a little tour of your new EP Hero?

Elizaveta: Sure. “Hero” was the first one I put together. I produced it and did all the arrangements, and I had a lot of fun making it because I knew the choir for the song. If you listen to the song you’ll hear at the end of it that there’s a large choir singing. I couldn’t really afford to hire a choir and record them, so what I did was crowd source it. I asked my fans–my email list, specifically–to record themselves singing this little snippet of music that I posted for them privately, and to send it back to me. A number of people recorded themselves and sent it to me, and we mixed them all together and I ended up having a choir.

MR: That’s wonderful, I’ve never heard of that done before. What a creative idea.

E: It was great. There were maybe only a hundred or so people who ended up doing it, but it was really fun and people were really excited. Another thing a few of them did was film themselves singing. Some were just singing into their phone, others sitting in front of a river and singing. I asked them to be creative. I don’t have a music video for that song, and may not for a while because it’s a pretty epic song, so it would kind of need an epic video. But I’m going to make a fan-oriented music video, and that footage is being edited right now. It’s a way for me to connect to my fans and give back.

MR: You’ve had thirteen million views for a little thing you called “Superman with a GoPro.”

E: Yeah. I collaborated with two electro-duo DJs who work together, called Pegboard Nerds. They really loved my upcoming single and wanted to make their own remix of it. They had the opportunity to collaborate with the YouTube channel CorridorDigital that has a lot of subscribers. So it was perfect because it’s about Superman who’s flying through the air wearing a GoPro, and they made a pretty cool remix and the video went viral. That was a first for me, to know that thirteen million people have heard my voice. That’s really pretty cool.

MR: You’re using interactive methods and social media in ways that push the boundaries a little bit.

E: I don’t know if I’m pushing the boundaries on that. There are a lot of amazing artists who are very much ahead of the curve. There are a lot of people doing these things. I think you just find your own avenues, and for sure I would not be doing these cool things right now were it not for social media and the ability it gives me to connect to people around the world. Because I’m not on a major label–at the moment I’m on my own label that I started for this release specifically–it’s given me an opportunity to connect to all sorts of interesting, surprising and resourceful people who then show me the way elsewhere. But you’re right, it’s a pretty amazing world out there.

MR: You don’t seem to be glued to your classical upbringing. Were you tempted to go into classical music but then decide you needed to do something more than that?

E: Well, I did do a record on Univeral in 2012 with Greg Wells. That was kind of already a collection of different things, with certain sensibilities, my vocals, and specific writing holding them together. I think “Hero” takes it a little bit further. I just really love different styles–I go with what the song in my head asks me to do. I only hope that it’s not too jarring as far as the transitions go. But even on the more electronic songs I try to use organic textures like vocal arrangements, strings and other instruments, trying to connect different worlds. I think that, more than ever these days, it’s something that’s happening all over the place. Back in the day the word “Interdisciplinary” was kind of a new word; even in education, if you went to university and you mixed up your majors, that was unusual. But now everything is a mash-up, and I think that music is no exception. So as long as it sounds good, and as long as it makes sense to the listener from song to song, lyrically and emotionally, I hope it’s okay.

MR: This is an EP, so I’m imagining an album is on the horizon at some point.

E: For sure. I’m coming back to the States next week, and will spend some time working on some more tracks that I have in mind. Making this EP was a huge learning experience. I’m happy with the result, but I think I can do even better. Maybe a couple songs will be remixed or repositioned in the final album. Even though these days it’s all about the single, where people can go on iTunes and go from song to song…I feel that putting out an album that makes sense and is not just a collection of songs but has something linking those songs–whether it’s emotional or historical–I still feel like there’s a place for that. And if it’s genuine and it’s good, people connect to it.

MR: When you see your music used in placements in films and TV shows, how does it hit you, being the composer and recording artist?

E: I want to do more of it. I’d love to write some things that are specifically customized, because I think I also write visually. For me, all songs are vignettes of some sort, and if you listen to my songs–whether it’s the record Beatrix Runs orHero–there’s somewhat of a cinematic quality.

MR: You’re of Russian descent, so what are you thinking when you’re looking at what’s going on in Russia and the Ukraine these days?

E: First and foremost, it’s pretty painful. None of it really should be happening. And secondly, a lot of it’s also confusing. There’s a lot of information coming from a number of sides, and it’s not always easy to process. And it’s difficult for me because I have Russian roots but I have a life in the US, and on top of that I also have Ukrainian heritage.

MR: That must be very disconcerting to see the chaos that’s going on in that part of the world right now.

E: For sure. It’s something that will play out, and I hope that in the end nobody wants any really serious conflict. My hope is that it will work out and people will sit down and talk and decisions will be made that, while they may not make everyone happy, at least will bring some compromises to the table that will keep the peace happening.

MR: What’s your advice for new artists?

E: It’s all about the song. If the song is there, you’re more than halfway there. Now as far as everything else, I think it’s important to be aware of your own potential. And it’s also important to be as persistent and disciplined as possible. The days of the so-called “Free-spirited artist” who doesn’t have a care in the world are maybe not completely over, but certainly it’s a rare artist that gets to have that kind of luxury. You really have to have a good, sober head on your shoulders and be aware what’s happening business-wise, and how you can take care of your own rights. I’d also advise an artist that it’s best to retain as many of your own rights as possible, especially when it comes to publishing. The day of the major record label is not coming to an end, but it’s a different age and everything’s switching to streaming, and recorded music doesn’t have the same value it used to. So the artist still needs to eat. Maybe they can live on music and poetry and sunlight and air, but if not, then it’s important to know where the income comes from. Normally it would come from the live performances and publishing.

MR: What’s your future look like?

E: You’re really tempting me to say “World domination” right now! [laughs] Frankly, I would like to continue doing music and know that I’m getting better and better at it, and keep receiving recognition for it. On this tour, I’ve been opening for–and singing pieces with–a veteran Russian rock band called Bi-2. They’re really wonderful guys and they’ve been around more than twenty years so they have a huge fan base and they tour all the time. This last tour was with a full symphony orchestra, and there was one stop in Belarus–in Minsk–where I have some of my roots. This was a ten-thousand-person arena that was chock full of people, and I got to play my thirty-minute opening set and then perform with and do one of my own songs with the symphony orchestra in the middle of their set. This was my first time performing in an arena, and I can tell you now that my goal is to sing in arenas at some point not too far in the future because I loved every second of it.

MR: I hope you get that, and maybe you’ll have a symphony of your own someday.

E: I hope so, too.

Transcribed by Emily Fotis