BandLab’s ‘Opportunities’ recipient Maria Lane is haunted into inspiration

By BandLab

It makes sense that Maria Lane’s newest record is a creaky old house haunted by a shattered relationship and the barrage of memories hidden in the walls. The Brooklyn-based singer-songwriter has no qualms confronting the past; in fact, she welcomes it in – it brings her peace.

Lane, who finds inspiration in the lyricism and sonic quality of Phoebe Bridgers’ records “Punisher” and “Stranger in the Alps,” offers listeners hyper-realistic autobiographical observations about love lost, regrets and all, burdensome questions, physical deterioration, and epiphanies that often come with a downfall.

Much of Lane’s music, especially on her new full-length, “Black and Blue,” is a sonic story forged by memory and delivered with crystal-clear vocal tones, hushed and angsty, inviting anyone in to connect, commiserate, and reflect on their own relationships. The production is crisp and soothing, riding on a blend of guitars, piano, sparse drums, wistful harmonies, and orchestral layering.

“It started to snow today but then it stopped/I think the cats are missing you a lot/They expect you to walk through the door/But they know you aren’t here anymore,” Lane sings on “til april,” a melancholic song that traces the ins and outs of longing.

Throughout her catalog, which includes “Black and Blue” as well as the 2022 album “maybe I’ll feel better,” Lane makes it clear that she’s not scared of being haunted because that’s where her power as a songwriter resides.

As part of BandLab’s Opportunities program and the music creation platform’s ReverbNation service, Brooklyn Magazine has selected Maria Lane out of 3,000 emerging artists across the globe to profile.

Here, Brooklyn Magazine speaks with Lane about her new record, the promise of a sad song, what it means to be truly haunted, finding inspiration in horror movies, Lane’s plans for future projects and more.

Is, “Black & Blue” a breakup album?
There are a couple songs that touch on the turmoil of a recent relationship, and then some are more specific, like the song that I wrote the week I found out I was being cheated on. The album wasn’t done yet at that point, so I had time to write another song — I was going through it.

Does that describe your songwriting process – working through emotional experiences?
Definitely. It’s always helped me to understand what’s going on.

Do you remember the first song you wrote?
I remember the first one I ever shared. It was called “Ever since I met you” and it was about being so infatuated with someone. I think I was 17. The earlier songs were just dumb songs about boys.

“Haunting” — the word and the concept — comes up more than once on the record. How does this concept play into your idea of past relationships?
Relationships can feel haunting when a person has changed, when two people are no longer able to be affectionate with each other. On “on the table,” which opens the album, there’s a lyric – “this house always felt so haunted” – which is literally about moving from Brooklyn during the pandemic to my ex’s creepy house in Pensacola, Florida. That whole experience now feels very haunting.

Are you a horror fan?
I am. I love horror movies.

What are some of your favorites?
I love “Carrie.” I relate to her so much. Sometimes I’ll talk to ChatGPT about, like, promotion ideas or whatever. But recently I asked ChatGPT which fictional characters would listen to my album, and Carrie came up. Also Lydia from “Beetlejuice.”

Aside from hauntings, does your love of horror play into your songwriting?
I think so. And actually, the next album, which I’m already writing, is going to dive into that world. I have this idea about writing around the concept of a coroner’s report or autopsy — the evidence of how someone died. I want the next record to feel very dark and angry.

Does writing sad, dark and/or angry songs ever overwhelm you?
It’s really helpful. It feels cathartic.

What do you think people look for in a sad song?
Something they can connect to, and resonates with them.

What techniques do you use to help people connect?
I like using weird metaphors. Phoebe Bridgers does it really well, especially on “Moon Song,” which says “So I will wait for the next time you want me like a dog with a bird at your door.”

The production on your new album is crisp and clear; for you, how important is it finding a good producer?
Finding a good producer is like finding a good friend or a good therapist or a good partner. Like, you just have to see how you work together. I’m not really on speaking terms with one of my old producers because he would change my lyrics and we didn’t see eye to eye on my sound.

Is that another kind of relationship experience that haunts you?
I think so. But it helped me learn to advocate for my own personal sound. What’s really cool is when I started working with Justin, my current producer, he compared me a lot to Haley Blaze, which surprised me in an inspiring way. Justin and I are more linked sonically.

What other themes did you feel out on this new album?
Depression and internal struggles. I have a song about my eating disorder, which I was so scared to release. I was like, I don’t know if I want people to know this about me, but people who have had really bad EDS have been reaching out to me since it came out. I’m really touched by that.

Do you have plans for the album release?
I rented a 50 seat theater in East Williamsburg. I’m going to be playing the whole album with my band that played on the album; I had a lot of musicians on this album and I want to feature them. I’m excited to embody a delicate, intimate feel.