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Interview by Anthony Thomas

Hello there. How are you going Cameron?

I’m alright, how are you?

Well, thanks. What are you up to today?

The day has turned into night and you know, I’m standing around in the kitchen having a laugh.

A laugh at how damn incredible Interiors is? What story are you trying to tell?

Thank you. I appreciate you saying that. Ah, what indeed. I guess, I just set out to be a little more forth right about…[pause]. Gosh, it’s a good question but I’m not sure I can give you an answer.

Tell me about the Windows trilogy. A window’s function is to open spaces, is that their role on the record?

Could be! I see them as sort of partials views into a room or outside scene. I see windows, in the general sense of the album, as the point where two opposites meet. That is a really beautiful idea. It’s also about temptation, you know, it’s a little bit sexy.

Temptation for what?

[laughs] If you’re in one type of scene and a window exists there that offers a different scene or perspective, it could be seen as a metaphor for temptation. At least in my mind.

On Divide you sing, “I miss the idle moments that define who we are.” What moments are you talking about?

That song is about the family and friends I have overseas. It’s talking about the way that the relationships in my life are maintained from a distance and even though they are maintained, it is really pretty sad being so far away from them. Those are the idle moments, the little things that you think about that connect you to another person.

I read on the Humans of New York blog someone saying that they find the juxtaposition of inequality in New York bothersome. Is that what Exposure is about?

Very much so! In the most general term, that song is about the gentrification and shuffling of old into new that happens a lot in cities. It’s so frustrating for inhabitants but there’s pretty much nothing you can do. I mean, there’s nothing I can do personally. Maybe I could try and stay completely still or something? I care very much about not contributing to the problem in these evolving neighbourhoods, which are displacing people. But I’m also the reason they are being displaced. Being a young, privileged, creative type, I feel entitled to be creative and therefore will do whatever it takes to be able to do my creative work. That’s why it’s sad.

What overarching philosophy do you have when it comes to creation?

I’m really trying to write from the heart. I’m doing my darndest to be as original as I can be and making something I care about, instead of wasting my output or giving my attention to something that I don’t take seriously. I take it very seriously. Not that I have a problem with anybody doing anything funny or anything like that but for my own personal pursuit, I’m just being who I am and finding out where that takes me. Not how far but where.

The record talks a lot of relationships. What relationship do you have with music?

I love it. It’s my chosen form of expression. I feel very fondly towards it. I’m not sure if that answers your question.

Are Cameron Mesirow and Glasser two different people?

No, at this point, I would say they are quite the same. I think that they were at one point different from each other and now they’re not. Now we are one.

Did working with Van change the relationship you have with music?

I would say it did help bring Cameron and Glasser together, very much so.

When did you meet Jonathan Turner?

Oh! I met Jonathan Turner about a year and a half ago. I was about to do the Laneway tour and I met him through a friend who was also making art with him. We got together and I told him I was making this record about architecture and that I wanted to create an animated aesthetic that relates to that. I had some basic ideas that I wanted to try out and it evolved very quickly from there. I was writing to him in the middle of the night with crazy ideas and he was really great about it. Someone else would have been like, “This lady is off the rocker.”

Do you feel he captured the record’s theme in the identity he created?

Yeah, I think so! I worked really hard to intertwine the two as much as I possibly could. One informs the other, for sure. I mean the music was coming along when I initially spoke to Jonathon about working together. He heard it in its earliest phases and he understood that I had moved into a more electronic direction with this record. I think that is evident in the artwork.

You have spoken previously of suffering from anxiety in open spaces. How does that impact you as a performancer? Is being on stage a space where you are free from that anxiety?

It’s not entirely free from it but I would say that I feel right there. I’m not sure how else to put it. I feel good when I’m singing because singing is my favourite thing in the whole world to do. It makes me feel so great. I think that, in a way, it’s a safe place for me and because of that performing isn’t so much of a problem. Besides being a person with anxiety, I’m also a person who likes attention. There is always more to the story than just fear.

Published online in Moustache Magazine.

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