For Rebecca McDonnell, making music is as much about following an idea as it is about knowing when to change direction. A song can start one way in the studio and end up somewhere completely different.
Across her music, McDonnell has also become increasingly comfortable with being honest and writing about her own experiences. She talks openly about trusting her instincts, finding the right mood for a vocal, experimenting with different sounds, and refusing to make her music sound like whatever happens to be popular at the moment.
In this conversation with TAGG, McDonnell discusses her approach to songwriting and recording and what she hopes listeners take away from her music.
Your music seems to move comfortably between different moods and styles. When you start a new song, do you usually have a particular sound in mind or do you discover the direction as you go?
A little bit of both, actually. Many times I start laying down tracks and go in one direction, then decide to change it up. An example of this is my song “Glad” that I released earlier this year. It is actually a sad song, but it is in a major key. I had the lyrics and the melody written, but when I took the song into the studio, it turned out too upbeat sounding for the subject matter. I started over and used a monophonic electric guitar instead of strumming acoustic guitar chords, which made the mood of the song a little darker. Then I added some ethereal keyboard pads that sounded hopeful, which is what the song is supposed to convey.
You’ve released a number of songs and EPs over the past few years. Looking back at your earlier material, what do you think has changed most about you as an artist and songwriter?
I think I am more vulnerable. I write about experiences that I have actually had. I don’t make up things that are not real. I used to concentrate more on form and commercial availability, but I do not do that anymore. My writing got better just from being honest.
Is there a song in your catalogue that feels especially personal to you? Perhaps one that means something different to you than it might to the listener?
The song “La Bianca” is a song I wrote years ago about a cat. Bianca was like a Tasmanian Devil cat until I spent time with her and watched her demeanor change into a softer kitty that was well loved. The transformation was amazing.
In the song, the story unfolds about her with calm music, until the chorus, which is more intense. The electric violin solo is her having her mood swing, getting riled up, then the tag happens, where the confession is made that it does not matter how she behaves, she is accepted with a huge heart. Then the music calms down again.
I’m not sure that someone else would notice it as much without it being pointed out to them, but I did try to get the music to color the lyrics. And like any cat person will tell you, don’t you love her anyway?
You’ve described your studio as a place where every day can be a new adventure. What is your favourite part of the recording process and is there a part you still find challenging?
My favorite part of recording is tracking vocals, especially layers of vocals. Getting the right mood for the vocal of a song is crucial. Sometimes it takes me a few takes before I am satisfied with the recording.
I was so fortunate on “Won’t Regret It A Bit” because I got the vocal attitude right the first time I started tracking. Everything seemed to come together quickly on that song. I think it is because of the simplicity of the track. The bass line has so much momentum and the song was really enjoyable to sing.
The challenging part for me when I record is the drums and percussion. Getting the beat right is a thing! Once I find the groove, the bass line can move smoothly with what I put down.
As someone who plays both violin and viola, do you think your relationship with those instruments has changed as you’ve moved further into songwriting and contemporary music?
Absolutely. I like to make my five-string Zeta electric violin sound more like a guitar, saxophone, or even a harmonica. Simply miles away from being in a symphony.
The applications where a violin goes on a modern song are few and far between. It does not fit on every song, that’s for sure. The genres of music I write do not use a traditional violin. There is “fiddle” music and Celtic music, but in Indie Pop Rock playlists you do not hear much violin.
I like to put cool effects and plug-ins on my violin, and even use distortion. It sounds fantastic!
What have you learned about yourself through making music independently that you don’t think you would have discovered if you had followed a more traditional musical path?
I have learned to trust my own judgement when it comes to what sounds best in my music. I think every musician that has tried to put their music out there has received comments that tell you to “sound more like that artist that is hot right now.”
I think this is a cop-out reply to a music submission. All they want to do is make sure that whatever they invest in will be successful, and they often do not see that being different and NOT being like the hottest thing out there is a viable status.
I like what I am doing, and I am going to keep on doing it my way.
If you could collaborate with any artist or band — from any era — who would you choose, and what would you hope to create together?
Wow, there are too many great artists and bands to choose from! I think a collaboration with Bruno Mars would be ideal. He is so talented and wears a lot of hats in the recording studio. He is a great producer and multi-instrumentalist.
The goal would be an Indie Pop-Funk Fusion that uses my electric Zeta violin, his keyboards and guitars, and also features both of us as composers and vocalists, creating cool textures, funky bass lines, and infectious grooves.
When people discover your music for the first time, what do you hope they take away from it — beyond simply enjoying the songs?
From a lyrical standpoint, I would hope that they would take away that it’s okay to be yourself. Have no regrets. Thrive with who you are and what you stand for. Don’t get fazed when things are not going your way. Take your time, and concentrate on being grateful and glad for what you have in life.
From a musical standpoint, I would hope that listeners would hear all the subtle nuances that I use in the music. The ear candy, the orchestral textures, and different layers of sound that create a sonic tapestry. If they like it enough that they are still humming a melody or singing a chorus from one of my songs even days after listening to it, I would be thrilled!
