by Sara Waber
Jenna Kyle is a truly multifaceted artist. With a sound and vision that transcends traditional pop, Jenna Kyle draws upon her exploration of meditation, durational performance art, and electronic soundscapes.
“Lovelorn” is her latest single that explores – you guessed it – the depths of unrequited love. The track takes you the underbelly of lovesickness. Even those in the happiest of relationships will feel the chill of despair in this gorgeously dark song.
I had the opportunity to chat with Jenna about her inspirations and experiences that have helped her grow as an artist.
Play Too Much: What inspired this track?
Jenna Kyle: The word lovelorn was the initial inspiration. When we are falling in love we float through life as through we’re on a current, with ease. But when love turns into codependence, we try to stay still. Clinging, we fight the current as the waves try to rip us apart. If only we would just let go.
PTM: That’s so true, a beautiful and honest depiction. I’ve never thought of it that way. So, the first time I saw you live was during a BAILE show. You were amazing! He produced this track, right? What was it like working with BAILE?
JK: Working with BAILE is always a pleasure. We worked together on his last two EP’s, and have some new material in the works as well that I’m really excited about. His textural yet minimal beats and use of melody is really unique. He really captured the tension in “Lovelorn” with a slow burning build, using my vocals almost like an instrument.
PTM: I read about your art installation “My Voice Has an Echo In It”. How did you get started in performance art?
JK: Kenneth, the director, found me, and I auditioned for the role. I was interested in interactive and durational performance art (a la Marina Abramović and Robert Wilson), and I was drawn to the project because of the newness of the challenges: playing for six hours straight, learning the drums, being unable to see the audience or hear applause, which is often the “reward” of playing. That all really helped to kill the ego *laughs*. I just dove right into the deep end. And spending time in residency at [Robert] Wilson’s Watermill Center just cemented my love for that ever-changing art form.
PTM: I have a ton of admiration for artists like Marina Abramović. The stamina it takes for long performances is incredible. How does meditation affect your music making or vice versa?
JK: It’s not what I’ve gained from meditation, but what I’ve lost. I stopped worrying about what other people think, and I’ve become less judgmental of myself. It has become very apparent that we are just channels, little blips of consciousness. I really appreciate meditative music. To be meditative, the music shouldn’t hold true to western forms because the mind learns to expect that pattern, and it’s activating to the brain. That’s why eastern music tends to be so transcendental- we can’t anticipate so the mind just lets go – same with trance / deep house. I love experimenting with all forms.