I’m ok, thank you for asking.
Congratulations on the release of “Satsuma” how does it feel?
Thank you – it feels wonderful. I like the concept I came up with, I executed to the best of my abilities, and it’s been received well by my fans so far, so that’s a really gratifying feeling.
The more art I make, the more I realize it’s an absolute miracle that anything gets finished and made public. Movies, books, albums… only artists and their teams know just how much can go wrong or get in the way. Every album I am able to share is actually a small miracle, and I mean that with deep deep deep humility.
It’s a 9 track project what’s the story behind it?
Before recording this album I felt like Ciao Ciao was at a fork in the road – I should either make the music far calmer and smoother, or much trippier. What I decided to do was the latter… make the music more melodic and more psychedelic. Just increase the saturation on everything, musically. I think the music will always have a relaxing quality, given how I write for Ciao Ciao, but “Satsuma” represents my choice to go for something more active.
It won’t take someone long to realize that every track is named after a different breed of orange. With Ciao Ciao, I have a history of giving every track in an album a title that fits within a certain category – traditionally it’s been the scientific names of plants that fascinate me. With “Satsuma”, I’m breaking away into other categories. (That one is still pretty plant-y admittedly, but there are other ideas in the works.) I like this categories-based approach because it’s an immediately-accessible pattern to casual listeners, while also communicating thoughtfulness in the work. I’m saying, “I’ve created a detailed little world that has it’s own order to it” but also “anyone can understand it, if you want to join.”
What’s your favourite track from the album?
I love all my children equally, but I have so say I’m really delighted at the reception of “sumo”, considering how it came together. I was in a recording session with my drummer Diego Ramirez, and at the very end I just said “why don’t hit record and you improvise for a minute or two and I will see if I can turn it into a song?” What you hear on “sumo” is the result of that. His drum take is unedited, and I quickly threw some ideas on top. It turned out really free-spirited and groovy, and it has become one of the more popular tracks from the album so far, which is just a delight.
What was the easiest and most challenging part of recording?
The easiest was starting and the hardest was stopping.
You put it together with a select group of musicians from NYC, how did you find them?
I’m connected, however loosely, to lots of different music scenes and communities around NYC, and I pull from them all with my various music projects. On “Satsuma” we have drummer Diego Ramirez and guitarist Tim Watson. Diego I met through our mutual friend Addison Frei, who is a fantastic keys player. Tim I actually first met when he bought a tape machine off me via Facebook Marketplace, and then we just stayed in touch. That’s actually the only time I ever met a musician that way. All these musicians I’m mentioning are really strong composers too, I hasten to add.
You also worked with Hannah Van der Weide on the animations what was that like?
They have been my collaborator on Ciao Ciao since the very first album, and this one was no different. I love what we make together – they are just one of a kind in their style and vibe. I’m so lucky Hannah keeps working with me on this weirdo project I schemed up!
Hannah Van De Weide’s Instagram
Are there any animations/animators that inspire you?
Many. I grew up on animated work from all over the world, and animation as a form is really near to my heart. Many of the Studio Ghibli films are obviously a primary text for Ciao Ciao Marigold – I don’t think anyone will be surprised to read that.
I’ve always loved the work of Satoshi Kon, but lately I’ve been catching some films of his that I hadn’t before; and I find that it all resonates with me. Niki Lindroth von Bahr is absolutely electrifying in everything she does, so I have to shout out Niki. Some newer/younger animators whose work I’m super excited by include Kohana Wilson, Chloe Farr, Adam Sillard, and Martin Robic.
You’re a producer from New York City how did it all begin for you?
Somewhere a little after the Big Bang and a little before this very moment.
What did you listen to growing up?
Here are some albums from my childhood that feel like they are imprinted onto every cell in my body.
D’Angelo – Voodoo
Jamiroquai – Travelling Without Moving
Angelique Kidjo – Oremi
Duncan Sheik – Duncan Sheik
Dave Matthews Band – Before These Crowded Streets
Michel Fugain – Petites Fêtes Entre Amis
You’re about to play Nublu 151 on 6th February how are preparations going for that?
I think they’re going well so far! Tim Watson, Diego Ramirez, and Addison Frei will all be in my band for that show, which is meaningful to me.
What are you listening to at the moment?
A lot of House music, a lot of UK Garage. A lot of Mk.gee.
What are you looking forward to doing in 2025?
Surviving it.
