Ora Cogan is a BC-based musician first, jeweler second, with an environmentally conscious way and an affinity for creating. Ora is currently touring all over Europe, armed with tunes from her recent E.P., Crystallize, and a couple disposable cameras. On a down day she was so kind as to talk with us about her upcoming project, Fortresses–which she’ll be launching in Lisbon on June 4th–her creative process, and the common threads that tie her work together.  

Sad Mag: You’re no stranger to Vancouver. Where did we see you last? What have you been up to?

Ora Cogan: Vancouver is awesome! It will always be a home to me and I come pretty often to visit and work on creative projects, etc…

Since I’ve been gone… Well, I made some dear friends from Bella Bella and worked on a short documentary called No Tankers Territory about Heiltsuk Women’s perspectives on the Northern Gateway Pipeline and contributed some music to the sound track of a film called Northern Grease also dealing with tar sands and pipelines and all that insanity.

I also started making recycled silver jewelry under the name Heavy Meadow that helps to pay for all this music silliness.

With music, I’ve been working on a few projects other than Fortresses:

I’ve started playing with E.S.L.’s Joy Mullen. We’ll probably have some sort of band in the near future.

I recorded a new EP called “Crystallize” with Trish Klein from Hidden City Records at Otic Sound in Vancouver. It was a really wonderful experience. We got to work with Zach from Summering on drums, Caton (C.Diab) on bass and Chris Gerstrin among others. I’m really happy with how it turned out.

SM: What has drawn you towards this ethereal post-Americana style?

OC: I spent quite a lot of time listening to old blues like Geeshie Wiley, and Skip James as well as Mediterranean music like Marika Papagika and Rembetika… As far as aesthetics go, I’ve always been a bit of a dreamer… I like making music that sounds landscape-ish and romantic. I am also pretty nature obsessed, so I’ve written a lot of songs that are kind of about human drama, but also [about] a place I’ve had some kind of connection with.

SM: Was it always natural for you to be a performer?

OC: Haha… Hell no. I get so nervous. Sometimes the songs are so personal and it can be hard to get into being that vulnerable or I worry if it’s really valuable to other people, but I’m starting to finally see how similar we are and it’s easier to just connect thinking that way. Music is such a great way to find autonomy too and l love playing live shows even when it’s a bit scary. Improvising keeps things pretty real. I’ve also been using visual projections and experimenting with different approaches.

SM: From where do you derive your inspirations?

OC: Oh goodness…just the bizarre experiences you can have being alive on this strange little planet! I’m confused and fascinated all the time. People… especially people who are really true to themselves and each other.

I can dance in the kitchen to D’Angelo or Deerhoof or really whatever you throw at me. I’m in love with music and I have a few personal heroes for sure: Joni Mitchel, Irma Thomas, Billie Holiday, Karen Dalton, Bjork, Neil Young… If you’re talking about aspects of life… I write about love, about struggles, justice also about subtle feelings that are hard to communicate in any other way… The lyrics are usually a bit abstract and I wish I could be more articulate with the topics that I care about, but the lyrics come out vague, so I try to respect that.

SM: Could you describe what one could expect from Fortresses?

OC: Texture, beauty, and darkness. I want to play and feel free to try things with this project that I wouldn’t usually do as a folk singer… so it’s going to be an adventure. I’m using lots of layers of guitar, violin, harp, voice, etc., and then adding midi and synth drones/lines… It’s going to be very full and maybe even danceable at some point? We’ll see…

SM: What were your goals for Fortresses when the project was first conceived?

OC: To try something new, to have a bit more fun and to do something a bit bolder…

SM: Do you have a “creative process”?

OC: I write all the time, about anything, but a song always starts with a melody and it’s really not a very conscious thing… the lyrics just come from somewhere and then I step back and build around whatever comes up. It could start with something small when I’m messing around at sound-check or practicing… Sometimes I’ll start humming something when I’m walking or at work and just record it quickly, then come back to that idea later. The biggest trick for me is privacy and having a soft focus, not being too critical.

SM: Is there a common thread to the music that you make?

OC: I’m really up for trying anything but I come back to pretty, gentle and dark most of the time. Sometimes it’s angry or happy or whatever; I’d never want to be quarantined to a certain feeling or style forever, but there’s definitely a thread that keeps pulling me in that dark, gentle, introverted direction…

SM: What has been the most surprising thing about creating your art and then displaying it for the world to see?  

OC: I’ve been really fortunate to get to connect with underground music communities all over Europe and North America. It’s been inspiring to see how much amazing art & music is out there and to meet so many kind and interesting people.

 

Take a first listen to Fortresses‘ “Winter” here, or check out the stunning music video (shot by Luz Gallardo) here: 

This interview has been edited and condensed.