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Marianne Nowottny's name doesn't sound like you might expect: she pronounces it "Mah-ri-AH-na," not "Maryann. " The same could be said for her music, which critics in publications as disparate as The New York Times, The Wire and Tiger Beat have praised and attempted to describe. Magnet said that Nowottny's music is "like if André Breton wrote Harlequin romances." The writer meant this as a compliment, and it's as good a description as any, but Nowottny doesn't fit into a box; there's no easy recipe for her music.
| | [Photo Courtesy: Abaton Book Company] |
For those unfamiliar with Nowottny's music, her new Camera Obscura release Illusions of the Sun is a good place to start. It's the 20 year old's seventh release (not counting several dozen live cdrs, videos and limited edition singles). The CD has seven audio tracks as well as a twelve-minute, three-song video. Six of the tracks were recorded at the WNYC-FM studios in New York City in 2001, another at CBGB's Gallery in 2002, and the multimedia portion was filmed at Signal 66 in Washington, D.C. in 2000. In all the tracks, Nowottny sings her original lyrics and accompanies herself on harmonium, piano, and Radio Shack keyboards.
Part of Nowottny's uniqueness is due to her ability - and courage - to allow her voice to explore its full range, from primal growl to operatic soprano to lilting pop. Combined with this wide spectrum of sound is her unusual phrasing: she stretches and compacts words in ways that make the listener hear anew. Repeated listening to Illusions of the Sun - with and without the provided lyrics as a guide - reveals deeper pleasures; as one becomes accustomedto Nowottny's unique phrasing, the unfamiliar becomes familiar, and one can even identify known elements.
"I always listen to music, and in my songs I can hear little parts that come from different pop songs," she said. "The hooks are twisted, tortured, bent, and then fit into my own songs somehow."And it's not just pop that surfaces in her music: listeners hear elements of Frank Zappa, Brian Eno, Diamanda Galas, Nico, and Sun Ra.
Other such luminaries count themselves among her fans.
"When I first heard Marianne's singing I was floored by the timelessness of her sound, simultaneously ancient and in the future," said guitarist Elliott Sharp, who has performed and recorded with the young songwriter. "It's tapped into the same strain that one hears in country blues, in Transylvanian gypsy music, and in fado."
But Nowottny did not grow up hearing these musicians and styles; her songs just came out that way. And the songs on Illusions of the Sun are also remarkable for their lyrics. Nowottny has been writing poetry for years, and her lyrics are highly original, as well as emotive and thought-provoking. In "Grey City" (recorded August 2001, but eerily reflecting the events of the next month), Nowottny writes, "I make believe just to relieve/the shrapnel sewn to my sleeve." Most of her songs concern romance and the many permutations of lost, found, and disappointed love. Reflecting on these songs, Nowottny said "For years I did self-indulgent, ultra-personal teen angst stuff. If I do sit and contemplate this music now, it makes me feel weird." Teen angst it may be, but funneled through Nowottny's sensibility it's heartfelt ("He's probably dead now/He's probably dead someway somehow") and sometimes mischievous ("Paisley or paramecium/Love or lust?"). It's music you can listen to while crying your heart out on your bed or concentrate on for its own reward.
Illusions of the Sun is Nowottny's first release on the Australian label Camera Obscura. Her previous work came out on the Abaton Book Company imprint, a label located in Jersey City and run by Mark Dagley of former Boston art band Girls, and his wife, playwright Lauri Bortz. It's fortunate to have talent, and it's equally fortunate to have people nurture and present your work in a way that preserves your integrity. Since meeting Nowottny in Newton, NJ in 1998, Dagley and Bartz have been her friends and champions, and they have produced a generous catalogue of Nowottny material, including her first release Afraid of Me (1999), Manmade Girl (2001), and SHELL! (2000), Nowottny's duet with her friend Donna Bailey. There's also limited editions of CDs, MP3s, and vinyl, as well as over fifty performance videos. Nowottny, Dagley, and Bortz also share a playful sense of humor, which is evident in Abaton's wide array of Marianne merchandise, which includes Marianne pick-up sticks, a teddy bear called Bearianne Nowottny, and - why not? - Breath of Marianne, which is exactly that, a bottle of her breath.
Nowottny's open-hearted creativity expresses itself in many mediums: music, poetry, painting, sculpture, clothing design, and modeling. It's refreshing to encounter such a genuinely artistic spirit, and as The New Jersey Herald astutely observed, "She may have such a solid following because [her music] is so original and somehow may strike a chord in others, nudging them not to be afraid of themselves, of their innate originality."
The songwriter's gifts flowered in soil that might seem particularly unsuitable for artists: suburban-rural southern New Jersey. "There's strange people down in southern New Jersey; they really took my mind for a spin," she said. "I believed in the goth thing, and there were a lot of goth hicks where I was. I thought the rest of the world was like this too." But no matter the company, Nowottny found solace and beauty in the Jersey Shore landscape. "It's really scenic where I grew up; I lived in a little house by a lake, and there were nice places to be by myself in nature. I went to the ocean every day, and I still dream of it." The unique combination of goth, spinning minds, the Atlantic ocean, and Radio Shack became part of Nowottny's development, fodder for creative expression.
Although Nowottny has received a great deal of attention since a very young age, she is remarkably levelheaded, with a healthy dose of skepticism. "When I was 16 the weird fetish was to call me a teen rocker. I didn't buy into it, and it pissed me off because I thought I was all grown up: 'I'm a woman, leave me alone!' And the main thing people said about me was 'This is really great, but too bad no one cares.' And that contradicts itself. It was sad to me, but I understand it as well - I wasn't making music to make money."
She is inspired by contemporary artists who have found a larger audience without compromising their unusual sound. "The group Einstuerzende Neubauten has a big fan base, and their symbol is everywhere," she said. "And Coldplay has ambient dark songs that are becoming hits."
She has been presenting her music at various East Coast venues since 1999. Currently she's studying at William Patterson University in Wayne, NJ; college as well as a part-time job have curbed her performing schedule, but come fall she will probably be playing out again. In the meantime, she continues creating and absorbing music. "I think about music and songs a lot in my car, and I even have a tape recorder there," she said. "I'm listening to a lot of pop engineer constructed R&B hits, bubblegum gangster music like Missy Elliott, who's amazing. Ashanti's music inspires me - I love the downbeat, and it's a happy-go-lucky, sophisticated, city-woman kind of music. I'm also listening to Fleetwood Mac from the Rumours period - I like the song 'Dreams' a lot."
There's no telling how Nowottny's external and internal influences will reflect in her future music, but however it translates, music lovers - and music connoisseurs - will surely reap the benefits.
Currently she's on the margins of mainstream music, but Nowottny recognizes that with different instrumentation and presentation she could attract a wider audience. It's an opportunity that interests her, but doesn't necessarily drive her, she said. "Music is taking a turn in evolution, but it can't appeal to a mass audience when it's lacking the basic recipe of beats and bass. My dad is tone deaf, but if a song has beats and bass, he'll listen to it. What would change is me, putting my music into something that more people can listen to."
But then, she added, "people who listen to pop music don't give a shit about art."
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